• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.88-102
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• 2010

The research examines the characteristics of the sewing methods used for women's Jeogori in modern Korea. The results are following. In the 1920s sewing of shoulder parts was started, and in the 1930s sewing by hand had reduced by dissemination of sewing-machine, and in the 1940s the Som-jeogori declined by the matter of economic and sanitary issues. In the 1950s four-fold sewing emerged, and during the 1960s the gause-lined triple-layered Jeogori was in fashion, and in the 1970s the Ggaeggi-jeogori and much elaborated Jeogori became in vogue. The characteristics of the sewing methods are changed by following factors. First, the dissemination of sewing-machine in the 1930's enabled fast and precise sewing of Jeogori which reduced the rate of clothes mending and the production period. Second, by development of washing method, the dry cleaning became common, resulting cleaner washing and better preservation. Third, introduction of western clothes gave rise to modernized Han-bok which was changed into practical and simple one. Fourth, by the introduction of synthetic textile and industry development, Jeogori with no armhole line or right Seop line was made using wide selection of textiles. Fifth, in 1945~60s, women learned' good wife and wise mother' education and the use of sewing machine in school. The clothing lifestyle affected the sewing method's change, for example, clothes sewed strongly by sewing machine not to take clothes apart, and attaching button instead of Go-reum to save clothes.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• Journal of the Korean Home Economics Association
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• v.50 no.8
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• pp.1-11
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• 2012

The purpose of this study is to compare and analyze the application of raditional elements in Lie Sang bong and Vivienne Tam's Fashion Design. The methods of research, the references to the precedents of prior research, fashion related journals, articles, and websites of designers were examined to analyze how each designer reinterpreted the respective homeland's traditions. The designs of Lie Sang bong and Vivienne Tam studied were from the 2002-03 F/W to the 2012 S/S collections. The results are as follow. First, both designers use traditional marks when reinterpreting the traditional clothes of Korea and China. In the case of Lie Sang bong, traditional Korean marks were linked to the western structure. For Vivienne Tam, designs which revived realistic marks identically were displayed. Second, in terms of the modern reinterpretation of the traditional clothes shapes, there were a number of cases in which the silhouettes of their respective country's traditional clothes were mainly brought into their arts. Lie Sang bong was influenced by the 'line' of traditional Korean design. In addition, the atmosphere of the traditional clothes helped to reanalyze the traditional clothes' figure. In Vivienne Tam's designs, unique Chinese images were produced by, keeping the original form of the Chinese dress. Third, in the use of the traditional ornament techniques, Lie Sang bong partially introduced and applied traditional ornament techniques while Vivienne Tam largely decorated the traditional. Chinese ornaments while directly utilizing the structuring designs.

• Journal of Fashion Business
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• v.23 no.4
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• Journal of the Korean Society of Costume
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• v.38
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• pp.233-244
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• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.

• Journal of the Korean Society of Costume
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• v.32
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• pp.83-100
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• 1997

The purpose of this study was to identify the change and characteristics of 20th Korean women's make-up the result of the study as follows: In the period 1920's 1. The drastic social changes such as civilzation and revolution together with the in troduction of western culture affected make-up and clothes. New women and high school girls wore the modified costume make-up hair style But general public women keep to traditional skin care style and white skin colour was popular. 2. In recent year after 1960's economic de-velopment the women's social status were pormoted after 1970's various colour em-phasize lip eye there by resulting in remark-able modification in the Korean women's apperance. In those days there was the large cosmetic producst of vavious colour 3. The result of this study indicated that the value of recognize the importance of total fashion is the harmonization of clothes and make-up 4. It was also suggested Korean beauty in the future should be achieved in accordance with tradition and modern sense.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1034-1046
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• 2009

Based upon literature survey, this research aims to analyze western children's clothing and characteristics over centuries. It was not until the 18th century that children were given serious consideration and that fabrication of clothing began to be designed only for children. The very first clothes which revolutionized children's wear was 'a la matelot' in the 18th century which freed children from physical restriction, recognized gender difference, and sailor suit became popular among all sexes and adopted as school uniform. And then children's clothing was shortened in length and adopted tubular silhouette, which allowed greater comfort and movement. The 20th century saw children's wear reform to be carried out after the World War II due to invention of synthetic fiber, easy care dress material, mass production system and sophistication of marketing methods. Further evidence of improvement of children's social status can be found in contemporary designs: for example, 'casualized' wear, 'character design' which reflects children's psychology and 'family look' which is designed to be worn with mothers. This evolution of children's clothing within western dressing support the view that children's clothing is not a miniature of adult wear but it reflects idiosyncrasies of the era and exerts children's dignity.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.