반려견 체형에 적합한 한복 디자인 적용가능성 연구

임린 한복문화학회 2024 韓服文化 Vol.27 No.1

본 연구는 온라인쇼핑몰을 중심으로 반려견 한복 시장의 현황을 살피고 전통한복의 구성요소가 반영된 대형견 저고리바지 패턴을 제작, 반려견 체형에 적용가능한 저고리바지 디자인 제안을 목적으로 하였다. 구체적인 연구결과를 제시하면 다음과 같다. 첫째, 대형견 한복을 판매하는 온라인쇼핑몰이 매우 한정적일 뿐만 아니라 한복 디자인이 제한되고 왜곡되어 있음을 확인할 수 있었다. 둘째, 리트리버 수컷 5마리를 피험견으로 선정하고, 선행연구의 올인원 패턴을 기반으로 2023년 8월 15일부터 12월 23일 기간 동안 3차에 걸친 실험패턴 제작과 5인 전문가의 착의평가를 통해 대형견 저고리바지 패턴을 개발하였다. 셋째, 대형견 저고리바지 패턴은 체형의 곡률을 반영한 상의와 하의 분리, 뒷길과 바지 중심선의 절개 등을 반영하여 저고리, 바지, 소매, 깃과 고름으로 나누어 패턴을 제시할 수 있었다. 대형견 저고리바지 패턴의 필요치수를 가슴둘레와 등길이로 단순화시키고 이를 수식에 적용하여 향후 패턴의 활용도를 높였다. 넷째, 대형견 저고리바지 디자인은 올인원 형태와 셋업 형태 2가지 유형으로 제안하고 실물을 제작하였다. 디자인 1은 올인원 형태의 저고리바지 디자인으로 저고리에는 깃, 동정, 고름을 배치하였고, 바지허리를 저고리에 연결시켰다. 저고리와 바지 길이비율은 2:1로 하였고, 셋인 소매를 달았다. 디자인 2는 저고리와 바지를 따로 구성하는 셋업 형태로 디자인하였다. 이를 반려견에 입히기 편리하도록 저고리의 뒷목둘레와 바지의 등바대를 고정시켜 일체화하였다. 셋업 형태는 반려견이 저고리와 바지를 따로 입은 듯한 착시효과가 있어 전통한복의 느낌이 살아났고, 저고리의 트임, 등바대의 바지 구성으로 반려견 동작에 여유로움을 부여할 수 있었다. This study aims to analyze the current state of the dog hanbok market, particularly in online stores, design large-dog pants inspired by traditional hanbok's jeogori pattern, and propose designs suitable for canine body types. The specific research results are presented as follows. First, online stores offer a limited selection of large-dog hanbok, often with inaccurate or distorted designs. Second, five male retrievers served as test subjects. Based on the existing all-in-one pattern, three experimental patterns were produced from August 15 to December 23, 2023, and evaluated by five experts. This process resulted in the development of pants with a jeogori pattern for large dogs. Third, the design reflects the traditional top and bottom separation in hanbok. It incorporates elements like the jeogori, pants, sleeves, git, and goreum while accommodating canine body curvature and providing slits for mobility. Measurements were simplified to chest circumference and back length, and a formula was derived for future pattern adaptability. Fourth, two large dog jeogori-pants designs were created. Design 1 is an all-in-one type of pants with a jeogori design, and it features git, dongjeong, and goreum elements on the jeogori, a 2:1 jeogori-to-pants length ratio, and three-piece sleeves. Design 2 is a separate jeogori and pants set for easy wear. The jeogori's back neck circumference and the pants' back strap were fixed and integrated to make it easier to put on a dog. This design maintains the traditional hanbok aesthetic while allowing for comfortable movement. Slits in the jeogori and the configuration of the pants on the back provide enhanced flexibility.

한복바지와 트왈드주이 기법을 활용한 신한복 여자 바지 디자인 개발(Ⅱ)

임린 한복문화학회 2023 韓服文化 Vol.26 No.3

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.

