• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.191-201
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• 2004

• 복식문화학회:학술대회논문집
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• 복식문화학회 2005년도 Joint International Conference
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• pp.152-154
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• 2005

• 한국의류학회지
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• 제15권3호
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• pp.239-250
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• 1991

The purpose of this study was primarily aimed at the revealing changes in the aspects of women's clothing derivationed with the women's self-consciousness, liberation movement, women's suffrage and social participation from the mid-l9th century to the mid-20th century. According to the study, the main change of western women's costumes were eradication of corset, emergence of troussers and tailored suit, and transformation of sportwear. So that, women's liberation movement has an deep effect on leading up to a change tendency the functionalization and masculinization of women's costume.

• 패션비즈니스
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• 제4권2호
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• pp.127-140
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• 2000

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn't present historic costume of her age but expressed modern mood in color and form.

• 복식
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• 제65권2호
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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.

• 복식
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• 제58권1호
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• pp.61-78
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• 2008

Comedy costumes worn on the comedians/gag men express the information of the performances such as character's era, place, social rank, present environment, age, sex, occupation, emotion, relationships between the characters, importance and mood in visual language. The comic is found when these informations are reversed, revealed, exaggerated or distorted. To analyse the TV comedy costumes, 5 subordinate concepts of the comic which are Body, Gender, Age, T.P.O.(Time, Place, Occasion) and Role could be identified, and the results from the analysis focused on (10 shows were selected from each of the first and second half of the years from 2003 to 2007) are as follows: Distorted and ugly body implies the resistance against the ideal body. Reversed or confused sex are usually expressed as men dressed in women, and these mean breaking the dichotomy between male and female, and coexistence of the masculinity and feminity, and satirizing the social custom restricting women by moral rules. It could be recognized that the way of men's dressing in women have been changing keeping pace with the times. The discord between age and costume was often expressed with children's wear and childish props. This implies the liberation from the age role. The comic expressed from the inadequate costume for T.P.O. usually appeared with the costumes 20-30years behind the times. When there were discordance with the acts and acts expected from the outfit(appearance) also made an ironical laugh. The comics acquired by vulgarization and exaggeration of the characteristics of role(figures/occupation) were from the imitation and deformation of the objects in stereotypes, and through this dissolving the custom was under way.

• 한국의상디자인학회지
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• 제19권3호
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• pp.159-174
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• 2017

It is very important to preserve the form of traditional costumes and to set the prototype for the design and production of various Korean costumes. This study therefore attempts to analyze the Danryeung pattern methods in textbooks in order to propose a prototype of Korean costumes and a system suitable for modern men, focusing on the Danryeung of the Joseon Dynasty. The research method examined the flow of the Danryeung system in the Joseon Dynasty through previous studies and literature, and the portrayal of the appearance of people of the time through portraits and paintings. The purpose of this study is to analyze the measurements and patterns of textbooks' Danryeung based on the analysis of characteristics of the 5th Joseon Dynasty. From that, the study will analyze the differences between textbooks and artifacts and will propose a Danryeung system for the body shape of modern males in their 30s. In this study, it is meaningful to propose the guideline for the design modification of Korean costumes by providing basic data for subsequent productions.

• 복식
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• 제64권1호
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• pp.45-63
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• 2014

In the Taenghwa(Buddhist paintings), the clothing habits of the times can be observed since it depicts the lives of people from all walks of life. These 16th century Taenghwas were drawn based on the understanding of the ritual costumes of early Joseon dynasty appearing in works such as oryeui Se-jong-sil-lok; Sejong chronicles and Gyong-guk-Dae-jon. It shows the perception of various types of clothing such as the Myeon-Bok(King's Full Dress), Won-yu-gwan-bok(King's Ceremonial Dress), and Gon-ryong-po(royal robe at work), and describes the early King's Won-yu-gwan-bok in the early Joseon dynasty that equips Bang-sim-gok-ryong(Round Neck Band). Various officials' uniforms and various men's coats are described. From it, one can visually verify the records of Joong-jong-sil-lok; Joongjong chronicles that describes the appearances of various hats and coats. They also tell us that Chang-ot(light outer coat) was worn prior to the 17th century. It also shows us that the ritual costume of women in Koryo was passed down to early Joseon. Also, in regards to the Buddhist priest costumes, the jang-sam's gray color and ga-sa's red color has been passed down until today. The most representative characteristic for clothing materials were horsehair, silk, ramie, hemp, and cotton.

• 한국의류산업학회지
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• 제15권2호
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• pp.202-209
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• 2013

This study suggests a new women's upper clothing based on traditional Korean costumes that utilize the Jatmulim. The Jatmulim is an example of the skill found in conditional Korean costumes and is of a small triangular shape. Jatmulim was developed in size, shape, and arrangement through the method of making and using children's Durumagi, the dancer's or shaman's Mongduri, and modern works. A total of five pieces of different women's clothing were suggested by applying the developed Jatmulim. In the first piece, the clothing is a woman's sleeveless blouse based on the construction of the Yoseon-Cheolik from the Joseon period and made with a larger sized Jatmulim in the back of the neckline and shoulders. In the second piece, the clothing is designed for a woman's jacket based on the Bansuui of the Joseon period with rectangular Jatmulim in the front neckline and at the end of the sleeves. In the third piece, the clothing is designed for a woman's sleeveless blouse based on the Danryeong with rectangular Jatmulim in the neckline. In the fourth piece, the construction of the Jeogori is applied to the clothing for making a woman's jacket that has a bigger sized Jatmulim in the front part as a decoration. In the fifth work, the clothing is designed for a sleeveless blouse based on the Dapho with a different sized arrangement of the Jatmulim in the neckline.

• International Journal of Human Ecology
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• 제15권2호
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.