Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.111
Mi-Hwa An, Ae-Ran Jang
Baeksubaekbokdo(百壽百福圖) is an artwork depicting 100 characters for ‘Su(壽)’ and ‘Bok(福)’ to wish for longevity and fortune. This study aimed to develop a one-piece dress design for infants reconstructed with textile patterns developed using the Baeksubaekbokdo’s iconography, such as peach, pot, plum, turtle, and cloud. This study intended to enhance infants of positive and desirable personalities, such as physical growth and development, psychological stability, self-expansion, and aspirations for infants’ health and happiness, and to familiarize infants with the value of traditional cultural archetypes, including Baeksubaekdo. In addition, it is to identify the value and excellence of traditional cultural archetypes and materials that can be used for practical commercialization. This study modified and supplemented the color, motif size, and repetitive arrangement method so that the textile pattern for infants developed in previous research could be applied to a one-piece dress design, an item preferred by infants. Five one-piece dress designs with a neat and refined image and a cute and lively princess-like image were developed. A survey was conducted by presenting 125 2D designs due to the convergence of 5 modified and supplemented textile patterns and five one-piece dress designs. The top three highly preferred one-piece dress designs were selected. The final three one-piece dress designs were produced and presented using a 3D virtual clothing program. Adobe CC (Photoshop2022, Illustrator2022) and CLO7.1 were used as production tools for textile pattern design, infant one-piece dress design development, and 3D simulation. In conclusion, this study suggested applying one-piece dress designs for infants with textile patterns of cute, lovable, and fun images developed using the iconography of Baeksubaekbokdo, which means longevity and good fortune. In addition, it was reconfirmed that it is a material that can be used practically for the value and value of a traditional cultural archetype and the health and happiness of infants and young children.
百字柏福图是一种由100个汉字组成的艺术品，寓意长寿和发财。本研究的目的是开发一种婴儿连体服装的设计，并以百福岛的象征图案，如桃、壶、梅、龟、云等，来重建纺织品图案。本研究旨在提高婴儿的积极和理想的个性，如身体成长和发展，心理稳定，自我扩展，以及对婴儿健康和幸福的渴望，并使婴儿熟悉传统文化原型的价值，包括百首道。此外，它是识别的价值和优秀的传统文化原型和材料，可以用于实际的商业化。本研究对颜色、图案大小、重复排列方法进行了修改和补充，将前人研究中开发的婴儿纺织品图案应用于婴儿喜爱的连体服装设计中。设计了五种造型简洁、精致、可爱、活泼的公主形象的连体裙。通过对5种修改和补充的纺织品图案和5种连体服装设计的融合，展示了125种二维设计，进行了一次调查。评选出最受欢迎的三款连体裙设计。最后的三件连体服装设计是使用3D虚拟服装程序制作和展示的。使用Adobe CC (Photoshop2022、Illustrator2022)和CLO7.1作为生产工具，进行纺织品图案设计、婴儿连体衣设计开发和三维仿真。综上所示，本研究建议在婴儿的连体服装设计中，使用象征长寿和好运的“长命百岁”图案开发出的可爱、可爱、有趣的图案。此外，它再次证实，它是一种可以实际用于传统文化原型的价值和价值以及婴幼儿的健康和幸福的材料。
{"title":"Development of an Infant’s One-piece Design with the Iconography of Baeksubaekbokdo(百壽百福圖) -Using CLO 3D Program-","authors":"Mi-Hwa An, Ae-Ran Jang","doi":"10.16885/jktc.2023.9.26.3.111","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.111","url":null,"abstract":"Baeksubaekbokdo(百壽百福圖) is an artwork depicting 100 characters for ‘Su(壽)’ and ‘Bok(福)’ to wish for longevity and fortune. This study aimed to develop a one-piece dress design for infants reconstructed with textile patterns developed using the Baeksubaekbokdo’s iconography, such as peach, pot, plum, turtle, and cloud. This study intended to enhance infants of positive and desirable personalities, such as physical growth and development, psychological stability, self-expansion, and aspirations for infants’ health and happiness, and to familiarize infants with the value of traditional cultural archetypes, including Baeksubaekdo. In addition, it is to identify the value and excellence of traditional cultural archetypes and materials that can be used for practical commercialization. This study modified and supplemented the color, motif size, and repetitive arrangement method so that the textile pattern for infants developed in previous research could be applied to a one-piece dress design, an item preferred by infants. Five one-piece dress designs with a neat and refined image and a cute and lively princess-like image were developed. A survey was conducted by presenting 125 2D designs due to the convergence of 5 modified and supplemented textile patterns and five one-piece dress designs. The top three highly preferred one-piece dress designs were selected. The final three one-piece dress designs were produced and presented using a 3D virtual clothing program. Adobe CC (Photoshop2022, Illustrator2022) and CLO7.1 were used as production tools for textile pattern design, infant one-piece dress design development, and 3D simulation. In conclusion, this study suggested applying one-piece dress designs for infants with textile patterns of cute, lovable, and fun images developed using the iconography of Baeksubaekbokdo, which means longevity and good fortune. In addition, it was reconfirmed that it is a material that can be used practically for the value and value of a traditional cultural archetype and the health and happiness of infants and young children.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135040415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.5
