• 한국의상디자인학회지
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• 제2권1호
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• pp.75-95
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• 2000

The purpose of this study were: 1) to understand the meaning of color according to the culture 2) to develop color and color arrangements in the thoughts of the East and the West.. The meaning of color on the dyed clothing was investigated through the book written classified with yin, yang, five color elements and Christian color system. The results were as follows; 1. Red wedding dress used the meaning of prevent badness and American used to resist for England in the War of Independence. 2. White wedding dress meaned innocent, gladness to the ancient Greece, Rome and Gothic Christian in the West, and it meaned a dead daughter in Japan, East, 3. Blue clothes meaned lucky in the East and meaned sacredness and love in the West. 4. Yellow was the color of the Emperor in the East, and it meaned death, betray in the West. 5. Black meaned badness in the East, and it meaned sadness in the West.

• 패션비즈니스
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• 제2권3호
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• pp.157-165
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• 1998

In Koryo Dynasty Pyonbokpo(便服抱) was worn by both sexes. There were four styles that was Yosunchollic, Dappo, Pol, Poll, of the men's Pyonbokpo(便服抱). Double breast style (重据形) was used for the adjustments of these clothes. Neckline and he-m line were substituted by rectangular collar (목판깃). The width and length of sleeves in Yosunch-ollic was tighter and shorter as general Po. Coat-string (Okgolum), side slit were used. Feminine Pyonbokpo (便服抱) had usually same style of men's one. There was one was back longer than front length. They wore it with or without a belt. Knot-button, Coat-string (Okgolum), White straight collar (DongJung), side slit were used.

• 복식
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• 제5권
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• pp.219-235
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• 1981

Jik-Ryoung was originally desinged to be worn by lower-class people in the reign of King Woo(A.D 1387, Goryeo) when official dresses and headgear were redsigned according to Ming's (明) style. It was observed that Jik-Ryoung was the same Po(袍) as Dan-Ryoung(團領) except its straight collar. Nowadays we can find through documents and original forms of Jik-Ryoung itself that Jik-Ryoung prevailed from the beginning to the end of the Yi Dynasty. Lower class people wore this coat until King Sejo(世祖), but from that time the Jik-Ryoung could be worn only by the Noble class as street clothes and home wear as well. Middle class people wore this coat as an office wear. Its style had changed from narrow sleeves and Moo (무, a reinforcing cloth strip) at the beginning to widers and Moo after the middle years of the Dynasty and finally fixed its style to sewing upper parts of Moo together. While red, white, and blue were the common colors, silk, hemp, cotton, and ramie were preferred materials to be made of.

• 패션비즈니스
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• 제8권1호
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• pp.61-75
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• 2004

This paper has the meaning to plan new design of patient's cloth focusing on its aesthetic aspect through surveying actual condition of use of patient's cloth and reflecting color or pattern that patient prefers to it. Substantial purpose of this paper is 1) to survey actual condition of patient's cloth on the basis of general hospital of downtown of Busan City, 2) to revise difficulty of patient's cloth and survey and analyze color and pattern that patient prefers and 3) to suggest new patient's cloth design using color and pattern that meets function that is not difficult for patient's activity and cure and stabilizes patient's mind on the basis of the result of analysis. The result of this paper is like follow. 1. Problem of current patient's cloth is that most hospital uses patient's cloth having white background and hospital logo of blue or green color and its length is too long so it requires adjustment of length of sleeves and pants 2. The result from analyzing preferred patient's cloth is that patient prefers patient's cloth classified by man and woman, one that its length of sleeves and pants are adjusted and one that there is no collar in its neckline. Regarding color, male patient prefers mild indigo color(5PB7/7) and mild green color (5G9/2) and female patient prefers bright purple color and bright scarlet color(5YR8/7). Regarding pattern, both of man and woman prefers natural pattern. 3. This paper planned total 6 kinds of patient's cloth (common patient's cloth: 2 kinds, male patient's cloth: 2 kinds and female patient's cloth: 2 kinds) through revising difficulty and using new color and pattern according to result of preference.

• 패션비즈니스
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• 제7권2호
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• 복식
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• 제34권
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• pp.79-89
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• 1997