당대(唐代) 여성의 이마 치장에 관한 고찰

임린 한국패션디자인학회 2023 한국패션디자인학회지 Vol.23 No.4

본 연구는 강성한 국력을 바탕으로 실크로드를 통해 많은 이민족과 문화적 접촉을 하였던 당대 사회문화 적 배경을 고찰하고 이국적 화장 속 독특한 이마 치장의 내적 의미를 분석하는 것을 목적으로 하였다. 연구방 법은 당대 역사 및 화장풍속에 대한 이론고찰과 당대 벽화, 회화, 도용 등 유물분석을 병행하였다. 특히 당대 벽화는 장안을 중심으로 한 중원, 동서문화의 요충지 둔황이 있는 북방 그리고 남방지역 벽화를 시기적, 지역 적으로 구분하여 자료조사하였다. 연구결과 첫째, 이마 치장은 벽화 및 시각자료를 통해 당대 화장문화 중 가장 이국적이며 화려한 방식으로 그 유형을 액황, 화전, 발제선 변화, 건류 착용으로 분류하였다. 둘째, 이마 치장의 형태와 양상을 분석하였다. 액황은 도금불상의 이마에 황칠을 하는 화장법 중 하나이며 방법으로는 평도법, 반도법, 예황이 있었다. 만당 시기로 갈수록 액황의 면적이 확대되었다. 화전은 이마 중심에 점이나 각종 문양을 그리거나 깃털, 금박, 자개 등을 오려 붙이는 것이다. 색상은 청, 홍, 흑, 백, 황, 녹색 등으로 화려하였다. 발제선은 볼록형, 갈래형, 굴곡형, 오목형으로 변화하였다. 볼록형은 이마의 중앙까지 발제선이 내려오면서 둥근 타원으로 볼록하게 만들어졌다. 관자놀이 부분을 도드라지게 하는 현무를 함께 표현하였다. 갈래형은 앞가르마를 한 발제선이 이마 상부로 내려온 형태이다. 굴곡형은 구름을 그리듯 요철이 있는 발제 선을 말한다. 오목형은 완만하게 둥근 오목한 발제선 형태이다. 건류는 말액, 액자, 투액라와 연관되었다. 직 사각형의 긴 천을 이마와 두상에 두른 형태이다. 남장 시녀에게서 많이 나타났다. 셋째, 당대 여성 이마 치장 의 내적 의미는 종교성, 자율성, 혼종성 측면에서 분석하였다. 이마 치장이 불교와의 관련성, 여성의 교육과 지위에 따른 자율성, 이질적 문화의 동질화, 현지화를 통한 혼종성과 관련된 의미를 구체적으로 제시하였다. 따라서 본 연구는 그동안 주목받지 못했던 당대 여성의 이마 치장에 관한 접근이라는 점에서 희소성이 있으 며 내적 의미를 세밀하게 분석하였다는 점에서 의의를 찾을 수 있다. The purpose of this study is to examine the socio-cultural background of the Tang Dynasty, which had cultural contact with many immigrant people through the Silk Road based on its strong national power, and to analyze the inner meaning of the unique forehead decoration in exotic makeup. As a method of study, a theoretical examination of the history of the Tang Dynasty and makeup customs of the period and an analysis of artifacts such as murals, paintings, and terracotta warriors were combined. The results of the study are as follows. First, forehead adornment was one of the most exotic and flamboyant forms of makeup culture at the time, and the types were classified into changes in Aekhwang (yellow lacquer on the forehead), Hwajeon, hairline, and Gun through murals and visual data. Second, the form and patterns of forehead adornment were analyzed. Aekhwang refers to a cosmetic technique of applying yellow paste onto the foreheads of plated Buddist statues. Hwajeon involves drawing dots or other patterns on the center of the forehead, or pasting feathers, gold leaf, mother-of-pearl, etc. on it. The colors were blue, red, black, white, yellow, and green. Hairlines changed from convex, through forked and curved to concave. Gun was associated with transparent forehead covering. It was a long, rectangular piece of cloth wrapped around the forehead and was often seen on cross-dressing maids. Third, the internal meaning of women’s forehead coverings at the time was analyzed in terms of religiosity, autonomy, and hybridity. Specific meanings of forehead coverings related to Buddhism, autonomy based on women’s education and status, homogenization of heterogeneous cultures, and hybridity through localization were presented. Therefore, this study has rarity value in that it is an approach to the women’s forehead decorations in the Tang dynasty, which have not received much attention so far, and it is of significance in that it analyzed the internal meaning of them in detail.