In-Sun Lee, Jeong-Ah Kim
With the introduction of Western culture in the late 1900s, attempts have continued to improve the inconvenience of traditional hanbok and transform it into a new design. Since then, Western clothes have become common, and people wear hanbok less frequently. The “Saenghwal Hanbok” concept emerged in the late 1980s. When the Saenghwal Hanbok brand was first created, it received little attention from young people. However, since the 2000s, Saenghwal Hanbok design, which drastically transforms the structure of traditional hanbok and utilizes various materials and patterns, has become a new category of the hanbok market. Recently, with the creation of new distribution channels through Internet shopping malls and social media, the area of activities for new designers of Saenghwal Hanbok brands is expanding. Attempts to combine elements of traditional hanbok with fashion trends are growing, attracting attention worldwide along with the Korean Wave. Therefore, in this study, we intend to design a Saenghwal Hanbok using the ’Baeja,’ one of the most utilized traditional hanboks. For this purpose, six Saenghwal Hanboks were designed using a collarless type of baeja, among the baeja styles of the Joseon Dynasty. The collarless style of baeja allows for various styles, depending on the inner layer beneath other garments. The primary materials used in Saenghwal Hanbok baeja were traditional materials such as ramie and organza, and linen and silk were also partially used. Additionally, some of the traditional materials were colored using natural dyeing methods, and the colors of the materials used together were selected to harmonize with each other. This study proposed a new Saenghwal Hanbok baeja design and a method of styling it with other clothes. Due to the nature of the material, it is challenging to wear in winter, and the partially matched natural dyeing material has a beautiful color. Still, it has yet to be used in a large area due to the scarcity of the fabric. Future follow-up studies will expand the design items and suggest various utilization methods.
{"title":"A Study on the Design of Saenghwal Hanbok using the Traditional Collarless Baeja in the Joseon Dynasty","authors":"In-Sun Lee, Jeong-Ah Kim","doi":"10.16885/jktc.2023.9.26.3.5","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.5","url":null,"abstract":"With the introduction of Western culture in the late 1900s, attempts have continued to improve the inconvenience of traditional hanbok and transform it into a new design. Since then, Western clothes have become common, and people wear hanbok less frequently. The “Saenghwal Hanbok” concept emerged in the late 1980s. When the Saenghwal Hanbok brand was first created, it received little attention from young people. However, since the 2000s, Saenghwal Hanbok design, which drastically transforms the structure of traditional hanbok and utilizes various materials and patterns, has become a new category of the hanbok market. Recently, with the creation of new distribution channels through Internet shopping malls and social media, the area of activities for new designers of Saenghwal Hanbok brands is expanding. Attempts to combine elements of traditional hanbok with fashion trends are growing, attracting attention worldwide along with the Korean Wave. Therefore, in this study, we intend to design a Saenghwal Hanbok using the ’Baeja,’ one of the most utilized traditional hanboks. For this purpose, six Saenghwal Hanboks were designed using a collarless type of baeja, among the baeja styles of the Joseon Dynasty. The collarless style of baeja allows for various styles, depending on the inner layer beneath other garments. The primary materials used in Saenghwal Hanbok baeja were traditional materials such as ramie and organza, and linen and silk were also partially used. Additionally, some of the traditional materials were colored using natural dyeing methods, and the colors of the materials used together were selected to harmonize with each other. This study proposed a new Saenghwal Hanbok baeja design and a method of styling it with other clothes. Due to the nature of the material, it is challenging to wear in winter, and the partially matched natural dyeing material has a beautiful color. Still, it has yet to be used in a large area due to the scarcity of the fabric. Future follow-up studies will expand the design items and suggest various utilization methods.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135040418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.147
