• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.147-168
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• 2017

This study examines the types and characteristics of women's garments excavated in the early Joseon Dynasty before 1592. The study sorts out headgear, jacket, skirt and trousers, and coats from the historical texts in the early Joseon Dynasty and excavated women's wears in the fifteenth and sixteenth centuries, and analyzes their textiles and patterns. The Joseon women's garments convey several features. They are wide across the chest and square shaped collar with virtually straight sleeves. While their breast-ties are extremely little for the size of clothes, they do not have any inner-tie. They have broad and short dongjeongs which seem to be hard to be adjusted. There are a variety of headgear. Jang-Jeogori slit down in both sides. The Jeogori after the seventeenth century transformed a more practical form of a fitting dress to an individual body in comparison with the sixteenth jeogori. It is identified that the fabrics in the early Joseon period were woven more diversely and colorfully than the late Joseon period. Most of the excavated fabrics in the sixteenth century were in silk. Materials for adornments before 1592 were not much diverse and their designs mostly contained patterns of lotus flowers, patterns of cloud and treasures with oblique lines. The colors are mainly brown, navy and green. The Joseon women's clothes were comprised of skirts with folded hem, coat with round collars, wide leg pants, Jangot, long-sleeved coat with folding collars, and quadrangular pieces of cloth in various sizes, or mu and so forth. Joseon women's clothes, like men's wears, partake of active functions in their headgears, wide leg pants, styles in short front and long back, and coat with round collars.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.1-21
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• 1998

The purpose of this study was to trace and to identify costumes described in the sumptuary laws of Silla in Sam Guk Sa Ki(三國史記). Conclusions and summary of the research can be summarized as follows. Pyo ui was an outer robe. It was worn by man and woman from all classes. Nai ui is considered as a kind of long inner garment worn under the outer garment. Ban bi is a short-sleeved garment worn over a jacket. Both sexes wore this garment but it was restricted to the upper class. Dan ui, a short garment, is a kind of jacket. Although records on this garment appear only in the items of woman's garments, it si considered that all people wore this garment since it was basic garment for the people of Silla. Bai was the bai ja. It was a kind of woman's over-cat with wide sleeves. Dang is considered as a kind of woman's outer robe originally made of ra. The upper class women entitled to wear the bai and the dang. Women wore skirts. They had tow kinds of skirts an outer skirt and an inner skirt. However, women of four du pum did not have an inner skirt. Trousers were worn by all people. Names of ban bi, bai, and dang were derived from T'ang China. These garments with their origins in T'ang China were used by the upper class people of Silla. They used those garments as a means of differentiating their social status from the lower class.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.35-49
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• 2016

Dopo was the clothing of the Joseon period, which had a strong value of Confucianism. Apart from the kings and princes, government officers and Confucian literati wore Dopo as their official clothing and the uniform. The basic form of Dopo had the straight collar similar to Jikryeong. The difference is the shape of a Mu, which was fixed inside or on the back section along the side line of the front section and made two flaps on the back section. The clothing found in the tombs of Bae Cheonjo (1532~?) are from the mid-16th century to the early 17th century with the clothing style of the early Joseon period. The outer collar of all clothing was the shawl collar except for the Sibok and the inner collar was sewn to this. Two items had square tray collars, which were folded in half and sewn inside in half. The sleeve had a straight inseam from the armhole and its end around the wrist was round and wide. The carp-shaped inseam of the sleeve and wide sleeve indicated a change of sleeve shape. The shapes of the collars and the wide overlapped section of the dual collars demonstrated the shapes of the initial outer robes. The man's outer coats with wide sleeves were mostly cotton-quilted clothing. As described above, this paper examines the basic shapes of outer robes including Sibok, Jikryeong and man's outer coats on the basis of the clothing and artifacts from the tomb of Bae Cheonjo (1532~?) and examined the shapes, composition and features of Dopo. This paper aims to improve awareness of the wisdom and spirit of ancestors in life hidden in the sewing of the three Dopo items and on the importance of historical research.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.109-123
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• 2004

