Go to the main menu
Skip to content
Go to bottom
REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
> Journal Vol & Issue
Journal of the Korean Society of Costume
Journal Basic Information
Journal DOI :
The Korea Society of Costume
Editor in Chief :
Volume & Issues
Volume 56, Issue 9 - Dec 2006
Volume 56, Issue 8 - Nov 2006
Volume 56, Issue 7 - Oct 2006
Volume 56, Issue 7 - Sep 2006
Volume 56, Issue 6 - Aug 2006
Volume 56, Issue 5 - Jul 2006
Volume 56, Issue 4 - May 2006
Volume 56, Issue 3 - Mar 2006
Volume 56, Issue 2 - Feb 2006
Volume 56, Issue 1 - Jan 2006
Selecting the target year
Coloration of Han-bok on Modern Korean Oil-Paintings
Kim Mi-Jin ; Cho Woo-Hyun ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 1~12
The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.
Chinoiserie in the Eighteenth-Century Rococo Fashion
Shin Jooyoung ; Kim Min-Ja ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 13~31
This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced
century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the
century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in
century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.
Characteristics of the Excavated Fabrics from Papyeung-Yun's Tomb
Cho Hyo-Sook ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 32~43
Excavated fabrics from Papyeung-yun's tomb totals at 208 in their numbers. They comprised 118 pieces of silk tabby(紬), 16 pieces of thin silk tabby, 8 pieces of thin filament silk tabby (絹), 43 pieces of satin damask(段), 8 pieces of compound satin(金線), 1 piece of twill(綾), 1 piece of complex gauze(羅), l piece of simple gauze(紗), 4 pieces of cotton(綿布), 4 pieces of hemp(麻布) and 3 pieces of ramie(苧布). As shown in the preceding list,
of all the items are weaved from silk. To list a few characteristics of excavated fabrics from Papyoung-Yun's lineage, there are A vivid gold-colored compound satin, a uniquely patterned satin damask, various silk tabbies, and 4-end complex gauze of Neoul that is women's head cover. To note, names of the fabrics used in this article are based on the information from the literatures and are as following silk tabby(紬), thin silk tabby, filament silk tabby(絹), satin damask(段), compound satin(金線), complex gauze(羅), simple gauze(紗), cotton(綿布), twill(綾), hemp(麻布)and ramie(苧布).
A Study on Man's Boots of the Joseon Dynasty
Kwak Kyung-Hee ; Hong Na-Young ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 44~55
The purpose of this study is to examine the characteristics of man's boots in the Joseon Dynasty and compared them with those of the Ming and Qing Dynasty to find the influential relationships between them. Boots in the Joseon Dynasty are divided into several kinds such as Heukgwejapihwa, Hheuksapihwa(黑斜皮靴), Heukpihwa(黑皮靴), Mokhwa(木靴), Hyeopgeumhwa(挾金靴), Suhwaja (水靴子), Jeonpihwa, Gijahwa(起子靴), and Baekhwa(白靴). In addition, Jeong(精: footwear) was put inside boots. They tend to be named according to their materials or ornaments on them. First, Jeong put inside the boots is regarded as footwear for the comfort of the feet or protection against cold. Mokhwa appears in literature around the 19th century. As shown by remains and paintings of those days, it is considered to have become the common name of boots as it underwent many changes. On the other hand, a book in the era of King Gojong includes pictures of Suhwaja. Compared to Hukpihwa in the same book. The topside seems to have been raised in order to make the wearer who put on a military uniform feel comfortable when walking, since the bottom piece is hard. Baekhwa is worn not only with funeral garments but also with Sibok(時服), one of official uniforms. Boots in the Joseon Dynasty had been made following the design of the Ming Dynasty since official uniforms were conferred upon King Gongmin in the late Koryo Dynasty. But turning the late Joseon Dynasty its detailed design changed little by little. The topside of the boots became more round, the entrance part became wider, height of the shoes became taller, and the bottom piece became parallel to the ground.
A Study on the Cosmetics Purchasing Behavior According to the 20-30 Year Old Men's Life Style
Lee Mun-Young ; Kim Yong-Sook ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 56~69
The purposes of this study were to identify cosmetics purchasing behavior according the 20-30 year old men's lifestyle. The results were as follows; 1. The factors of men's lifestyle were sense of fashion, participation of social activities, use of web-based information, sense of androgyny, economical efficiency, provision of web-base information, sport activities, and pursuit of change, and they were segmented into a passive stagnant group, a economic web-base information utilizing group, a positive social activity participation group, and a sensitive appearance change pursuit group. 2. Passive stagnant group used less information sources patronized cosmetics specialty store, did not select their cosmetics by themselves, and spent less for their cosmetics. Economic web-base information utilizing group used information sources positively, patronized cosmetics discount store or internet shopping, and spent less for cosmetics. Positive social activity participation group patronized cosmetics specialty store or discount store, but did not select cosmetics by themselves. Sensitive appearance change pursuit group patronized department store or internet shopping for cosmetics, selected cosmetics by themselves, and spent more. 3. Passive stagnant group showed a tendency of older, less educated, and lower incomes, but economic web-base information utilizing group were among the age of 20's, lower educated, and the unmarried with average incomes. Positive social activity participation group showed a tendency of older, highly educated, and the married with jobs, but sensitive appearance change pursuit group were among the age of 20's and university students with more incomes and pocket money.