Su-Joung Cha
This study aimed to measure the maximum absorption, regurgitation, and leakage of commercially available pads for urine incontinence in Korea to obtain the essential data needed to develop an incontinence pad to absorb urine effectively. After measuring the maximum absorption of seven commercially available incontinence pads, it was analyzed that product B had the highest maximum absorption and product F had the lowest. The product with the highest absorption was 298.27g, and the lowest was 67.65g, a difference of 230.62g. After measuring the backflow of commercially available incontinence pads, it was analyzed that product A has the least backflow and product F has the most backflow. As a result of measuring the leakage time and leakage amount of commercially available incontinence pads, product F started leaking the fastest with leakage from 50.00ml injection, and the leakage amount was the highest at 16.06g. The timing of the leak and the amount of leakage were negatively correlated, meaning that the later the leak, the less the leakage. The considerable variation in maximum absorbency between products, even when labeled as medium and normal, suggests that consumers need clarification on the criteria for choosing incontinence pads.
{"title":"Absorbency Analysis of Commercially Available Incontinence Pads","authors":"Su-Joung Cha","doi":"10.16885/jktc.2023.9.26.3.147","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.147","url":null,"abstract":"This study aimed to measure the maximum absorption, regurgitation, and leakage of commercially available pads for urine incontinence in Korea to obtain the essential data needed to develop an incontinence pad to absorb urine effectively. After measuring the maximum absorption of seven commercially available incontinence pads, it was analyzed that product B had the highest maximum absorption and product F had the lowest. The product with the highest absorption was 298.27g, and the lowest was 67.65g, a difference of 230.62g. After measuring the backflow of commercially available incontinence pads, it was analyzed that product A has the least backflow and product F has the most backflow. As a result of measuring the leakage time and leakage amount of commercially available incontinence pads, product F started leaking the fastest with leakage from 50.00ml injection, and the leakage amount was the highest at 16.06g. The timing of the leak and the amount of leakage were negatively correlated, meaning that the later the leak, the less the leakage. The considerable variation in maximum absorbency between products, even when labeled as medium and normal, suggests that consumers need clarification on the criteria for choosing incontinence pads.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135040419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.65
Seo-Yeong Moon, Yeon-A Kim
Jogakbo, a traditional Korean patchwork, is an artwork with artistic value as a craft. It expresses Koreans’ wisdom and traditional beauty and combines natural beauty, practicality, and artistry. This study examined the compositional form and pattern of Jogakbo using traditional Korean beauty. In addition, the types of patchwork according to the configuration and pattern were classified into square type, triangle type, radial type, yeouijumun type, and free-form type, and five art makeup design works were produced. The five digital 3D art makeup designs, which were reinterpreted in a modern way by reflecting the trend of the digital culture era of the MZ generation, which creates a new and diverse culture by combining originality and tradition and shares it through social media, expresses Korea’s unique beauty. The programs used to create the work were Zbrush and Adobe Photoshop CC 2020, and the work was completed using a computer, tablet, and stylus pen. This study is meaningful in establishing a new digital 3D design through computer graphics techniques for art makeup design differentiated from the tradition of patchwork. Through the results of this study, it is hoped that makeup artists’ original design presentation will be a continuous study to maximize the possibility of expansion in the makeup design field and expand the creative and unique design method and design area.
