• Journal of the Korean Society of Costume
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• v.43
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• pp.97-108
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• 1999

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamonokatary$\boxUl$ focus on Color and Dying. $\boxDr$Eigamonokatary$\boxUl$is a novel described the life style of Royal Court from 883 till 1107. The discoveries of this paper were as follows. 1. The materials of colors and dyeing which are described in this book reflect the features of the age well. We can assume that the point of its chic might rest on colors and dyeing than design or pattern. 2. Sine they enjoyed wearing lots of clothes which are in the same design but in different colors with the underwear. When color coordinate was fashioned we call them "Kasanenoirome". This type of dressing was in vogue in the age of Heian when there were several devices of showing chic in dressing. 3. The color of clothes at that time might represent one's official position the black the highest class following the purple the red and the blue or green. The black color was made from the purple or blue. The Japanese Emperor would wear reddish yellow or blue clothes according to the nature of his office work. 4. Some of Japanese fashion might be influenced by Korean styles in the respects of coordinating colors and adjusting Buddhist fashion etc. It is required that the turther studies of comparing Korean fashion styles with Japanese ones should be deepened. deepened.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.37-48
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• 2009

This paper summarized the forming, structure and management of the Ui-Jeon(衣廛) in Joseon Dynasty, considered the change of the commercial power of the Ui-Jeon in the $18{\sim}19th$ centuries. The Ui-Jeon was established the early period of the Joseon Dynasty. The Ui-Jeon merchants organized the association named Dojung(都中) and were in business with facilities like Haenrang(行廊) and Doga(都家). The Ui-Jeon was mid-sized Si-Jeon, the licensed shop(市廛). The Ui-Jeon held the monopoly of clothes. The Ui-Jeon merchants sold and bought old clothes, sold new clothes, lent the wedding dress for a bridegroom. The Ui-Jeon paid taxes and supplied clothes, goods and sewing labor for the marriage, funeral ceremonies of the royal family. The commercial power of the Ui-Jeon was threatened by free merchants(私商) named old clothes mercants(破衣商). Finally the Ui-Jeon merchants lost the exclusive right to clothes in 1791. After that, the Ui-Jeon merchanrs appealed to the government to give them the monopoly. The Ui-Jeon merchants regained the sole right to sell Ju-ui(紬衣), one item only, but it was temporary. Separately The Ui-Jeon merchants acquired the rights to collect the sub-taxes(分稅) from free merchants.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.75-91
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• 2015

This study is about Jongi-sim(Paper used for interlining) used in costumes of the Joseon Dynasty. Terms related to Jongi-sim include 'Anji(按紙)', 'Soh(槊)' and 'Gyeok(隔)'. Anji is a term that refers to Jongi-sim used on padded clothes. Soh refers to stiff and thick paper inserted between fabrics. Gyeok is predicted to be a term that refers to the use of paper as both interlining and lining. Chojuji(草注紙) was used for Jongi-sim in Cheolik, Aekjueum, Baji and Dae among kings and crown princes' ceremonial costumes. Chojuji and Jeojuji(楮注紙) were used in women's royal costumes such as Jeogori, Hosu and Chima. Doryeonji(搗鍊紙) was used in Dae and Yangyieom. Gongsangji(供上紙) was used for the interlining or lining in Yangyieom. Excavated costumes that used Jongi-sim for the entire clothes are Cheolik and Jangjeogori. Jongi-sim placed in Git(collar) was sometimes placed together with cotton. Geodeulji of Jangot used paper in invisible parts as to replace fabric by paper. Danryeong and Dapho attached Jongi-sim to Mu, and stiff paper was inserted.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.88-100
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• 2017

This study is for the textiles of at Sun Am Temple and characteristic of embroidery. Tak Ui was composed of orange body and green upper cover, and had no strings. The body plate was covered with embroidery, with Gauze base, and upper part was appliqued, by cutting dragon pattern, cloud pattern on satin damask. The thread for embroidery was silk floss, silk twisted thread, rapped gold thread, and rapped silk thread. For padding, it was used cotton thread in the part of dragon's scales. It was used satin stitch, outline stitch, split stitch, couching, and counted stitch, etc. as method of embroidery. In particular, it embroidered counted stitch of diamond shape consecutively on the whole of Tak Ui, it does so with counted stitch of same effect of weaving Brocade in the part of cloud. Besides, it is one of the characteristic for couching rapped silk thread. Such lead embroidery is the popular method in the Ming dynasty of China, in the 16~17 century. The design of Tak Ui is dragon, cloud, and wave in the theme. In the center, 'Seong-su-man-nyeon' was placed on the heads of dragon. This is similar to Dragon Robe of Four-petalled medallion patterns, period of Ming dynasty in China. Therefore, it confirmed that Tak Ui was remodeled the embroidered textiles, made for royal robe, originally, with Tak Ui at temple.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.8
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• pp.1453-1464
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• 2001

The first objective of this study was to investigate the current status of the display of traditional costumes by observing museums in Seoul ; the National Folk Museum and the Royal Museum. The second objective was to investigate the satisfaction and need of their visitors by a survey method. To collect the data, several observations were made by the author, interviews were conducted to the students whose major is related to clothing and a survey using questionaires was conducted to the consumers who visited the museum in the fall of 2000. To analyze the data, both qualitative and quantitative methods were utilized. The major results were as follows; Two museums were differentiated in the contents of display, but some of costumes displayed were overlapped. In both museums, there were few visual explanations. The visitors were highly interested in the costume display in the museum. The most dissatisfactory area was the way and contents of costume explanation. The preferred contents, method, explanation and environment of the display of traditional costumes were partially different according to visitors’, characteristics. The reforming of the display of costumes reflecting the results will increase the visitors’satisfaction and therefore strengthen the competitiveness of the museums.

