• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• Fashion & Textile Research Journal
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• v.3 no.3
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• pp.211-218
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• 2001

In this paper, various shapes of collar of the casual Korean dress at present are analyzed and are also surveyed the origins from which such designs are derived. Collars of the casual Korean dress are to be classified into Round-collar, Mokpan-collar, Dangco-collar, Knife-collar, Baja-collar, Danryoung-transfer-collar, Double-collar, Transfer-collar, and so on. Round-collar, Mokpan-collar, Dangco-collar, Knife-collar, Baja-collar, Danryoung-transfer-collar, Double-collar, Transfer-collar are motivated from the classical types of collar during the dynasty of the Choxian and adopted without any modifications. However, modifications to meet modern sense with the basic motif on the classical types of collar are applied to Transfer-collar where all kinds of collar shapes since ancient times are referred for modifications. In addition, collars such as Double-collar, Hi-neck-collar, which are not found in the classical Korean dress, could be said to be created only for the casual Korean dress From the above, it could be seen that most collars of the casual Korean dress are based on the shapes of the classical Korean dress. Therefore, it could be also confirmed that the casual Korean dress design has its identity originated from the classical Korean dress since the ancient times.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.79-89
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• 2008

Jongga means a head family by only first son's line of each generation. It is our culture's root and identity. It also includes ritual for continuing filial duty. Ritual takes the main role on jongga culture to pay respects to Jongga's ancestors and roots. Therefore, ritual costume's importance can not be neglected. We will check a Po mainly for Jongga ritual costumes' types and designs to refind Jonggas identity and its meaning. In this research, areas are divided to Gyoungsang by Youngnam sect and Jeonla by Kiho sect. Geochang, Andong in Gyoungsang province and Haenam, Namwon, Youngkwang in Jeonla province where currently first sons of Jongga reside have been researched. The method is based on Books and visits on the places. Ritual costumes' types and designs are different between Gyoungsang and Jeonla. Firstly, now in Jongga, only a Dopo and a Durumagi are worn while the manner book shows a Danryoung, a Jikryoung, a Dopo and a Simu. Also costumes are variable on areas. Secondly, a Po is characterized by its sleeve and back-line's inside skirt. In a Po, Gyoungsang has a Duri sleeve and Jeonla has a Duri sleeve which has been changed from a Dunggun sleeve. While Gyoungsang has rectangle-shaped two pieces cloths and a split in a bottom, Jeonla has both a Mu with a split back and a complete split back in back-line's inside skirt. It seems that Youngnam sect's fundamentalism and Kiho sect's flexibility about culture of old political groups would have influenced on these patterns.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.103-113
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• 2002

Heungdukwang'(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shills's(統一新羅) costume. But among the clothing pieces that appeared in Heundukwang'(興德王) costume ordinance, classification of Naeoe(內衣) and Danoe(短衣) is not clear. This study focuses on the categorization of Naeoe(內衣) and Danoe(短衣). Upper garments included among costume ordinance were Pyooe(表衣), Naeoe(內衣) and Danoe(短衣), Pyooe(表衣) and aeoe(內衣) were unisex, while Danoe(短衣) was worn only by women excluding the lower class. Pyooe(表衣) is applicable to Po(袍), Naeoe(內衣) is aplicable to Yu(유). Shilla'(新羅) upper garments appearing in visual records are as follows: -With the exception of Pyooe(表衣), the length of men's upper garments were between hip and knee length. These upper garments featured V-neck and round neck styles with the left side of the garments folded over the right side. -Again excluding Pyooe(表衣), women's upper garments were similar to men's upper garments having V-neck and round necklines. We know this to be true from the relics found during the excavations of Hwangsungdong and Yonggangdong, as well as from the women in the stone reliefs of Sangju. Although we know the shape of necklines. the length of upper garments remained a mystery because women of that tome tucked in their upper garments into the skirts and/or wore an over garment. However a clay doll found around Bulguksa(佛國寺) wearing a knee length garment with V-neck. The upper garment was opened in the front and was worn over another garment with same length and round neckline. At that time, The upper garments found in China and Japan. were not much different than those found in Shilla (新羅). They also included garments that were waist length, had peach-shaped necklines, or were worn over head. Shilla's(新羅) traditional upper garment was between hip and knee length, but with the introduction and influence of Chinese costume. upper garments with a length coming down to the high waist line began to appear. In addition to Chinese influence, because Shilla's(新羅) women wore the upper garment first and then the lower garment, a long upper garment was not necessary. These shorter upper garments came to be known as 'Danoe(短衣)'When we perceive clothing. we look at silhouette first and then the details. Silhouette is much determined by length and neckline or the front of the garment determines the details, So we need to attention to the basis of ancient dress classifications. These classifications were according to first length [Po(袍), Yu(유)] and then neckline [Danryoung(團領), Jingryoung(首領)]. As a result. Naeoe(內衣) and Danoe(短衣) are classified by the length. The length (內衣) was between hip and knee length while Daneoe(短衣) was waist length. Danoe(短衣) was worn by putting the bottom of it inside skirt naeoe(內衣) was worn over a skirt or plant. But both had V-neck and round neck styles, and styles with the left side of the garments folded over the right side.