韩国传统拼布是一种具有工艺艺术价值的艺术品。它表达了韩国人的智慧和传统美，结合了自然美、实用性和艺术性。本研究以韩国传统之美考察了长乐的构图形式与模式。此外，根据组合体的形态和图案，将组合体的类型分为方形、三角形、放射状、有赠于门、自由形态等，制作了五种艺术化妆设计作品。这5款数码3D美术彩妆，反映了MZ一代数码文化时代的潮流，用现代的方式进行了重新诠释。MZ一代将原创性和传统相结合，创造出新的、多样的文化，并通过社交媒体(sns)进行分享，展现了韩国独有的美。用于创建工作的程序是Zbrush和Adobe Photoshop CC 2020，工作是使用计算机，平板电脑和手写笔完成的。本文的研究对于建立一种区别于传统拼贴的、以计算机图形技术为基础的新型数字三维艺术化妆设计具有重要意义。通过本研究的结果，希望化妆师的原创设计呈现是一种持续的研究，最大限度地扩大在化妆设计领域的拓展可能性，拓展创意独特的设计方法和设计领域。
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Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.161
Min-Jung Lee, Kyung-Mee Lee
After the May 16 coup in 1961, a social atmosphere was formed in which people to wear simplified clothes called Shinsaenghwalbok, meaning “new lifestyle clothing,” under the leadership of a strong government. The fashion designers of the time responded to this and designed various new clothes. From 1961 to 1963, various discussions on how hanbok, which is the traditional Korean clothes, should be improved by compromising with Western clothing. During this period, Choi Kyung-Ja, the former Korean Fashion Designers Association president, proposed symbolic new styles through fashion shows. One of them was named Shinsaenghwalbok of the 1960s and designated as a National Registered Cultural Property in 2022. In this study, the concept of Shinsaenghwalbok is summarized and the social background and discussions were analyzed when these clothes were designed and presented. And the results of a survey of ‘Shinsaenghwalbok of the 1960s’ artifact and its cultural value was presented. This study examined articles, books, magazines, and newspapers related to Shinsaenghwalbok and Kyung-Ja Choi. The magazines include Yeowon and Yeosang, and newspapers include Dong-A Ilbo, Kyunghyang Shinmun, Chosun Ilbo, and JoongAng Ilbo. Shinsaenghwalbok of the 1960s is tangible evidence that designers of the time developed and proposed new designs in response to the government’s movement to simplify clothing. It is also a relic that secures the historicity of the woolen fabric Goldentex, which was first successfully localized in 1956. This artifact reflects the effort to create a more reasonable compromise between hanbok and Western fashion in the early 1960s. It is a trend that has continued into the 21st century and is also in line with the direction of change of Shin-hanbok in the 21st century.
{"title":"1960s New Lifestyle Dress in South Korea","authors":"Min-Jung Lee, Kyung-Mee Lee","doi":"10.16885/jktc.2023.9.26.3.161","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.161","url":null,"abstract":"After the May 16 coup in 1961, a social atmosphere was formed in which people to wear simplified clothes called Shinsaenghwalbok, meaning “new lifestyle clothing,” under the leadership of a strong government. The fashion designers of the time responded to this and designed various new clothes. From 1961 to 1963, various discussions on how hanbok, which is the traditional Korean clothes, should be improved by compromising with Western clothing. During this period, Choi Kyung-Ja, the former Korean Fashion Designers Association president, proposed symbolic new styles through fashion shows. One of them was named Shinsaenghwalbok of the 1960s and designated as a National Registered Cultural Property in 2022. In this study, the concept of Shinsaenghwalbok is summarized and the social background and discussions were analyzed when these clothes were designed and presented. And the results of a survey of ‘Shinsaenghwalbok of the 1960s’ artifact and its cultural value was presented. This study examined articles, books, magazines, and newspapers related to Shinsaenghwalbok and Kyung-Ja Choi. The magazines include Yeowon and Yeosang, and newspapers include Dong-A Ilbo, Kyunghyang Shinmun, Chosun Ilbo, and JoongAng Ilbo. Shinsaenghwalbok of the 1960s is tangible evidence that designers of the time developed and proposed new designs in response to the government’s movement to simplify clothing. It is also a relic that secures the historicity of the woolen fabric Goldentex, which was first successfully localized in 1956. This artifact reflects the effort to create a more reasonable compromise between hanbok and Western fashion in the early 1960s. It is a trend that has continued into the 21st century and is also in line with the direction of change of Shin-hanbok in the 21st century.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135040416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.185