국내 박물관 복식전시에 관한 질적 연구

임린 한국디자인문화학회 2022 한국디자인문화학회지 Vol.28 No.3

본 연구는 질적 연구를 통해 국내 박물관 복식전시의 발전적 방향을 모색하는 것을 목적으로 하였다. 연구방법으로 자료수집은 2021년 12월부터 2022년 5월까지 박물관 학예연구사 및 전시기획 디자이너 7인에 대한 1:1 심층면접으로 진행하였다. 자료분석은 Strauss, A. L., Corbin, J. M.의 근거이론에 따랐으며 면접참여자의 구술내용을 개방코딩, 축코딩, 선택코딩으로 분석하였다. 최종적으로 발견된 범주 관계들을 스토리로연결하고 개념적 틀을 제시하였다. 연구결과를 제시하면, 박물관 복식전시 관련 전문가인식을 통해 드러난 범주는 6개, 하위범주는 14개였다. 핵심범주인 중심현상 ‘박물관 복식전시 변화의 불가피성’을 발견하였고, 관련 범주로 인과적 조건, 맥락적 조건, 중재적 조건 및 작용/상호작용 전략을 찾을수 있었다. 이러한 인식의 흐름을 통해 ‘박물관 복식전시의 발전적 방향성’이라는 결과범주를 이끌 수 있었다. 따라서 국내 박물관 복식전시는 네 가지 측면에서 발전적 방향성을 제안해 볼 수 있었다. 첫째, 포스트 박물관시대 차별화를 추구하고 전시공간, 전시내용, 인력활동 등에서 유연성을 갖는 환경조성을 해야한다. 둘째, 박물관 복식전시는 신한복 브랜드와 협업으로 문화 커뮤니케이션을 확대해 나가야 한다. 셋째, 인터랙션을 위한 온라인 서비스 강화가 복식전시에적극 도입되어야 한다. 넷째, 박물관 인력의 업무에관한 조절과 보완이 필요하다는 것이었다.

에도시대 여자 머리장신구 특성에 관한 연구

임린,김은정 한복문화학회 2022 韓服文化 Vol.25 No.1

This study analyzed the sociocultural meaning and characteristics of various women's hair accessories decorated in hair bun(髷) of the Edo period according to the classification of types. The development of women's hair accessories in the Edo period was related to the development of Kabuki fashion, brothel, and the development of the publishing industry due to the expansion of educated people and the pursuit of pleasure according to social and cultural material abundance. Also, it was accelerated through the Sankin-kōtai(参勤交代制). Hair accessories in the Edo period were divided into four types, headband ornaments, combs and hairpins, symbol ornaments, and auxiliary ornaments. In addition, the characteristics of four types were analyzed. The detailed research results are as follows. First, hair bun accessories were broadly classified into Motoyui(元結) and headdress cloth. In the early Edo period, Motoyui, a paper material, was used for economy and practicality for tieing hair buns. Later, gold and silver foil papers were used, and Emotoyui(絵元結) was developed, and colorful headdress fabrics made of crape(縮緬) were used. Second, as the combs and hairpins became diversified and materials became luxurious, the form became more prominent, and the style became splendid. Kushi(櫛) developed into a thick, large comb called Okushi. There is a primary type of hairpin, Kogai, and Kanzashi includes Hanakushi and Bira-bira kanzashi. Third, it was considered that the symbolic ornaments revealed the status of the Edo period. Hirabitai(平額) worn by women in the royal family and royal family is typical, and there were Ichidome(位置止) and Kanokodome(鹿の子止), which were worn by Geisha and became popular. Fourth, as an auxiliary ornament, Kamoji(髢) means a wig, and it was seen that it plays a decorative role to enlarge and enhance the image.

