• 복식
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• 제64권5호
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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.

• 복식
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• 제37권
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• pp.47-69
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• 1998

The purpose of this study is to inquire the hair, head-dress and clothing(upper clothing: Veil, Samkaksika, Sash) of Bodhisattvas in Dunhuang Mogaoku of the period from Northern Liang Dynasty(421∼439) to Tang Dynasty(618∼907). The method of this figure and the change of clothing form : 'Dunhuang Mogaoku'1st Volume-4th Volume. The Bodhisattvas' hair style are somehat various ; A part in her hair, Suibal, Gae, Sakbal. A part in Bodhisattvas's hair is observed from Northern Liang Dynasty to Sui Dynasty. But Suibal had been continuous succeeded. Meanwhile, in the periods of Sui and Tand Dynasty, there were the hair styles whose ends were curled up. It is called Eulle Meor-ee. Especially, in Tang Dynasty various styles of Gae were appeared. Doogun was observed from Northern Wei to Tang Dynasty. There were three kinds of head-dress; Samsikkwan(having 3 decoration), Bokwan and Jungmeunkwan(appeared in Tang Dynasty). Meanwhile, Sash let was become more and more decorative. The Upper clothing can be classify into Veil, Samkaksika, Sash, etc. Veil were observed in every period but X shaped one was form Northern Wei and U shaped one was from Northern Zhou Dynasty. After the period of Sui Dynasty U shaped Veil become prevalent. Samkaksika was observed for the first time in Northern Zhou Dynasty. Cutted sam-kaksika was appeared in Sui Dynasty and succeeded to Tang Dynasty. Poncho tyed Samkaksika was also observed in Tang Dynasty. In Westhern Wei Dynasty. daesupo was used into outter garment, which us that chinese influence was deep tell. Sash showed up in Tang Dynasty and it is used for Veil for the whole period of the Dynasty. But using sash for veil was formally hanged on going the lated period of Tang Dynasty. We can observe the sun-moon decoration and the wings of a bird decoration at the Bokwan, Veil, Samkaksika and Sash, etc. It is was the influendce of Sasan Per-sia and India. I will fill up the insufficency of this study wity continous research of ornament(Muktahara) and skirt of Bodhisattva and deeper inquiry of the relationship around the many countries.

• 복식문화연구
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• 제7권6호
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• pp.170-181
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• 1999

The purpose of this study is to suggest the possibility of futurism as original design pursuing newness in approaching 21C by studying how futurism having a great effect on fashion as innovatory ideology in early 20C did became paradigm in 20C fashion and the common peculiarity of the dress and its ornaments in this time before 21C. The Space Age Fashion and Techno-Cyber Fashion are representative futurism fashion of 20C. The common inner inclination in both Space Age Fashion and Techno-Cyber fashion are ; First, a future-oriented character. Second, a surrealism character, Third, an anti-cultural character. The greatest peculiarity in the common outer shape in both Space Age Fashion and Techno-Cyber Fashion is material. First, a innovatory choice. Second, an active motion. Third, a diverse effects. Future dress and its ornaments of 21C may be changed greatly by the development of technique, and this fact supports the forecast that the change of paradigm resulted from the development of science may have an effect on future dress and its ornaments as well as modern one. The paradigm change of futurism fashion would be continued, and its influence would work as main source shaping the form of design in 21C.

• 복식문화연구
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• 제15권3호
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• pp.541-549
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• 2007

Goguryo is the ancient dynasty which established the system of ancient state earlier than Baekje and Sila, and was a strong political and military power. Unlike the rock carving works of prehistoric times, mural paintings composed of line and color tones in tombs are characterized more by its social aspect and symbolism as a serious form of art than other cultural heritage of Goguryo. In response to that, this study analyzed the dress and ornaments of women found in Anak No. 3 ancient tomb, Susan-ri ancient tomb, Ssangyeongchong, which are the ancient tombs in Pyeongyang from 4th century to 5th century, have relatively more ancient tombs than any other places and preserved the mural paintings well, by using the plate, slide, literature and data related to relics in order to figure out the characteristics of women's dress and ornament in Goguryo, and the lifestyle and social aspect of Goguryo.