The purpose of this study is to examine features of parts of Jikryung and relations among the features. Results of the study can be described as follows. 1. The short front and long rear of Jikryung was changed into the long front and long rear of the dress in the late 16th century. Kalgit of quasi-square style as double collar was changed into that of common collar in the late 16th century and then into common semi-circle collar in the early 17th century, when double Sup was also changed Into single Sup. Narrow sleeves of Jikryung were replaced by bean chaff-shaped in the late 16th century and then by wide ones in the early period of the next century. The shape of the side hem of Jikryung was changed from rectangle into trapezoid in the early 17th century Triangle-shaped Moo was changed into trapezoid-shaped one in the late 16th century and then again into triangle in the late 17th century 2. Changes in shapes of the parts of Jikryung were made with them correlated. The collar of Jikryung saw change in its form from double to common as its width was reduced. Double Sup was changed into single one and the narrow, short coat string into the long one as Jikryung became a dress needing less adjustment. The sleeves widened as the length of whajang increased. The side hem of Jikryung saw change in its shape from rectangular to trapezoidal one as its position was changed. Trapezoidal Moo was replaced by triangular one as the sleeve of Jikryung was changed in shape. 3. Changes in shapes of the parts of Jikryung influenced the aesthetic beauty of the dress itself In its first period, Jikryung was simple with long, slim silhouettes. In its second period, the dress was rich with increased volume. Finally in its third period, the dress was characterized by the harmony of simpleness and richness.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.363-377
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• 2012

Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

• Journal of the Korean Society of Costume
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• v.30
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• pp.69-84
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• 1996

The main current of ancient Korean thought is based on Yuk(易) : which solves the principle of creation of universe letter(文字) which is the principle of geometry and three elements thought of circle square . It's related to the creation principle of the universe and regarded as a sign that demons-trates shows the way to read the mathematical principle. The original form of Korean clothes(Han-Bock, 韓服) is represents the structure of hu-man body which reflects a small universe. So a good structure and meaning of the human body is well read in the formation of Korean clothes(Han-Bock, 韓服) and that is a good symbolization of the clothes(Han-Bock, 韓服) as the space of small universe. The good formation of Korean clothes(Han-Bock, 韓服) could be shown by cutting out straight bending twisting and turning each straitly cutting piece is applied to its trans-tormation. Geametical formation with obvious sym-metric dividing of front-back left-right and top-bottom is well shown in Korean clothes by twisting Yuk(易) or m bius strips. So we can find out whole formation by representing only either 'front and back' or 'left and right' and also sa-pok(사폭) of man's trousers seop(섶) of jeo-go-ri(short jacket 저고리) kyut-ma-gi(곁마기) of Sam-hwai-jang jeo-go-ri (삼회장 저고리), mu(무) of jig-ryung(straight collar and long and wide sleeved robe, 直領) trouser wide and ga-rae-ba-dae(가래바대) of dan-cok-kok(woman's under trousers). The formation line of Korean clothes(Han-Bock, 韓服) is based on theprinciple of unlimited m bius strips by twisting of turning direction from universal principle and original basic form is not changd even by turning in-side out. Unity of the whole and part in Korean clothes(Han-Bock, 韓服) could be found in nonorientable thought(非始原思想) which represents the unity and dependence kil(길) of jeo-go-ri(short jacket, 저고리) and po(long and wide sleeved robe, 袍). Selva-gewise(식서방향) of sleeves and seam of out-side of kil(길) and outside of seop(섶) are directed to outside of seop(섶) inside of seop(섶) is to kil and direction of inseam of kheut-dong(끝동) and kyut-ma-gi(곁마기) is directed to sleeves. Korean clothes(Han-Bock, 韓服) is usually made by cutting fabric for several parts and sewing them and the way to make Korean clothes is deeply related to the theory of chon-pu-kyung jong-il and il-seok -sam-geuk. As the development of men's consciousness is pro-gressed from total separation to separation and superseparation. Sewing process of korean clothes(Han-Bock, 韓服) can be make single dimension to double or triple dimension of korean clothes(Han-Bock, 韓服) silhoutte bacause it can be include principle of topology as noneuclity.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.147-153
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• 2021

Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.151-166
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• 2015

This research aims to study the needs of the trail runners as trail running has become a popular outdoor activity, and give suggestions for high functional outdoor menswear design that can satisfy the needs of the highly demanding taste of runners. The design development is as follows: 1) The design had to be made of lightweight material and be easily packable in all situations, and 2) we also considered the ergonomic and compact fit for activity, 3) the functional location of high functional fabric, 4) the reflective use and layering system giving a wide range of outdoor workout time and 5) the trend in 2016 S/S active sports and outdoor wear. Based on the above elements, the men's outdoor wear design has been developed for trail running in spring and summer. The design development includes a total of 7 items. The design focused on lightweight, availability of packaging, "comfortability" and freshness in activity, functional suitability of location of highly functional materials and the layering system to protect body temperature under the changing environment. In particular, the layering system was implemented to provide ventilation, and it was done in body parts that released the most body heat. Therefore, mesh materials were actively used on the side panel, sleeves and center of the back piece for necessary sweat emission without any problems and ventilation for trail running.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.94-114
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• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.