• 복식
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• 제50권4호
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• pp.147-164
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• 2000

This thesis examines the origin, the change and the symbolic meanings of class representation, and offers a comparative study on the differences of class representation in the history of Korean and western costume on the basis of class representation methods and types shown from ancient times to 18C. In both eastern and western costume, the differences in status are commonly represented in the width and length of costume, color, textile, ornamental design, wearing, decoration, etc. The costume of noble class was wide and long, while that of common class was narrow and short so that it could be convenient for them to move around. Especially, from 16C to 18C in the west the costume of noble class was expanded to the extent that it was inconvenient for them to move around not only by skirt swelling by using hoop, but also by pad, ruff, lace, etc. This appears to show that they are not working class. Wearing and decoration of noble class were much more colorful, complicated and varied, while those of common class were simple and plain. In the west, the wearing of chiton and toga in Greece and Rome was different depending on social status. More specific look at the differences in class representation shown in the eastern and western costume reveals that the higher the rank, the more the women in both Gothic and Chosun period covered the body, thereby representing rank. In 18C, the women in both Rococo and Chosun period commonly showed excessive decoration and lavishness on their hair, and in this period the width of skirt was also commonly expanded to the longest extent, with a slight difference put aside.

• 복식
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• 제50권2호
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• pp.141-149
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• 2000

The origin and developing process of Highland Dress as a Scottish national dress has been discussed in this study. Parameters affecting transformation process of Highland Dress from regional to national dress over the modernization period during 19 C was analyzed and compared by sociological aspect. Anthony Giddenss social change was applied and divided into three main factors such as political , economic and cultural analysis. The basic requirement of the theory of social change is visual recognization of any cultural changes. Highland Dress as a Scottish national dress has established during modernization in Europe within short period(18C -early 20C) and the Highland tartan as a military dress was transformed to be a civilian dress during 19-20 C. It shows social changes affecting on costume pattern and eventually costume in particular time could be an indicator of social changed. Throughout the study of the functional role of costume in Scotland is able to clarify the understanding of acculturation phenomenon through cultural, political and economic changes.

• 복식
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• 제53권4호
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• pp.177-186
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• 2003

This study is based on the observation of clothes excavated from of YeoHung Min( 1586∼1656)'s grave, which enable to understand of woman's funeral clothes among upper class in mid 17C. Lady Min buried with her husband Jung (Clan of Dong Rae)'s grave where located in KwanAk gu, Seoul was move out another place in 1989. During excavation of the grave, 31 pieces form 5 different type of clothes and total 18 pieces form 8 different from Lady Min (Clan of YeoHung). Remarkable finding from the excavated clothes is the Nuwooli(veil) which is known to be discovered first time in Korea, and a piece of tooth, which is related with funeral custom of those day, and cotton seeds are found from chima(skirt) and Jogori(jacket). Jangot(coat) has been used for the use of over garment assuming the changes of Jogori form during mid of Josun dynasty. It is also remarkable that padded and quilted clothing is still being commonly used until mid-l7C.

• 복식문화연구
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• 제12권5호
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• 복식
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• 제27권
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• pp.53-74
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• 1996

The Doryon-Line is the lowest line of the Chechori and Dangeu and the length of the Chechori and the Dangeu have wide influence on the Doryon-Line. Also the change of the Doryon-Line is re-lated to the proportion the length the depth that is the curved proportion and the two curved proportion 0.04 and 0.13 are related to the roof style of the traditional architecture in Chosun Dynasty. The Chosun people have made a change the Doryon-Line monotonous in the 14C-15C but the Doryon-Line have been full of variety every fifty years in the 15C-18C. Especially Chosun people have been at war in the mountains and fields in the Doryon-Line are 0.06 and 0.07 in this period I think that the curved proportion 0.06 and 0.07 are symbolized the natural beauty in the mountains and trees of the Korea.

• 복식
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• 제54권7호
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• pp.1-14
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• 2004

The purpose of this study is to provide specific size data for developing a standard dress form for Korean Females between the ages of 18 and 29. Differences in sizes between dress forms used in 18-24 year-old target brands and 25-29 year-old target brands and the human body were ascertained through direct anthropometric measurements. In the 18-24 year-old target brands. 83.0-83.8cm is suitable for the bust circumference of the dress form, while in the 25-29 year-old target brands, 85.0-86.0cm is suitable. The waist circumferences of most dress forms are similar except for the Japanese C form, and there is no difference between the two groups. For hip circumference in the 18-24 year-old target brands, about 90.0cm is suitable while the 25-29 year-old target brands use additional dress forms of 91.0-92.0cm. The center front length, neck tc waist length, and front interscye breadth is 1cm shorter and the back interscye breadth is 1cm longer than indicated by the 1997 National Anthropometric Survey data.

