• Journal of the Korean Home Economics Association
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• v.44 no.10
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• pp.91-100
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• 2006

This study analyzed the formal characteristics of traditional Jokakbo and modern works applying Jokakbo, and developed aroma chumoni representing the symbolic image and cultural identity of Bamboo at Dam-Yang, Mae-Wha at Kwang-Wang and San-Soo-You at Ku-Rae, all of which are in Chonnam. Initially, inform a theoretical point of view, the characteristics of modern works applying Jokakbo were investigated with regard to the pattern, color, fabric material and technique. Secondly, for the development of aroma chumoni, square and round patterns, representing the images of Bamboo, Mae-Wha and San-Soo-You, were applied. Relating to colors, green, pink, red purple, yellow, light yellow red and pale yellow were applied. With respect to the fabric materials, No-Bang and A-Sa, representing the lightness and coolness of the image, were used. When considering the technique, the traditional needle, rather than any other modern technique, was used.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.124-137
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• 2014

The purpose of this study is to produce an essential guideline for making costumes for traditional Korean mask plays by doing a comparative analysis between traditional Korean mask plays and Italian 'Commedia dell'arte'. The results of this study are as follow. The costumes of Korea's mask plays were mainly used to show difference in social status. Analysis showed that costume features, such as color, fabric, and silhouette, were not important to the traits of the character. On the other hand, the costumes in the Italian 'Commedia dell'arte' were used to express the characters' traits. The colors, fabric and silhouettes were exaggerated compared to everyday wear. This enhanced the looks of the character, and it kept on developing with the demands of the culture consumer. This study was performed to support further development and success of traditional Korean mask plays.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

• Textile Coloration and Finishing
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• v.22 no.2
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• pp.101-109
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• 2010

The objective of this study is to investigate the characteristics of natural indigo dyeing of cotton fabric. Reduction and dyeing were carried out by one-step process using an infrared dyeing machine at the liquor ratio of 1:100, and subsequently oxidation and washing in water were followed. Dye uptake was increased with the increase of indigo concentration. Over the full range of dyeing tests, the dyeing condition was optimized to $40^{\circ}C$ for 40min. For most of dye concentrations, the cotton fabrics showed mainly PB color. Maximum K/S value was shown at 4g/L of sodium hydrosulfite concentration and the color strength increased with the increase of dye concentration. Value(lightness) decreased with the increase of dye uptake irrespective of mercerization or reduction method, while the mercerized cotton showed two times higher dye uptake than the untreated cotton. Whereas hue of the untreated cotton showed large decrease of P character(5.6~3.5 PB) with the increase of dye uptake, that of the mercerized cotton increased P character(4.7~5.5 PB). Irrespective of mercerization, value and chroma decreased with the increased of dye uptake. In addition, the untreated showed lower chroma than the mercerized cotton. In the case of traditional reduction, hue of the untreated cotton was changed very little with the increase of dye uptake. For hydrosulfite reduction, P character decreased with the increase of dye uptake. The difference of hue value was small with the change of reduction method(hydrosulfite reduction or traditional fermentation). Color character was not influenced by the changed maximum absorption wavelength. Washing fastness showed 4~4/5 shade change rating without any staining. And dry rubbing fastness was good at low color strength. The bacterial reduction ratios of dyed cotton fabric were also increased.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.125-133
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• 2006

The term Moja(毛子) is the name of Jilson(質孫), the traditional costume of Mongolian own meaning one colour. Mo generally means woolen or worsted fabric, so most scholars also regarded Moja as the same. This paper studied the kind of fabric of Moja by using the way of studying the cultural exchange between ancient Korea and China. This study showed that Moja is ramie instead of woolen or worsted fabric. It also showed that its name was born the long history of the cultural exchanging process between China and Korea. Moja was written as Musi(木絲) or Mosi(沒絲) at China in early period, and changed to Mosi(毛施) in ancient Korean. It was changed to Chinese Maozi in later period.