Comparison of Korean shroud with Chinese shroud are as follows. 1. Taetae Simeui P'oo Hansam Ko, Mal, Nukpaek, Kwatu, Ch'ungi Po-kkon Myokmok Ri Aksu Mo and Om were used the most inchina. However Mangkon Tapho Tanko Sotae Ri and Kop'o were used more widely in Korea. 2. The cloths of Chinese shroud were p'o, Paek and Kyun but those of the orean were paek Chu Chung and P'o The colors of the chinese and Koean shroud was Hyun Hun and white. 3. The size of the Cinese shroud is as follows. The size of the Ch ungi ws si-milar tothe size of jujube kernel the len-gth of Myokmok was one Ch'ok two Ch'on or one Ch'ok five Ch'on the length of Aksu was one Ch'ok two Ch'on and its width was five Ch'on. The chil of Mo reached the hands and the length of Sw-ae was three Ch'ok and the length of Om ws five Ch'on. the size of the Korean shroud was the same as Chinese shroud except that the size fo Myokmok and the lenth of Chil and Swae was seven Ch'ok respectively,. 4. In Korean and Chinese shroud Aksu was tied by the strings at two corners Myokmok was teid by the strings of four corners. The tip of the Om was divided and Mo wrapped the shole body. 5. The clothes of Soryom was nineteen Ch'ing in Korean and chinese shroud. The clothes of Taeryom in Kun were one hundred Ch'ing in the chinese and ninety Ch'ing in the Korean shroud. The imple-ment of Soryom were Kum Kyo Sangeui Saneui Ch'im Yok and Kyon in the Chinese shroud and were Kum Kyo Sangeui Saneui Ch'im Yok Kyonand Sinmyon in the Korean shroud. In the case of the implement of Taeryom the Chinese shroud had Kum Kyo Sangeui Saneui Ch'im and Yok the same as Korean shroud.

• 복식문화연구
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• 제18권5호
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• pp.789-808
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• 2010

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel's clothing that is usually used by neutral colors and on Yohji Yamamoto's clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 한국콘텐츠학회논문지
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• 제20권12호
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• pp.82-94
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• 2020

이미지는 유구한 역사적 흐름에서 파생되는 신화와 사회적 관습, 정신적인 심상(心象), 의미가 그림으로 기호화하고, 그림은 기호화를 통해 문자와 언어의 상징으로 이어지고, 기호화의 반복을 통해 민족의 상징체계가 형성되었다. 우리나라 민족은 수 천 년 동안 정신적인 단합·단결이 강한 민족이었음을 역사를 통해 알고 있다. 우리 민족의 단합된 정신적 상징체계는 어떻게 활용하고 이루어졌는지 신화 이미지를 통해 연구하고자 했다. 우리 민족은 샤머니즘을 통해 오랫동안 신화 이미지가 유지되어 왔고 아직도 제주신화 이야기는 제의식과 함께 치러지고 있으며, 신화 이야기는 구비문학이라는 학문적인 측면과 이야기 전개 측면을 영화에서만 연구되어지고 있는 상황이다. 우리 민족은 하얀 옷과 연결되어 백의민족으로 인식되고 있으며, 해가 지지 않는 동방의 나라 등 수식어가 태양과 연결된다. 우리 민족은 고조선 신화의 상징성에 하늘의 아들, 홍익인간, 박달나무와 신라의 계림 등 시대에 따라 이어져 왔으며, 언제부터 태양을 사랑한 나라가 되었고, 밝음이 상징이 되었는지 알지 못한다. 우리 민족의 정신적 상징체계와 관련하여 샤머니즘 사상에 내포되어 있는 제주 무신도의 신화적 이미지인 닭과 유사하게 표현된 이미지를 역사적으로 활용된 사례들과 문헌들을 제시하였고, 내표된 의미를 파악하기 위해 롤랑 바르트의 의미작용을 통해 신화를 재해석 하였다. 그 결과 날개 손과 몸이 깃털인 반인반수의 표현, 닭이 봉황으로 이어져 밝은 빛과 연결되고 샤머니즘의 빛의 '신라'와 연결되어 신의 명칭을 국가 명칭으로 가져왔을 가능성을 제시하였다. 밝은 빛을 사랑한 우리 민족의 정신적 상징체계 연구에 근거를 마련하였다.

• 한국생활과학회지
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• 제18권1호
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• pp.247-257
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• 2009

The purpose of this study was to examine the effects of interior color and product volume of clothing shop on consumer's store image and preference for a clothing shop. The research methodology was a survey questionnaire and the subjects were 516 university students in Daejeon, Korea. The measuring instruments were stimuli and self-administrated questionnaire. The stimuli were 7 pictures of clothing shop including interior color and product volume variables, and the self-administrated questionnaire consisted of semantic differential scales for store image, store preference, and subject's demographic attribution. The data were analyzed by t-test, ANOVA, MANOVA, Duncan's multiple range test, based on SPSS program The results were as follows: first, in clothing shop's interior colors affecting store image and preference for clothing shop, white color gave a casual, sophisticated, characteristic, and attractive image to the shops, and brown color gave an elegant, sophisticated image, while black color gave a sophisticated, uncomfortable image, and gray color gave a less positive image to them than other colors. Subjects preferred white, brown, and black color in the order. Second, clothing shop's products volume also affected consumers' store image and preference. Its small volume gave a more sophisticated, elegant image than other volume levels, and subjects preferred small and medium volume of clothing products to their large volume. Third, the effects of shop's interior color and clothes' product volume on store image were different depending on subject's sex. The results revealed that clothing shop's interior color and product volume are important VMD components affecting consumer's store image and preference, and consumer's sex has to be considered to understand the effects of VMD components on clothing shop image.