• 복식
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• 제51권7호
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• pp.111-121
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• 2001

The purpose of this study was to investigate the historical changes, and analyze functions and characteristics of western men's underclothes in the second half of the 20C. This study will examine how the social backgrounds influenced on the changes of the functions of men's underclothes and how the changes of outer garments were reflected on underclothes in the second half of the 20C. In the early, the second half of the 20C, underwears of functions was continued to cleanliness and comforts. In the later of the 20C, underwears came to be seen as expressing male sexual power when it became body-conscious. By the changes of outer garments. underclothes changed the same size of proportion. In the late 1960's, the turtleneck type of shirts were copied by outer garments, and we understand that underwear can influence on outer garments. The ruffles of the 18th century reappeared in the 1960's. This reactionism of the late 20C tells us about the relation between social environments and underwear. So the social backgrounds influenced on the formativeness of men's underclothes. We understand that underwear can influence on outer garments and outer garments can influence on underwear, too. The important characteristics of the second half of the 20C were the remarkable resemblance of some styles to those of the Past and the occasional blurring of the distinction between underwear and outerwear.

• 복식
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• 제55권4호
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• pp.49-61
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• 2005

This study is to research the types and formation of the pieces for fastening the clothing in the western and oriental world from 18c to 19c. The pieces for fastening the clothing, depending on their formation, are classified as the ribbon type, the belt type, the button type, and the compound type. The ribbon type indicates fastening the clothing with the strips attached to the clothes. It is divided into the symmetry type and the asymmetry type by the looks of the ribbon alter it is tied. The belt type means fastening the clothing with a string or a belt, separated from the clothes. It is divided into the string type and the belt type. The button type is to fasten the clothing with buttons, button holes, and hooks. It is divided into the basic type, the wrapping type, and the knot type. The compound type is a mixture of two or three types out of the ribbon type, the belt type, and the button type. The pieces for fastening the clothing has aesthetic features as well as their functional characteristics. It has beautiful features like the harmonious beauty of Yin and Yen shown in the asymmetrical types, the beauty of spell wishing for health, long-life, wealth, wisdom, and so on, the beauty of decency showing the intention of refraining from exposing their body in public, the beauty of eroticism emphasizing the beauty of the human body, and the beauty of representing their social class, authority, affiliation, and so on.

• 복식
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• 제59권3호
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• pp.131-144
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• 2009

This study is about single-layered $Chog{\breve{a}}ri$ excavated from SongHyosang(宋效商, 1430-1490, SHS hereafter), SongHeeJong(宋喜從, the late 1500s, SHJ hereafter) tombs. There are 7 single-layered $Chog{\breve{a}}ris$ for men. We focus on comparison of their design and sowing method. 1. Design: Investigating collar, $Chog{\breve{a}}ris$ from SHS have MokpanGit and $Chog{\breve{a}}ris$ from SHJ have KalGit. KalGit has been seen from SHJ to 17th, 18th and 19th centuries. After the late 1500s, there is no MokpanGit single-laTered $Chog{\breve{a}}ri$ for men. Side panel under arm has various shapes(triangle, trapezoid, triangle+trapezoid) in 15th century. After the late 1500s, It changes into no side panel. Two $Chog{\breve{a}}ris$ with no side panel from SHJ reveals that the late 1500s is a period of transition. 2. Sewing method: First, researching lengthwise grainline of the fly, the left fly has lengthwise grainline outside In four, inside in three. The right fly has lengthwise grainline outside in just one, the others have lengthwise grainline inside. Compared with today's way, there is a great difference, but in those times there isn't an established rule. This is true of side panel under arm. The sewing method are backstitch, running stitch, and hemming. Researching the construction method of seam, in putting two selvages together, open seam and plain seam are used. In putting selvage and bias, bias and bias together, flat felled seam and french seam are used. This study shows that single-layered $Chog{\breve{a}}ri$ far men from 15C. to 16C. has changes of design such as collar(Git) and side panel undo. arm. But there is little change in sewing method.

• 복식
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• 제3권
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• pp.29-46
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• 1980

The purpose of this thesis is to find out how the upper garment styles in the Ancient East and est had been influenced with each other. Analytical studies conclude the fellowing findings: 1) Upper garment styles in the feat Asia and the Egypt already highly developed in 28th century B.C. and show us the original style of the wrap-over to the left and that of the round neckline(曲領). Upper garment of the open in the center front shown in Babylonia in 18th century B.C. had been inherited to the caftan of the Hebrew and later succeeded to the Persia. 2) The tunic styles of the round neckline, the wrap-over to the left and the open in the cotter front, which were the basic styles of the upper garment, had teen widely accepted to the central Asia and the East Asia, as well as the Northern Europe, from the West Asia. 3) The styles of the wrap-over to the right originated from China since it had begun to show in the Shang Dynasty(商代, 殷代). 4) The East and the West costumes had been very much intermixed in 4th century B.C. Alexander the Great of Macedoria in 4th century B.C. expanded his territory to the central Asia and built up the Bacteria, when the most western civilization had been greatly transmitted to the Orient. Meanwhile the tunic being clad in the West and Central Asia began to be worn by soldiers in the period of the Warring States in China (326-299 B.C.) and afterwards worn even by civil officials since the age of the T'ang Dynasty of China. 5) The Upper garments of the open in the center front, the wrap-over to the right, the wrap-over to the left and the round neckline were found in Korea, which mean that the upper garment styles in the Ancient Korea were intermixed of the factors from the West Asia, the central Asia and the East Asia. 6) The styles of costume in the East Asia were influenced by the West Asia through the central Asia. The upper garment styles Europe were also influenced by the West Asia. Thus the upper garment styles in the Ancient East and West had been mutually affected with each other.