• Journal of architectural history
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• v.15 no.3
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• pp.99-118
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• 2006

We have focused on the building appearance according to the change of conservation policy and urban fabric in Bukchon, Seoul. The Urban Hanok, urban traditional housing type, had been evolved in modern contort from 1920's to 1960's, that is to say, many buildings(Urban Hanok) in Bukchon area has built up with a lot and road at the same time. But the change of conservation policy has an effect on the urban fabric and building(wooden structure, RC and brick building). Thus many types of building in Bukchon has undergone a various change. The purpose of this paper is to define a change factor of Bukchon buildings. Thus we need to pay attention to policy and urban fabric. We reached the result as follows. First, the change of architecture regulations according to the several policies(an aesthetic area, an altitude area for sky line restriction and so on) brought into building deformation and eventually the historic scenery of Bukchon has been spoiled. Second, the change of policy had an effect on the change of roads and lots. Buildings on a widen road and a united lot was built newly. But new buildings built up with a concrete or brick structure was not in harmony with the historic scenery of Bukchon area. Third, a development method of a large lot with lack prudence(disregarded a scale and size of lot) did damage to Urban hanok and urban fabric. With the understanding on the relationship of buildings, a urban fabric and a policy in Bukchon, we can define the identity and correspond with the urgent request for a the conservation of historic urban scenery In addition we can suggest the policy and the design guidelines for the reservation and rehabilitation for Bukchon, Seoul.

• Textile Coloration and Finishing
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• v.8 no.3
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• pp.8-15
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• 1996

Three pieces of cotton fabrics used for this study were exhumed in the Mt.Moo Deung near Kwang Ju in 1965. The fabrics were remains of Jang Heung Lim Si-the nephew's wife of General Kim Deok Ryeong. It was reported that Jang Heung Lim Si died in 1615. The cotton fabrics were classified into three, A, B and C, according to their color. The fabric A was inherent color of cotton, the fabric B was that of light brown and the fabric C was that of dark brown. The physical and chemical characteristics of the cotton fabrics were examined. In the meantime the construction of cotton fabrics and traditional dyeing of Yi dynasty were studied through various records. The results were as follows: 1. According to electromicroscopic examination, the lumen in the cotton fiber had not been developed enough, therefore the quality of cotton at that time was supposed to be not so excellent. 2. The results of chemical analysis indicated that: (1) While the copper number of the cotton fabric A was similar to that of bleached cotton, that of the fabric C was extremely high. (2) The amount of methylene blue absorption was much more than that of normal cotton. (3) The content of cellulose was less than that of normal cotton. (4) The degree of polymerization was less than that of normal cotton. From the results mentioned above, it was concluded that the cotton fabrics were oxidized slowly in the closed lime coffin for a long period of time. From this process of oxidization and deterioration, the degree of polymerization was decreased through depolymerization, and carboxyl groups were produced by the oxidization at reducing end groups. 3. It was confirmed that the cotton fabric C was dyed by the juice of immature persimmon. Thus, it was inferred that the large amount of copper number of cotton fabric C was derived from phenolic OH groups of tannins having high reducing properties in persimmon.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.339-353
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• 2004

Purposes of this study were to analyzed coat types and characteristics of coat of young persons, and search whether fashion trend is reflected on coat. Data collected pictures that they are wearing dress in street of Daejeon city 3 places that there are much the rising generations at November, 1999. This study target was from teens latter half to 20 opening part, 154 women. Data analyzed content analysis, frequency analysis, crossing and the result is as following. First, classification standard of coat was textile fabric, form of detail and ornament. Second, coat could classify in three types, type 1 was traditional duffle coat style that is distinguished by form of detail and ornament(hood and button). Type 2 was classified property of textile fabric that used leather, padding, fur etc., and type 3 was classified by collar detail of woolen fabric coat. Specially, ornamental fur of woolen coat perceived visually strong. And design detail of coat showed significant difference in coat type. That is, duffle coat type was designed patch pocket and toggle, woolen fabric coat type was hidden button and seam pocket. Third, fashion tendency of coat was proved that is reflecting part of predicted fashion trend.

• Journal of Fashion Business
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• v.6 no.2
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.