• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.159-174
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• 2017

The study uses lists of wedding gifts used from old Korean documents written in Hangeul in the western Gyungnam province during the 20th century. The study analyzed four lists of wedding gifts from the Muncheongak archive and two lists from the archive of ancient document. This analysis found that clothing accounts for the majority of the items in the lists, and items such as furniture, jewelry, household goods, and medical materials were also recorded. That the furnishings were commonly prepared by the groom's side, and the fact that the number of jeogori was higher than the number of skirt, speaks to the unique wedding custom of Gyeongsang province. While the groom's list of wedding gifts included a record of the bride's ornaments, jewelry, and furnishings in the bride's list, the groom's nickel top-knot pin was only included as an ornament. In the list of wedding gifts between brothers, the gifts for the eldest son differed from those for the third son in terms of number and price. The list of wedding gifts between father and son illustrates how economic development and changing times wedding custom. The lists of wedding gifts in the old Korean documents shed light on the oral research into 20th century wedding custom, which will be used as basic data in researching and reproducting the wedding culture and life conditions of the time.

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

• Journal of the Korean Home Economics Association
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• v.39 no.4
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• Journal of the Korean Home Economics Association
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• v.40 no.11
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• pp.141-156
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• 2002

This study is about the wedding culture of Seoul and Kyungsangdo. This paper is a qualitative study that is based on interviews. As a result of this study, it became clear that before the industrialization of South Korea, there were different characteristics of wedding culture in each region. However, the unique characteristics of wedding customs in each region have been degenerated or exterminated, in tandem with the influx of customs from other regions, due to the dramatic urbanization of South Korea, and the development of transport and communication that appeared in the process of modernization. Furthermore, wedding customs were transformed from ceremonies based on a regional and kin-based community into those that were no more than mere events, which was derived from the industrialization and urbanization of Korea.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.62-75
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• 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 the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.