Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the “Maaseik fragments” in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

Abstract
I. Introduction
Ⅱ. Threads and Techniques ofGoldwork Embroidery
Ⅲ. Transition of Goldwork Embroideryin Europe
    1. Beginning of goldwork embroidery
    2. Golden age of goldwork embroidery
    3. Maturity of goldwork embroidery
    4. Various goldwork embroidery
Ⅳ. The Social-Cultural Value ofGoldwork Embroidery
    1. Expression of divinity
    2. Instrument of governance
    3. Desire to be approved
    4. Tools of self-expression
Ⅴ. Conclusion
References

• Yi Rang Kim(부산대학교 의류학과) | 김이랑
• Mi Jeong Kwon(부산대학교 의류학과) | 권미정 Corresponding author