Yi-Sook Kim, Yeon-Woo Choi
Black-Jangsam(黑長衫) means a long black robe. It is a garment worn by a Yeo-gi, a female dancer in charge of dancing at a court banquet in the early Joseon Dynasty. Akhak-gwebeom was compiled in the 24th year of King Seongjong (1493) and comprehensively defined court music and dance in the Joseon Dynasty. In Volume 9 of this book, 「Gwanbok-doseol (冠服圖說)」, the costumes of musicians and dancers are explained with pictures and text. The size, color, shape, and fabric of Black-Jangsam worn by the Yeo-gi are specified in the part of ‘Yeo-gi’s dress (女妓服飾).’ Among the previous studies on Akhak-gwebeom, there has yet to be a study on historical research and production of Black-Jangsam. Therefore, in this study, Yeo-gi’s Black-Jangsam and belt in the early Joseon Dynasty were determined by referring to the illustrations contained in 『Akhak Gwebeom』, other pictorial materials, and excavated artifacts, and the Yeo-gi’s Black-Jangsam and belt in the early Joseon Dynasty were produced. The type and size of the ruler are first determined when making clothes, and there is a record of using a Pobaek-cheok (布帛尺) in Akhak-Gwebeom, so this study followed. In the early Joseon Dynasty, one cheok (尺) of Pobaek-cheok was approximately 46.66cm. In the picture and description of Black-Jangsam in 「Gwanbok-doseol」 of Akhak-gwebeom, the dimensions of the total length, sleeve length, back width, back under line’s width, sleeve end’s width, and the length and width of the belt are confirmed. These dimensions were converted into Pobaek-cheok and applied to the production of clothes. In addition, detailed shapes and dimensions that were not confirmed in Akhak-gwebeom were applied by examining reference artifacts. The fabric for restoration was made of Sa (紗), a thin fabric, based on the records. The belt was restored with red Cho (綃) based on the record. The pattern of the belt was a round pattern (圓紋), and it was expressed using the technique of Bugeum (附金).
{"title":"The Restoration of Yeo-gi’s Black-Jangsam Recorded in Akhak-Gwebeom in the Early Joseon Dynasty","authors":"Yi-Sook Kim, Yeon-Woo Choi","doi":"10.16885/jktc.2023.9.26.3.185","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.185","url":null,"abstract":"Black-Jangsam(黑長衫) means a long black robe. It is a garment worn by a Yeo-gi, a female dancer in charge of dancing at a court banquet in the early Joseon Dynasty. Akhak-gwebeom was compiled in the 24th year of King Seongjong (1493) and comprehensively defined court music and dance in the Joseon Dynasty. In Volume 9 of this book, 「Gwanbok-doseol (冠服圖說)」, the costumes of musicians and dancers are explained with pictures and text. The size, color, shape, and fabric of Black-Jangsam worn by the Yeo-gi are specified in the part of ‘Yeo-gi’s dress (女妓服飾).’ Among the previous studies on Akhak-gwebeom, there has yet to be a study on historical research and production of Black-Jangsam. Therefore, in this study, Yeo-gi’s Black-Jangsam and belt in the early Joseon Dynasty were determined by referring to the illustrations contained in 『Akhak Gwebeom』, other pictorial materials, and excavated artifacts, and the Yeo-gi’s Black-Jangsam and belt in the early Joseon Dynasty were produced. The type and size of the ruler are first determined when making clothes, and there is a record of using a Pobaek-cheok (布帛尺) in Akhak-Gwebeom, so this study followed. In the early Joseon Dynasty, one cheok (尺) of Pobaek-cheok was approximately 46.66cm. In the picture and description of Black-Jangsam in 「Gwanbok-doseol」 of Akhak-gwebeom, the dimensions of the total length, sleeve length, back width, back under line’s width, sleeve end’s width, and the length and width of the belt are confirmed. These dimensions were converted into Pobaek-cheok and applied to the production of clothes. In addition, detailed shapes and dimensions that were not confirmed in Akhak-gwebeom were applied by examining reference artifacts. The fabric for restoration was made of Sa (紗), a thin fabric, based on the records. The belt was restored with red Cho (綃) based on the record. The pattern of the belt was a round pattern (圓紋), and it was expressed using the technique of Bugeum (附金).","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135081306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.25