대학 부설 평생교육원 한복프로그램 실태연구

임린,김은정 한국디자인문화학회 2023 한국디자인문화학회지 Vol.29 No.2

The purpose of this study is to make suggestions for the establishment of Hanbok program by understanding the actual state of Hanbok education in university lifelong education centers and the current status and problems, as the practical measures for daily life with Hanbok as a national intangible cultural heritage. In ranges and methods of the study were researched and analyzed the current status of university lifelong education centers and Hanbok programs in the second semester of 2022. From December 10, 2022 to February 15, 2023, the data was collected through websites, promotional materials, and relevant articles of university lifelong education center, and the collected data was presented by analyzing the frequency according to technical statistics. Presenting the contents and results of this study, the university lifelong education centers were operated in 418 schools on the basis of 2022, and among them, the four-year-course general university lifelong education centers were shown in 212 schools, which was taking up a great part of university lifelong education. The Hanbok programs operated by university lifelong education belonged to general education of living in art, music, and physical education. And according to the purpose and nature of programs, they were established and operated under the themes of academic complementation, improvement of vocational ability, general education of humanities, and culture & arts of adult learners. Also, the lifelong centers that were offering Hanbok programs were just shown in 17 schools out of 212 schools while most of the programs were concentrated in the field of culture & arts. Thus, based on the results of this study, several suggestions could be made as follows. First, the relevant majors should pay attention to Hanbok education of university lifelong education center. Second, Hanbok programs should be developed suitable for the themes like arts, improvement of vocational ability, academic complementation. Third, it would be necessary to cultivate experts in Hanbok education and also to develop programs connected to employment. Fourth, the programs connected to sewing workshop and sewing industry would be also helpful for the vitalization of Hanbok education for adult learners. Fifth, it was considered necessary to support adult learners’ hanbok programs. 본 연구는 한복생활 국가무형문화재의 실천적 방안으로 대학 부설 평생교육원 한복교육 실태를 분석하고 현황과 문제점을 파악하여 한복프로그램 개설 및개발을 위한 제언을 하는 것을 목적으로 한다. 연구범위 및 방법은 대학 부설 평생교육원 현황 및 2022학년도 2학기 한복프로그램을 조사, 분석하였다. 조사방법은 대학 부설 평생교육원 웹사이트, 홍보물, 관련기사 등을 통해 자료를 수집하였고, 수집된 자료는 기술통계량에 따른 빈도분석을 하였다. 조사기간은 2022 년 12월 10일부터 2023년 2월 15일까지이다. 연구내용 및 결과를 제시하면, 대학 부설 평생교육원은 2022년 기준 418개교에서 운영되고 있었고, 그중일반대학 부설 평생교육원이 212개교로 대학평생교육의 많은 부분을 담당하고 있었다. 대학평생교육에서운영하는 한복프로그램은 예체능계열의 생활교양에속한 것으로 파악되었다. 그리고 프로그램의 목적, 성격에 따라 성인학습자의 학력보완, 직업능력향상, 인문교양, 문화예술 주제로 한복프로그램이 개설, 운영될 수 있음을 확인하였다. 또한 한복프로그램을 개설한 평생교육원은 212개교 중 17개교에 불과하였고, 문화예술 주제에 편중된 문제점을 파악하였다. 따라서 연구결과에 따른 몇 가지 제언을 하면 다음과 같다. 첫째, 대학 부설 평생교육원 한복교육에 대한 전공자의 관심이 요구되었다. 둘째, 한복프로그램은 문화예술뿐만 아니라 직업능력향상, 학력보완 주제에 맞는 프로그램이 개발되어야 한다고 보았다. 셋째, 한복교육 전문가 양성 및 취업과 연계된 프로그램 개발이 필요하다고 판단하였다. 넷째, 소잉공방과 봉제산업에 연계된 프로그램도 성인학습자 한복교육 활성화에 도움이 될 것으로 보았다. 다섯째, 성인학습자의한복교육에 대한 지원정책이 필요하다고 보았다.