The Types and Formative Characteristics of Seon Represented of Costume in Water-moon Avalokitesvara of the late Koryo Dynasty
Ok Myung-Sun ; Park Ok-Lyun ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 70~80
The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Water-moon Avalokitesvara of the late Koryo Dynasty. The results were as follows; 'Seon' has two main types, Standard and Decoration types. In the former type, Seon has not any decoration. While, in the latter, Seon is added with decorations. Here, Seon of decoration type can be reclassified into two types, same color and pattern and different color and pattern. Seon most appeared in the Water-moon Avalokitesvara had the type of Decoration, especially different color and pattern. Patterns used for Seon were complex in its composition type and filling in its arrangement style. Seon was mainly used to Guneui(裙衣) and Samkaksika(僧脚崎). For the color combination of Seon, the combination of similar colors was most often used and that of same color was somewhat frequently done. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and elegant when their Seon was Standard in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern.
A Cultural Approach to the Aesthetic Characteristics of the 20th Century French Fashion
Jung Yu-Kyung ; Chun Hei-Jung ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 81~96
Fashion is very superficial. However, it is expressed through the culture that is a cause of internal change and therefore its contents are defined by the cultural features. In this study, to study the aesthetic properties of the French fashion, the internal fashion contents are defined according to the cultural characteristics of France and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the French culture. Based on the cultural characteristics of France, the aesthetical properties of the contemporary French fashion can be analyzed as follows:
Dualism is the internal contents of the French culture with multiple sources, and it implies that opposing values such as female and male, traditionalism and modernism, simplicity and decoration are coexisting. Simplicity is pursued but decorative elements are in harmony and new phase of time is reflected while certain style has lasted for a long period of time to become a tradition. Furthermore, a rational trend combining masculinity and femininity, simultaneously exist with a trend that emphasizes feminine image.
Multiculturism is a mysterious feature that has adapted the oriental or other cultural factors into the forms, patterns, colors and material of costumes. It has also been reconstructed with the French and the modern tastes.
Avant-gardism is pursuing a novel aesthetic value against the former value system. It recognizes the human body as an object of figurative arts therefore emphasizes the body with geometric shapes to deny the fixed-idea, or engraft new materials and technologies to express the futuristic aspects.
The Dyeability and Antibacterial Activity of Fabrics Dyed with Lavender Extract The Dyeability and Antibacterial Activity of Fabrics Dyed with Lavender Extract
Park Young-Hee ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 97~105
The dyeability and antibacterial activity of fabrics dyed with lavender extract were analyzed. The results obtained are as follows. The surface color of all the dyed fabrics was tinged with green or yellow of a slight red tint. In the test results of dyeing colorfastness, the colorfastness to sunlight of the dyed fabrics which is both not treated with a mordant and treated with a K2Cr2O7 mordant was excellent with 4th grade of colorfastness. The others showed below 2nd grade. The colorfastness to laundry showed, as most of dyed fabrics were 4th-5th grade, relatively excellent results. The colorfastness to perspiration showed different results respectively according to the kind of both dyed fabrics and mordants. The colorfastness to crocking of the dyed both cotton and silk fabrics showed the excellent result of 4th-5th grade. The colorfastness to dry cleaning of all the dyed fabrics was excellent with 4th-5th grade. In the test results of antibiosis, the dyed fabrics of both cotton and silk didn't show the significant decrease rate for the fungus called Klebsiella pneumoniae. For the fungus called Staphylococcus aureus, the dyed cotton fabric showed the decrease rate of
and the dyed silk fabric showed the decrease rate of
. For the fungus called Chaetomium globosum, the dyed fabric of cotton didn't show the significant antibacterial efficacy, but the dyed fabric of silk showed the significant antibacterial efficacy for the mold fungus called Aspergillus niger.