Na-Young Pyeon, Yoon-Mee Park
{"title":"A Study on modern ‘Sochang-gik’ in Korea -Focusing on the period from 1876 to 1945-","authors":"Na-Young Pyeon, Yoon-Mee Park","doi":"10.16885/jktc.2023.9.26.3.25","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.25","url":null,"abstract":"","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135082104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.77
Ha-Ram Shin, Mi-Sun Yum
This study aimed to analyze the characteristics of futurism expression in overseas digital fashion brands and identify trends and changes in digital fashion, which have become an essential element in the future fashion industry, and so to provide theoretical data for developing innovative and creative digital fashion design. The literature review and previous research examined the definition of digital fashion, the concept and characteristics of digital fashion brands, the expressive characteristics of digital fashion, and the futurist characteristics of fashion. In addition, based on the classification criteria derived from the previous theoretical review of futurism expression characteristics in digital fashion, this study analyzed original and innovative forms, light and color of futuristic images, digital materials through convergence with technology, and space expansion through special effects. Based on this, the results of analyzing the futurism expression in overseas digital fashion brands are as follows. First, the expression characteristics of original and innovative forms suggest new, unprecedented forms and structures, appearing as a combination of digital technology and creative design. Second, to express the light and color of the futuristic image, intense colors such as metallic, neon, and primary colors were used to emphasize a futuristic and digital sense, and transparent materials were used to present a new visual effect. Third, non-material or sophisticated and detailed patterns that do not exist in reality were realized through technological convergence. Also, patterns and color changes using LEDs were easily applied to show digital fashion’s infinite creativity and expressiveness. Fourth, space expansion through special effects expresses the expanded concept of virtual space with special effects using virtual reality(VR)/augmented reality(AR) technology and digital graphics. This study found that the characteristics of futurism expression shown in overseas digital fashion brands use innovative elements newly emerging in the existing fashion industry by combining cutting-edge technology and creative fashion. This study is meaningful in providing theoretical data to shed new light on innovation and sustainability in the fashion industry.
{"title":"Analysis of Futurism Expression Characteristics in Overseas Digital Fashion Brands","authors":"Ha-Ram Shin, Mi-Sun Yum","doi":"10.16885/jktc.2023.9.26.3.77","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.77","url":null,"abstract":"This study aimed to analyze the characteristics of futurism expression in overseas digital fashion brands and identify trends and changes in digital fashion, which have become an essential element in the future fashion industry, and so to provide theoretical data for developing innovative and creative digital fashion design. The literature review and previous research examined the definition of digital fashion, the concept and characteristics of digital fashion brands, the expressive characteristics of digital fashion, and the futurist characteristics of fashion. In addition, based on the classification criteria derived from the previous theoretical review of futurism expression characteristics in digital fashion, this study analyzed original and innovative forms, light and color of futuristic images, digital materials through convergence with technology, and space expansion through special effects. Based on this, the results of analyzing the futurism expression in overseas digital fashion brands are as follows. First, the expression characteristics of original and innovative forms suggest new, unprecedented forms and structures, appearing as a combination