• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.671-682
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• 2003

The purpose of this study is to analyze styles of costume and understand meanings related to costume embodied in the images of Buddha in Baekche period. Visual and textual analysis of the paintings include the images of Buddha in Baekche period was used for the research. The results of this study were summarized as fellows; Budah's hair style is identified as simple, Gae. Buddha wears Sanghati(outer wear) made of Tongeun and Peundanwoogeun, and many cases Sanghati made of Tongeun are usually seen. Three kinds of upper garment were identified; Samkaksika, right and left crossed upper garment, and Peunsam. Samkaksika was frequently seen in the paintings. Lower garment was a Nirasana reach to the ankle, was worn with a belt. Two skirts were also seen occasionally. The symbolic meaning of costume of Buddha was related to its religious meaning and identified as majesty and saintliest, which is harmonized with her simple costume styles. The wrapped style of costume, which did not show the contour of the buddha's body adds mystery. Also, the styles of costume created by different wrapping methods signify originality.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.79-95
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women´s status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• Journal of Fashion Business
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• v.6 no.5
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• pp.72-86
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• 2002

Recently the fashion design has been expressed mixing trend of antipodal concept. There are shown disorganization of existing standard with eclectism, pursued more sensational fashion by the sense of unease. And there are spreaded body exposure in producing on a commercial scale for sex, are shown the phenomenon by wearing innovation inner-wear in private area are exposed out. The purpose of this study are to consider preponderantly the fashion design using corset, shown up as the motive of costume design from 1990's to 2002's, define the character of molding. and extend the width of understanding of modern fashion. The results of the study are as follows: 1. The trend of deconstructionism as one line of fashion world in the 1990's make into outer garment of inner-wear, corset has been using the main item of infra costume. The past corset was existed innerwear, but it is revived various forms by transforming outer garment of body expression consciously. 2. Corset look is shown double faced factory of the beauty of tradition and decadence, vulgarity and nobility, concealment and exposure, and are expressed boldly the free consciousness outer about woman's sex with the improvement of woman's social position. 3. The molding character of Corset look divided Eroticism, Fetishism, Deconstructionism. Futurism. The trend of Corset look design is the emphasized sexual part of lace-up and cutting line of corset, and various details of see-through, kitsch, glitter look. Therefore, the trend of Corset look will be applied the modern fashion and used as motif of new design, affected the inspiration of more developed design with grafting of up-to-date fabrics and processing technique.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.523-531
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• 2001

The objective of this study was to trace the origins of the costume terminologies and to identify the meanings of the names of costumes of the Chosun Period. Such terms as dukgai 得盖, murot gai 무롯지 or murukai 무루깨, bal 발, bigya 비갸, bium 비음, samachi 사마치, chiene 처네, chienui 薦衣 were included in this research can be summarized as follows: It appeared that similar words to dukagai were found in the languages such as the language of the arctic regions, Mongolians, English, Sumerian, and Latin. It is considered that dukgai of Chosun was related to L. toga. The word murot gai or murukai as a kind of head covering had its origins in Korean meaning to cover or to wear. Also it was found that the word bal was derived from L.palla meaning a robe, cloak or mantle. Korean bal 발 meant a dang jugori 당저고리 or dang go ui, a kind of women\`s formal outer dress. It was found that word bium or biim, a garment of Yi Chosun was similar to Ass. birmu, a garment. The word, samachi of Yi Chosun was derived from the Manchurien word samachi meaning a kind of military skirt. The word, chiene 처네 or chienui was derived from the Chinese chien (Equatopms. See Full-text) that means a skirt, a child\`s covering, a sheet, and women\`s underwear.

• Journal of the Korean Society of Costume
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• v.43
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• pp.41-52
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• 1999

This study is to compare and analyze two types of 'transparency' concept expressed in architecture and garment which has not only been an important theme in the post-modern expression of architeture but been shown in various types of concept. This study examined the characteristics of transparency and through theoretical studies divided them into four types; frankness(purity ambiguity comparison exposure and eroticism) Purity building would use the matrial which is transparent glasses for the expprssion of its purity and clothing would use the transparent matrial for the expression of the natural beauty of human body and the purity of human of itself. Ambiguity is expressed in the outer side of architecture by duplicating transparent materials and by phenomenon of optical illusion and inflection. On the contrary in garment it is shown in the outward formation of underclothing. Comparison in architecture is expressed by the use of void but opaque materials as well as solid but transparent materials. Extinction is expressed with the visual effect of context of the surrounding by the use of opaque glass and reflexive glass. In garment the effect of comparison is expressed by the use of mixing transparent materials and opaque materials. Building would express the inside of itself by the way of its exposure and clothing would also express its frankness through the human body is partly opened or clossed at the same thime that arises from eroticism of the way of the expression of human feelings.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.172-183
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• 2007