The Ugliness Expressed in On-line Game Character's Fashion on Cyber-Space
Seo Jung-Lip ; Jin Kyung-Ok ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 106~120
Using aesthetics of Rosencranz as the basis, this study contains the peculiarities of 'ugliness' and the obscured conceptual meaning of 'avant-garde', 'grotesque', and 'decadence' that are being utilized under ambiguous significance are defined through modern fashion and fashion of online game characters. Forms of 'ugliness' expressed in modern fashion and in games characters display distortion of form through incongruity, unbalance, disproportion and disharmony, and with this lack of form and expressional imprecision, both contain the elements of comical characteristics of vulgarity and repugnance. The difference in 'ugliness' between modern fashion and game character fashion is, the significance of 'ugliness' being expressed in modern fashion challenges new concepts by refusing tradition and recovering the human nature that has become turbid. On the other hand, 'ugliness' in game character fashion complements the story of the game that uses legends, fantasies or novels as its basis. Opposed to the significance of recovering human nature that is displayed in modern fashion, in order to terminate the opposing game character, the fashion of game characters exaggerates the form of modern fashion with added brutality. In addition, with the advantage of virtual reality that allows a more flexible expression than in the real word, images created are more sensational and excessive use of grotesque images are being expressed.
Expressional Characteristics of Modern Fashion Applied Superimposition
Kim Hyun-Mi ; Yim Ji-Young ; Jang Ae-Ran ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 121~130
Superimposition is a transforming technique that can facilitate the creation. Superimposition in previous studies, however, has only been fragmentary described as an expression technique, so the studies have not been conducted on the basis of its aesthetic value. The purpose of this study is to investigate how superimposition is applied and expressed in terms of forms of modern fashion based on multi-dimensional features of design processing. The codes of togetherness, ambivalence, sense of space and tension in dress were determined by using the expressional Superimposition. The forms of superimposition were limited to superimposition of clothing, superimposition of body and clothing and superimposition of body and Phenomenal body. This study found that superimposition has developed, in fashion forms/types, a new 'form' by overlapping various forms and thus provides a visual shock and a sense of mystery by using mismatched and arbitrary properties among the forms. Such a superimposition influences a methodology of fashion design through a designer's subjective tendencies, as well as influences a change in the view of the world. Also, a superimposition is expected to have a definite influence on new fashion trends.
Study on the Adaptation of the Official Uniform and the Uniform Color Regulation in the Early Goryeo Dynasty
Lim Kyoung-Hwa ; Kang Soon-Che ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 131~142
This research has been done based on the Jeon Si Gwa(田柴科) regulation, the monumental inscription material and the former studies. The background of adapting the official uniform regulation in the early Goryeo Dynasty has been surveyed. Differentiating criterion in the official uniform color like purple(紫衫), red(丹衫), red(緋衫), and green(綠衫) has been studied. The official rank had been classified by the color of the official uniform in the early Goryeo uniform regulation. The lower class had worn purple(紫衫). The purple wearing class had not been the government post but the official rank. Those who worked for the Palace had worn purple color since purple color represented the Imperial Palace on which TAI-IL(太一), that is, the highest one of gods dwelt. Those who had worn red(丹色) in the monumental inscription had worked for the job associated with the military service or Hanlim savant(翰林學士) of Kwangmun Academy(光文院) and Hanlim Academy(翰林元). Dan Seo(丹書) which recorded King's commands also means the monumental inscription. In the Goryeosa(高麗史), the military class had been only in Dan Sam(丹衫). That means those class worn Dan Sam(丹衫) could have been as the strong supportive class for the Dynasty. In the early Goryeo Dynasty, the four colored uniform regulation had followed the enforcing policy of the royal authority. It has been assumed that the uniform regulation had been used as a way of enrolling the new supporting class into the existing official system. Dan Sam(丹衫) which had been worn only in the early Goryeo can be seen as the special class for strengthening the royal authority.
The Study on the Dyeing Properties of Acorn Shell Extract
Chu Young-Joo ;
Journal of the Korean Society of Costume, volume 56, issue 1, 2006, Pages 143~149
For the purpose of standardization and practicability of natural dyeing, the mordanting and dyeing properties of Acorn Shell was studied. Appropriate extraction, dyeing and mordanting condition of Acorn Shell were determined, and the effect of mordanting method on dye uptake and color fastness of dyed fabric was investigated. The maximum absorbance of Acorn Shell solution was at 287.5nm and 294nm. The pH effect was stable in the color difference changes. The optimum temperature to extract Acorn Shell was during 1 hour in
. The effective dyeing temperature and time of silk were
, 1hour. The silk fabrics dyed with Acorn Shell appeared yellow-brown. K/S value of dyeing fabrics was increased by mordant treatment. K/S value of post-mordanting was higher than pre-mordanting. Mordanting treatment attected color change of the dyed silk. In the case of Acorn Shell light fastness of appeared more than 3-5grades by post-mordanting. Abrasion fastness of appeared more than 3-5grades. Perspiration fastness of appered more than
by mordant treatment but Cu mordant treatment was
. Dry-cleaning Fastness appered more than 4 grades except Cu mordant treatment. These fastness improvement were generally effective for mordant treatment, specially Al, Sn, Cr.