of digital technology and creative design. Second, to express the light and color of the futuristic image, intense colors such as metallic, neon, and primary colors were used to emphasize a futuristic and digital sense, and transparent materials were used to present a new visual effect. Third, non-material or sophisticated and detailed patterns that do not exist in reality were realized through technological convergence. Also, patterns and color changes using LEDs were easily applied to show digital fashion’s infinite creativity and expressiveness. Fourth, space expansion through special effects expresses the expanded concept of virtual space with special effects using virtual reality(VR)/augmented reality(AR) technology and digital graphics. This study found that the characteristics of futurism expression shown in overseas digital fashion brands use innovative elements newly emerging in the existing fashion industry by combining cutting-edge technology and creative fashion. This study is meaningful in providing theoretical data to shed new light on innovation and sustainability in the fashion industry.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135041291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.41
Young-Joo Lee
The Bangryeongsimeui (方領深衣) appeared in Joseon at the end of the 16th century and was most commonly used along with the Jikryeongsimeui (直領深衣) until the early 20th century. Han Baek-Gyeom (韓百謙, 1552-1615), who first modified Zhu Xi(朱熹)’s Simeui, recognized that the collar becomes a rhombic shape when wearing the Jikryeongsimeui (直領深衣). The purpose of the study is theoretical consideration and empirical restoration production of the Bangryeongsimeui system. Han Baek-Gyeom raised questions about Zhu Xi’s 『Garye(家禮)』, which was considered an absolute rule at the end of the 16th century. A new Simeui in the form of a Daegeumhyeong(對襟形) collared Simeui with no overlapping squared collar Simeui fastened with two pairs of knot buttons was presented in 『Guamyugo(久菴遺稿)』 through historical research on examples based on the original scriptures. The summary of the research results is as follows. First, 「Sogimgubyeon(續衽鉤邊)」, 「Gokgeap(曲袷)」, 「Geo(袪)」, 「Jun(純)」, 「Buseung(負繩)」, 「Daedae(大帶)」, and 「Simeuido(深衣圖)」 which are recorded in 『Guamyugo』 were theoretically reviwed. Second, based on theoretical considerations, the fabric trimming method, size and a flat sketch of the Simeui, and cutting size and cutting method were presented to produce Han Baek-Gyeom’s Bangryeongsimeui shown in 『Guamyugo』. In addition, the entire construction process was studied in detail. Most previous studies on Simeui were focused on theoretical considerations on Jikryeongsimeui, and this study is meaningful in that it paralleled theoretical considerations on Bangryeongsimeui in Daegeumhyeong by Han Baek-Gyeom, the first Bangryeongsimeui, as well as empirical research. Most of the preceding studies on Simeui were focused on theoretical considerations on Jikryeongsimeui, and this study is meaningful in that it paralleled theoretical considerations on Bangryeongsimeui in Daegeumhyeong by Han Baek-Gyeom, the first Bangryeongsimeui, as well as empirical research. In addition, it is expected that considering detailed composition methods related to actual production will be helpful for researchers who want to produce Bangryeongsimeui and the historical research and restoration research of traditional costumes.
{"title":"An Empirical Study of the Bangryeongsimeui in Han Baek-Gyeom’s 『Guamyugo(久菴遺稿)』","authors":"Young-Joo Lee","doi":"10.16885/jktc.2023.9.26.3.41","DOIUrl":"https://doi.org/10.16885/jktc.2023.9.26.3.41","url":null,"abstract":"The Bangryeongsimeui (方領深衣) appeared in Joseon at the end of the 16th century and was most commonly used along with the Jikryeongsimeui (直領深衣) until the early 20th century. Han Baek-Gyeom (韓百謙, 1552-1615), who first modified Zhu Xi(朱熹)’s Simeui, recognized that the collar becomes a rhombic shape when wearing the Jikryeongsimeui (直領深衣). The purpose of the study is theoretical consideration and empirical restoration production of the Bangryeongsimeui system. Han Baek-Gyeom raised questions about Zhu Xi’s 『Garye(家禮)』, which was considered an absolute rule at the end of the 16th century. A new Simeui in the form of a