• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.2
• /
• pp.25-37
• /
• 2005

This is a study on the origin of fashion imaging. First of all, 1 looked into the history of French fashion printmaking from late 16th century to early 19th century. Then studied the changes in the characteristics of context and form over the different periods and summarized each concept. At the same time, I looked into the process of fashion magazine evolving from fashion printmaking. In order to find out how fashion printmaking dealt with the characteristics of fashion media, 1 researched the commercial environment of fashion printmaking and reorganized the methodology of its media's role. Such analysis and results helped to reach a definition on how to regulate fashion printmaking. Fashion imaging was sparked by a small curiosity. As people began to be rage over new things, it came to introduce the fashion leaders of the public combined with the attributes of trend. At times when changes were so big that they were unpredictable, it itself became a fashion leader. Then a fashion creator emerges and it's function changes to that of a communication media. Moreover, the regular issuance of fashion printmaking implemented the concept of trend cycle and fashion imaging completely fulfilled the conditions of a communication media. The massive increase in the production of fashion printmaking and magazine contributed to the spread of fashion and the diffusion of printmaking lead to mutual complementation and synergy necessitated by fashion. Thus, the democratization of fashion and the commercialization of printmaking art occurred at the same time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.4
• /
• pp.594-604
• /
• 2000

This study aims to investigate the changes in the Wedding costume for Paebak(Hyunkugorye) in Westernizing Korean society of the twentieth century. For this study, I analyzed the related literature for the first half of the twentieth century due to the lack of relevant photographs, while I used the method of content analysis of 116 photographs for the second half of the twentieth century. It is obvious that bridegroom and bride wore the same clothes for Hyunkugorye and the formal wedding ceremony in the early twentieth century. According to the analysis of photographs, wonsam was rather more widely used than hwalot as the bride's wedding costume in the late twentieth century. But there were many changes starting from the early 1970s. The changes were deviated from the traditional style and became more decorative and somewhat crude: that is, people began to embroider wonsam and the piping was added to the collar of danryung. All these changes resulted from the pursuit of commercial interests with the misunderstanding of and the indifference to traditional beauty, while Korean society had experienced the Japanese rule of Korea, the Korean War and the industrialization during the 1960s and 1970s. Therefore, to establish appropriate wedding culture and costume in Korea, it is important to educate people who get involved in wedding business for traditional wedding culture and clothes, because nowadays . most of bridegrooms and brides borrow ceremonial costume for Hyunkugorye.

• The Research Journal of the Costume Culture
• /
• v.15 no.6
• /
• pp.939-951
• /
• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.

• The Research Journal of the Costume Culture
• /
• v.28 no.1
• /
• pp.62-75
• /
• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• Journal of Family Resource Management and Policy Review
• /
• v.3 no.1
• /
• pp.95-104
• /
• 1999

This study aims to review the family life and its changing process in the early twenty’s century. It is explored through the editorial of the Maeil-Shinho during 1910∼1945. It is valuable work to explore of family life in the Maeil-Shinbo newspapers because it was continuously published from 1910 to 1945. The author attempted to study family life in five major such as food and nutrition, clothing, resource management, family, and child care. And of the articles food and nutrition parts ranks the highest order and clothing care was the second highest. In the early nineteenth century, many of articles were about to family life but decreased its amount by 1940. Of the editorials, most articles had dealt with the educational context in order to improve the quality of family life.

• Journal of architectural history
• /
• v.8 no.1 s.18
• /
• pp.9-28
• /
• 1999

Broadly speaking, this paper is concentrated on the trimming of the wood demanded for the palace, constructed in the 2nd half of the Choseon Dynasty. To be concrete, this is the study on the craftman and craftmanship corncerned with the trimming of the wood, its system, and terms of payment of his wages, Construction reports, financial reports, job slips, written estimates, bills for payment, and other documents in those days are examined for the study. Following conclusions have been reached through the study. 1) The operation system of whole construction office and its suboffice was very specialized and systematized from the early 19th century. 2) The craftman engaged in trimming of the wood was subdivided by work function. 3) The craftman for its first trimming, i.e. 'keojang' or 'seonjang' had been treated as a speacial labor recruited to the mid-l8th century, after that, was enrolled into the craftman. 4) A unit cost of its first trimming was firstly appropriated into the reconstruction of the Kyongwoon Palace in the early 20th century, and it was very subdivided for a personnel management. 5) Contract works were widely applied to all workers engaged in the reconstruction for an efficiency of the accomplishments.