The purpose of this study is to examine the dress and its ornaments of low-level officials shown in Tamna-Sullyeokdo, the paintings of the inspection tour of Jeju Island. The low-level officials Include low-level soldiers-sungjungun, gichigun, foot soldiers, cavalries, gunroe, ilsu, artillerymen, najang, and sawon-, musicians, servants, and kisaengs in government employ. 1. Different types of low-level soldiers tended to wear different kinds of clothes that is worn under an outer garment and to wear different coats and trousers depending on an outer garment. That is, sungjunggun, gichigun, foot soldiers, and cavalries were jeonbok over a jeogori and baji. On the other hand, gunroe, ilsu, artillerymen, and najang were houi or jakui over a jeogori and baji. However, Sawon simply were Jeonbok or armer or they wore Cheolik in formal occasions. 2. Musicians wore a jeonlib, a type of hat, decorated with an ear of barley and a red houi over a Jungchimak, a man's outer coat with large sleeves. Musicians wore colorful red clothes in order to add to the amusement during military trainings or banquets. 3. Servants in government employ had their hair in plaits and wore a jeonbok over a Jungchimak or baji and jeogori. However, when they dance during banquets, they were cheolik and jeonlib decored with/without an ear of barley or red flowers. 4. Gisaengs in government employ wore a gache on their head and wonsam, a woman's full dress during big occasions. They, on the other hand, wore a jeogoli and chima for regular occasions.

• Journal of Fashion Business
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• v.8 no.2
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• The Korean Journal of Community Living Science
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• v.25 no.4
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• pp.549-556
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• 2014

This study evaluates the thermal insulation and evaporative resistance of a waterproof and breathable garment system and determines the factors influencing its thermal performance. The experimental garments were composed of underwear (shirts with 100% wool and 100% polyester) and outerwear (jackets and pants with a vapor-permeable membrane and a vapor-impermeable membrane). Data on clothing insulation in a dry condition ($10^{\circ}C$) and a wet condition ($10^{\circ}C$, 40% R.H.), evaporative resistance ($34^{\circ}C$, 40% R.H., and $10^{\circ}C$, 40% R.H.), and microclimate vapor pressure were collected and analyzed. According to the results, the thermal insulation of the experimental garment system ranged 1.27~1.40 in the dry condition and 0.40~0.89 in the wet condition at $10^{\circ}C$. Evaporative resistance ranged $41{\sim}525m^2Pa/W$. A decrease in thermal insulation by wetting underwear ranged 31~67% in the cold condition ($10^{\circ}C$). The breathability of the outer garment influenced the decrease in thermal insulation by wetting. The type of underwear fiber influenced the decrease in thermal insulation only when it was used with breathable outerwear. The vapor-permeable outerwear sample with polyester underwear (P_Perm) showed a larger decrease in insulation than that with wool (W_Perm). The evaporative resistance of the vapor-permeable ensemble showed no effect of underwear in the warm condition ($34^{\circ}C$), but polyester underwear showed lower evaporative resistance than wool in the cold condition ($10^{\circ}C$). The vapor-impermeable ensemble showed no difference in evaporative resistance between polyester underwear and wool underwear in both conditions. Future research should consider various clothing ensemble combinations and environmental conditions and evaluate wear comfort by using human subjects.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.83-92
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• 2003

This study aims to classify women's undergarments of the 20th century by periods, and to examine their characteristics. The research method consists of a literature study based on relevant documentary records and a demonstrative analysis of graphic data collected from each reference. The features of women's undergarments obtained from the study are as follows: First, silhouette changes of outer garments appear to influence the type and style of a new undergarment. Second, technological development results in a new type of undergarments. Third, the development of new material appears to influence functions and design of undergarments. Fourth, social changes including the development of sports affects the changes of undergarments. As seen so far, the form or type, material, and color in undergarment diversify when fashion changes become varied and rapid. As shown before the 20th century, the importance of undergarment's type, form, and function gradually reduces according to the changes of women's mind due to their social participation, although it still plays a role in correcting the shape of an outer garment based on the outer silhouette. The design also clearly shows the extremes of maximization and minimization of decoration.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.