• 한국의류학회지
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• 제31권11호
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• pp.1586-1597
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• 2007

This study is an attempt to examine fashion elements appearing in the cover-page design of fashion magazines published in Korea and aims to find Korea#s own fashion identity in fashion styling and designing of those fashion magazines. In order to do so, the study reviewed the related literature and analyzed the issues of Vogue and Harper#s Bazaar magazines published between 2004 and 2006. The results of the study can be summarized as follows: In case of fashion photographs, the largest number of 72 sampled cover-model photographs is in approximately three-quarter cut size. For the items, most take the form of one-piece dress and feature the use of a variety of accessories. In case of dresses, most are the creations of foreign designers and famous fashion models or celebrities show up, mostly alone, as features on the cover pages. Because of the nature of fashion magazines, their primary emphasis is put on the dress among other things, but on the other hand some of those magazines have differential cover pages where the model#s face is highlighted with the look of makeup or a famous female actress stands out. However, the fashion in designing the cover pages of magazines is, rather than to show the dress itself, to create a new combination of different elements as total fashion or convey an image based on such a fashion style.

• 한국의류학회지
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• 제26권7호
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• 한국의류학회지
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• 제22권4호
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• pp.482-492
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• 1998

With the purpose of developing a objective fitness evaluation system for knits, the basic bodice pattern for knit was drafted and the suitability of the altered pattern was evaluated. For each of nine different knits, six sleeveless shirts were made with patterns that were altered by different pattern alteration rate: 0%, 30%, 40%, 50%, 60%, or 70% of the stretch rate of the knit. The panel that was composed of 25 clothing specialists evaluated the fitness of the garments. The distance from the dress form landmark to the garment landmark was measured from each experimental garment. And the results of garment fitness evaluation and the measurement of distance from the dress form landmark to garment landmark were compared. The results of this study are as follows: There was high correlation(r$\geq$0.9) between the evaluation of the panel about the garment fit and the landmarks distance. The stretch rate of knits affected the evaluation of the garment fit. The stretch rate in course of knits affected on the garment fit at crosswise direction. The suitable pattern alteration rate was lower than 30% for the knits with high stretch rate in course. It was concluded that in order to get the appropriate knit bodice pattern length, the front bodice pattern must be less shorten than the back bodice pattern. The alteration rate at hip line must be lower than for waist or bust line.

• 복식
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• 제53권7호
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• pp.69-81
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• 2003

This study firstly identify the characteristics of the clothes for traditional wedding ceremony from the late Chosun Dynasty (19th Century) and today through comparison. It also tries to discover what today's people are incorrectly aware of regarding the traditional wedding clothes particularly by survey. It ultimately aims to present constructive ways of solution against the illadvised and simplified deformation of the traditional wedding clothes. When comparing the traditional wedding clothes from the late Chosun and its modern counterparts, Dan-ryung and Samo-kwandae is still used for bridegroom's dress. In case of bride's dress, several items such as Yeom-eui, So-eui and Hwal-ot have been disappeared while Won-sam can be seen today. There were found many additional differences not only in type of the wedding clothes, but also in its form and constitution. Therefore, it is advisory to take the wedding clothes worn by commoners and upper class as the basic form for today's traditional wedding clothes. In addition, diversified research should be carried on to make them broadly accepted by today's life.

• 복식
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• 제63권2호
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• pp.144-161
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• 2013

Seok, shoes worn for rituals that originated in China, is worn as part of a formal dress in Korea. The Seok for men were worn with Myeonbok(冕服: kingly ceremonial costume) and Wonyugwanbok(遠遊冠服) and the Seok for Jeokui(翟衣: queenly ceremonial costume) and Jangsam(長衫). Myeonbok, Wonyugwanbok, Jeokui and Jangsam were ceremonial costumes of ancient times. This paper examines Seok, which has never been the focal point of a study, and focuses on the period of Joseon(1392~1897). It was possible to concretely identify its changes in each of the periods and genders by means of the literature and picture data. It turns out from this paper that a unique Korean style emerged in the days of Kings Yeongjo(英祖: 1694~1776) and Sunjo(純祖: 1790~1834). The Seok that were imported from China after the Goryeo period included a neck part, which was a departure from its original form. However, during this period, fences were added on the top of the shoes, and rings were added to thread laces in Seok from China. Women wore their Seok in this period with different ornaments in accordance with the different situations.

• 복식
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• 제51권4호
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.