광주지역의 수의문화에 관한 의식 연구

임린,김은정,김용서 대한가정학회 2003 Human Ecology Research(HER) Vol.41 No.7

The survey conducted in the aspect of its preservation, composition, and preparation of the shroud among the new generations. The study shows : First, in regard to its preservation, a good number of people answered that the traditional shroud should be kept, and believed the tradition should be preserved to paying their respect to their deceased. Second, in regard to its composition, they preferred a simple shroud like a simple Korean traditional attire rather than the traditional intricate shroud. Third, for the timing of purchase, again a good number of people favored to prepare those beforehand, and they would purchase them in any good opportunity they have. Fourth, regardless of the differences among the people in the aspect of its preservation, composition and purchase, all of them were favored for the simplified shroud. And the most of the people favored for the preservation of the traditional shroud culture preferred to prepare the shroud beforehand.

고려시대 팔관회에 나타난 연희복식

임린,Yim, Lynn 대한가정학회 2017 Human Ecology Research(HER) Vol.55 No.5

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

컬렉션에 나타난 한국적 패션의 메이크업 이미지 분석

임린 한국패션디자인학회 2019 한국패션디자인학회지 Vol.19 No.3

This study analyzed the makeup color for each season through the color analysis on Korean fashion makeup, and also understood the types and characteristics of a makeup image of Korean fashion in accordance with the color combination. Colors analysis was completed by Adobe Photoshop CC and Munsell Conversion. The characteristics of colors were analyzed in the 10 colors and N of Munsell color system and 11 tones of PCCS. The color images were analyzed with the color-combination strips and then positioned them in the I.R.I. image scale. Therefore, the Korean fashion makeup shown from the S/S Collection of 2011 to the F/W Collection of 2019 was analyzed in the division of eye-shadow, blusher, and lipstick. The Korean fashion makeup mainly included the colors like R(b), YR(b), YR(lt), YR(s), YR(v) for eye-shadow, and R(p), R(b), YR(lt), YR(d) for blusher. In case of lipstick, the use of R color was overwhelmingly frequent while the colors like b, s, v showed the high frequency. As a result of the analysis, the Korean fashion makeup was classified into eight types such as natural, Orientalism, retro, active, maximalism, casual, romantic, and humorous while such grotesque and modern images were not found. Especially, the image of Korean fashion makeup like casual, active, and humorous got younger and more cheerful. Also, the image of Korean fashion makeup reflected the trend and fashion of S/S & F/W seasons. As the characteristics that were not shown in the traditional Hanbok makeup, the S/S season showed the dynamic and active image while the F/W season showed the heavy, quiet, and thick image, which was differentiated from each other. 본 연구는 한국적 패션 메이크업의 시즌별 메이크업 색채를 분석하고, 배색에 따른 한국적 패션의 메이크업 이미지 유형과 특성을 파악하였다. 연구 방법은 Adobe Photoshop CC를 활용하여 메이크업 색상을 추출하고 먼셀 색체계 10색상과 무채색, PCCS 색체계 11색조로 분류하는 색채분석법을 따랐다. 분석한 색채는 메이크업에서 사용된 비율에 따라 배색띠로 만들고 I.R.I 배색 이미지 스케일에 포지셔닝하여 분석하였다. 따라서2011 S/S~2019 F/W 컬렉션에 나타난 한국적 패션 메이크업을 아이섀도, 블러셔, 립스틱으로 나누어 분석할수 있었다. 아이섀도는 R(b), YR(b), YR(lt), YR(s), YR(v), 블러셔는 R(p), R(b)와 YR(lt), YR(d) 색채가 한국적패션 메이크업에 주로 표현되었다. 립스틱은 R 계열 사용이 압도적으로 많았고 b, s, v 색조가 높은 빈도를보였다. 분석 결과 한국적 패션 메이크업은 내추럴, 오리엔탈리즘, 레트로, 액티브, 맥시멀리즘, 캐주얼, 로맨틱, 유머러스 8가지 유형으로 분류되었고, 그로테스크와 모던 이미지는 조사되지 않았다. 8가지 유형의 한국적패션 메이크업은 R, YR 계열을 주조색으로 하여 P, RP 계열 등 난색 위주의 색조합 특성을 보였다. 특히캐주얼, 액티브, 유머러스 등의 젊고 경쾌한 한국적 패션 메이크업 이미지를 확인하였다. 또한 메이크업에는R(v), YR(v), YR(s)의 강렬한 색채와 R(s), B(s), PB(v) 색채의 대조 조합이 나타나는 등 형식과 관념을 깨는다양한 시도가 주목되었다. 즉, 한국적 패션 메이크업 이미지는 S/S, F/W의 시즌 유행성과 패션성을 반영하였으며, S/S 시즌에는 역동적이고, 액티브하며, 다이내믹한 이미지가, F/W에는 무겁고, 조용하며, 탁한 이미지메이크업을 연출하는 등 차별화되었다. 그럼에도 불구하고 미래지향적 메이크업 이미지의 부재와 같은 현대패션 메이크업으로서의 한계를 확인할 수 있었다. 한국적 패션은 메이크업 이미지와의 관계성 속에서 색채조합을 꾀하고 새로운 이미지를 창출해 나가는 노력이 필요할 것으로 보인다.