• Journal of Fashion Business
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• v.22 no.6
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• pp.39-52
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• 2018

The objective of this study was to enhance understanding and appreciation of Pre-Orientalism in costumes and textiles by revealing examples of Oriental influences in Europe from the 16th century to the mid-18th century through in-depth study. The research method used were the presentation and analysis of previous literature research and visual data. The result were as follows; Pre-Orientalism had been influenced by Morocco, Thailand, and Persia as well as Turkey, India, and China. In this study, Pre-Orientalism refers to oriental influence and oriental taste in Western Europe through cultural exchanges from the 16th century to the mid-18th century. The oriental costume was the most popular subspecies of fancy, luxury dress and was a way to show off wealth and intelligence. Textiles were used for decoration and luxury. The Embassy and the court in Versailles and Vienna led to a frenzy of oriental fashion. It appeared that European in the royal family and aristocracy of Europe had been accommodated without an accurate understanding of the Orient. Although in this study, the characteristics, factors, and impacts of Pre-Orientalism have not been clarified, further study can be done. Recognizing a broad perspective on oriental influence in Europe before Orientalism, we can have a balanced view of future Orientalism and global fashion.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.185-200
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• 1998

The eldest son of the crown prince is very important social status next to the crown prince deciding fundamentals of a state in Chosun dynasty which laying stress royal authority. Accordingly, Chakbong(冊封) of the eldest son of the crown prince has been done independently like as Chakrei(冊禮) of the crown prince. The existig record of Chakrei(冊禮) of the eldest son of the crown prince. The existing record of Charkrei(冊禮) of the eldest son of the crown prince are Hyunjongwangseon(顯宗王世孫), Euisoseson(懿昭世孫), Youngjowangseson(英祖王世孫), Hungjongwangseson(憲宗王世孫) of 4 books for Chakreidogameuigue(冊禮都監儀軌) being preserved in Kyujangkak(奎章閣). The transition of classified clothes are stated on Wangse sonchakreidogameuiguebanchado(王世孫冊禮都監儀軌班次圖) for Chakrei(冊禮) of the eldest son of the crown prince. Its details are as below. Finally, there is no changes in constitution of the costume of the eldest son of the crown prince Chakrei(冊禮) called as Ssanggodong(雙童髮)·Gongjungchak(空頂 )·Ojangbok(五章服) on documentary records depsitefo no explanation of Banchado(班次圖). Secondly, The classified clothes of the eldes sion of the crown prince Hcakreibanchado(冊禮班次圖) are on . We have acknowledged that Kwanmo(冠帽) of Dangbukwanwon(堂部官院) has been changed from Heugrib(黑笠) to Samo(紗帽) since Youngjowangseson(英祖王世孫), Euibok(衣服) from Chungpo(靑袍) to Nokdanryung(綠團領), the costume of Euijangsu(儀仗手) from Chunggun(靑巾) to Whangchorib(黃草笠) and changed again to Hongpimoja(紅皮帽子), Chungeui(靑衣) changed to Hongeui(紅衣). Also we know that Kwanmo(冠帽) of Kyogun(轎軍) has been changed to Pimoja(皮帽子) with high top, Chungeui(靑衣) changed to Hongeui(紅衣). The costume of Byulgam(別監) has been changed from Nokgun(綠巾) to Jogun( 巾), Nokpo(綠袍) changed to Pimoja(皮帽子) with high top, Chungeui(靑衣) changed to Hongeui(紅衣). The costume of Byulgam(別監) has been changed from Nokgun(綠巾) to Jogun( 巾), Nokpo(綠袍) changed to Hongpo(紅袍), that of Suri(書吏) changed from Chungeui(靑衣) to Huekeui(黑衣). Accordingly, the transition of costume color to red stands for the briliance. Thirdly, regarding the constitution of the eldest son of the crown prince Chakrei(冊禮), that of Euisoseson(懿昭世孫) & Youngjowangseson(英祖王世孫) are same for Unggolta(態骨朶), Youngjagi(令字旗), Keumdungja(金 子), Eundungja(銀 子), Mojul( 節), Jaksun(雀扇), Chungkae(靑蓋), Chungyangsol(靑陽率). In case of Hunjongseson(懿昭世孫), Baktakgi(白澤旗) is added. On Youngjowangseson(英祖王世孫), Chungilsol(靑日率) and Kiringi(麒麟旗) are added. However, we know that the constitution of the eldestson of the crown prince Hunjong(憲宗) Chakrei(冊禮) is quite different that of previous constitution. i.e. : Hongae(紅蓋), Baktakgi(白澤旗), Samkaggi(三角旗), Kagdangi(角端旗), Byukbonggi(碧鳳旗), Jujakgi(朱雀旗), Kuemdungja(金 子), Eundungja(銀 子), Eunribgwa(銀立瓜), Kuemhwanggwa(金 瓜), Eunhwhanggwa(銀 瓜), Kuemwolbu(金鉞斧), Bongsun(鳳扇), Huegkae(黑蓋). Also the kinds of Eujanggi(儀仗旗) are various which are similar to the constitution of The Crown Prince(世子) Chakrei(冊禮).

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of Fashion Business
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• v.3 no.2
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.