Daegeumhyeong(對襟形) collared Simeui with no overlapping squared collar Simeui fastened with two pairs of knot buttons was presented in 『Guamyugo(久菴遺稿)』 through historical research on examples based on the original scriptures. The summary of the research results is as follows. First, 「Sogimgubyeon(續衽鉤邊)」, 「Gokgeap(曲袷)」, 「Geo(袪)」, 「Jun(純)」, 「Buseung(負繩)」, 「Daedae(大帶)」, and 「Simeuido(深衣圖)」 which are recorded in 『Guamyugo』 were theoretically reviwed. Second, based on theoretical considerations, the fabric trimming method, size and a flat sketch of the Simeui, and cutting size and cutting method were presented to produce Han Baek-Gyeom’s Bangryeongsimeui shown in 『Guamyugo』. In addition, the entire construction process was studied in detail. Most previous studies on Simeui were focused on theoretical considerations on Jikryeongsimeui, and this study is meaningful in that it paralleled theoretical considerations on Bangryeongsimeui in Daegeumhyeong by Han Baek-Gyeom, the first Bangryeongsimeui, as well as empirical research. Most of the preceding studies on Simeui were focused on theoretical considerations on Jikryeongsimeui, and this study is meaningful in that it paralleled theoretical considerations on Bangryeongsimeui in Daegeumhyeong by Han Baek-Gyeom, the first Bangryeongsimeui, as well as empirical research. In addition, it is expected that considering detailed composition methods related to actual production will be helpful for researchers who want to produce Bangryeongsimeui and the historical research and restoration research of traditional costumes.","PeriodicalId":500694,"journal":{"name":"Hanbog munhwa","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135041295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.16885/jktc.2023.9.26.3.131
Lynn Yim
This study aims to develop the designs of new Hanbok women’s pants by applying traditional Korean pants and the toile de Jouy expression. In terms of study method, theoretical research was conducted on Korean traditional Hanbok pants and toile de Jouy. New Hanbok women’s pants reflecting the Korean image were designed, and virtual clothing was implemented. As a result, five designs of new hanbok women’s pants were developed, details of which are as follows. First, the literature review derived the following design motifs for men’s pants with traditional hanbok’s hemline decoration, Sapok-baji, women’s Sokbaji, Dan-sokgot, Salchang-gojaeng-yi, Neo-reun-baji, Malgun, and Pungcha-baji. Second, two patterns of toile de Jouy were developed with the Joseon Dynasty and Korean women’s themes by the harmony of characters and surroundings, delicate drawings, story development, simple arrangement of colors, and motif arrangement. Third, six new hanbok women’s pants designs were implemented through CLO 3D program-based virtual clothing. Design 1 used Neo-reun-baji as a motif and chambray fabric. It comprises a waistband, waist gathers, a side opening, and a belt. Design 2 brought up the image of women’s Sokbaji, and broadcloth was used to make it look casual. Design 3 used Pungcha-baji as a motif and is a jumpsuit with short pants. The ankle bands, which used to tie the bottom of the hemline of men’s pants, were attached to the bottom of the short pants to make the design look cute. Design 4 contained the components of Dan-sokgot and Salchang-gojaeng-yi and shoulder straps looking like suspenders, used denim fabric, and decorated with a wave pattern. Design 5 used Malgun as a motif with sateen fabric, showing a fullness silhouette. It features belt-tightening, crotch, and pintuck. The patterns of toile de Jouy were applied to all five designs of new Hanbok women’s pants.
本研究的目的是利用韩国传统裤子和“toile de Jouy”的表达，开发新型韩服女性裤子的设计。在研究方法上，对韩国传统的韩服裤子和toile de Jouy进行了理论研究。设计了反映韩国形象的新型韩服女裤，并实施了虚拟服装。因此，开发了5种新型韩服女裤，具体如下。首先，通过文献分析，得出了传统韩服下摆装饰的男性裤子的设计主题:石锅裤、女性束腰裤、单束腰裤、salchang gojajayi、新连裤裤、美尔根裤裤、丰车裤裤。其次，通过人物与环境的和谐、精致的绘画、故事的发展、简单的色彩安排、图案的安排，结合朝鲜时代和韩国女性的主题，形成了两种图案。第三，通过基于CLO 3D程序的虚拟服装，实现了6种新的韩服女裤设计。设计1使用Neo-reun-baji作为图案和织布。它包括腰带、腰束、侧开口和腰带。设计2提出了女性的Sokbaji形象，并使用了宽幅布料使其看起来更随意。设计3以Pungcha-baji为主题，是一件搭配短裤的连衣裤。以前系在男裤下摆底部的脚踝带被系在了短裤的底部，使设计看起来很可爱。“设计4”采用了“丹草帽”和“salchang - gojengi”的成分，肩带看起来像吊带，使用牛仔布，并装饰有波浪图案。设计5使用Malgun作为母题，用棉缎面料，呈现出丰满的轮廓。它的特点是勒紧腰带，胯部和平扣。“toile de Jouy”的图案被运用到新韩服女裤的5种设计中。
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