원삼의 근대적 절충양상과 의미

임린 한복문화학회 2022 韓服文化 Vol.25 No.4

This study investigates the modern eclectic aspect and meaning of Wonsam(圓衫), a woman's formal dress, in the early modern period. Visual data containing relics and wearing techniques of Wonsam before and after the Korean Empire were analyzed, and the results are presented as follows. First, the cause of Wonsam as the Korean Empire's court dress and the formal dress was the nationalization of women's ceremonial dress after the Japanese invasion of Korea in 1592, the similar shape of Noui(露衣), Jangsam(長衫), and Wonsam was used of the four ceremonial occasions. Thus, it was analyzed in terms of the universalization of Wonsam. Second, the wearing techniques and characteristics of the modern Wonsam were divided into hairstyles, colors, the order, the rank badge, and gold ornaments. The hairstyle was gradually simplified from the Geodumi(巨頭味) to the eoyeomeoli and the flower crown. The color of Wonsam was distinguished by yellow, red, green, burgundy, and black, depending on the status of the empress. The orders of Seobongdaesu(瑞鳳大綬勳章), which was worn along with Wonsam, played a symbolic role in revealing the highest authority and was worn only at ceremonies supervised by the empress. Among the rank badge attached to Wonsam, the dragon pattern was allowed to be extended to women in the imperial family by the status of the Korean Empire. As for the gold ornament, the dragon pattern was embellished on Wonsam for the empress, and even Saekdong and Hansam were decorated with gold and became splendid. Third, the modern eclectic aspects and meanings of Wonsam in formal attires were analyzed to expand and simplify the usage of Wonsam, reinforce class distinction, and maintain uniqueness. In the period of the Korean Empire, Wonsam became a representative formal ceremonial dress, and the hairstyle also became simple. The hair ornaments, the color of Wonsam, the order, the rank badge, and the gold ornaments were distinctive to express the class. In addition, while maintaining the uniqueness of Wonsam, it revealed pride and identity for national culture. .