• The Research Journal of the Costume Culture
• /
• v.8 no.3
• /
• pp.411-421
• /
• 2000

Black froak coat, white shirts, top hat and cane has been the symbol of gentlemen in 19th and early of 20th century. The pattern invented by Savile Row in London prevailed whole England. Such a pattern has been the standard form for two hundred years all over the word, although it was replaced with a functionalism which developed in Italy and America at the end of 20th century. The clothes of gentlemen was developed by several factors ; English people respect a tradition. The clothes was practical, since the weather in England was bad. The success of Industrial Revolution made England wealthy. Various special clothes in sports, for example, riding, criket, golf and tennis also contribute the modern gentlemen clothes with advance tailoring technique. The change of gentlemenship with social environment, from Regency dandy, Romantic gentlemen to Muscular Christianity, was studied. Idial gentlemenship and development its clothes which is now the standard of modern men's wear also studied.

• Korean Journal of Plant Taxonomy
• /
• v.49 no.3
• /
• pp.240-252
• /
• 2019

Many of the historic plant specimens collected on the Korean Peninsula in the early twentieth century were lost during the Korean War, though some of them were deposited in the herbarium of Tokyo University (TI) and thus remained unharmed. Data on historic Korean plant specimens at TI are very important given the lack of current data on North Korean plants. Moreover a number of unidentified Korean historic specimens are present at TI. We carried out an identification process and created a list of plants in a newly found collection held by Dr. Ikuma Yoichiro, a Japanese entomologist. He traveled from Cheongjin to Hyesanjin via Baekdu-san (Mt.) in August of 1913 and collected 240 species. We also secured one duplicate set.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.20 no.3
• /
• pp.527-537
• /
• 1996

This study tries to understand the characteristics of a man's clothes from the late 17th century to the early 18th century, held by the Ewha Womans University Museum. The author adopted the Assy CAD, an apparel CAD system developed by Assysit Company of Germany, in measuring clothes which is intended to solve the problems raised in the previous measurement of clothes, as well as in the making of patterns. The author used tracing paper to make copies of the curved parts, put them into the computer by digitiger, and made the patterns for more accurate restoration. Furthermore, the author compared Lee Hwang's with the contents of the related literature and excavated apparel from other tombs. As a result, Chopri among Lee Hwang's clothes, retained the typical characteristics of the mid-Chosun men's fashion in its ratio of bodice to skirt, form of sleeves, and size of breast- ties for fastening which appeared in the 17th century. Daechangeui and Jungchimak also were distinctive for Changot and the width of sleeves since the 17th century and were in wide use not only as the daily clothes but also as the shroud. These changes were brought about from the two wars which emphasized prestige and beauty of the clothes rather than their functions. As a result, Changeuis were used more widely, while Chopri which was used as the underwear of officials' uniform, was in decline.

• Journal of architectural history
• /
• v.13 no.1 s.37
• /
• pp.71-81
• /
• 2004

The $18^{th}$ century's Industrial Revolution brought about influx of commerce, industry, and agricultural population into the urban areas, entering the $19^{th}$ century. Quality of rural communities declined, and the exploding population in the cities gave rise to various problems. 'Mietskaserne' Blockhousing was constructed by the 'Hobrechtplan', but led to social problems such as poor living conditions, insufficient sunshine due to overcrowding, slums due to incomplete urban infrastructure, epidemics, and so on. Starting in the early $20^{th}$ century, Berlin has driven forward a remodeling plan under the motto of 'critical reconstruction (kritische Rekonstruktion)'. It is performed in the place, which represents the vicissitudinous history of Berlin with site plans coexisting past with presence, using modern vocabulary of architectural forms. Reconstructing a city is a process which not only raises the economic value of each building consisting a city, but also a redevelopment process that brings out cultural value of an era. When a new era emerges buildings get reconstructed or rebuilt, and thereby form the identity of a city by reflecting its society, culture, politics, economy, and history. Old German architecture were not destroyed or rebuilt recklessly just by the fact that they are functionally or aesthetically outdated. Each building is treated as precious cultural heritage reflecting the history. This is how Berlin is being transformed today.