• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.96-107
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• 2012

In ancient times, immigrants from Baekje wore various kinds of costumes that provided technological and aesthetic guidance for the Japanese costume, which has been modified and changed in Japan. The clothing and ornaments were strongly influenced directly by costumes of the Baekje period; therefore, many of the Japanese costumes at that time were crafted in the Baekje style. Through the antique records, paintings of tombs and bequests, we were able to find similarities between Baekje and Japan costumes in these categories: clothes, headgear, belt hooks and belt plaques, bronze shoes, and ornaments. (1) Clothes : They wore high-shaped hat and jacket and trousers(;袴) tied the bottom. (2) Headgear : There was a gilt bronze Conical Cap attached to the long tube with terminals in the shape of a hemisphere. (3) Belt hooks and belt plaques: There were horse-shaped belt hooks in mane styles and a checkered pattern on the lower part of the haunch and a belt Plaque shaped like the face of an animal. (4) Gilt bronze shoes: They were made with the style that had two side plates fixed in the instep side and heel-side. (5) Ornaments : They were made with flower-shaped plaques and spiral-shaped decorations. One earring was made with a three-winged pendent that were connected in a chain style and the others were in unique forms that were made by connecting narrow rings and a heart-shaped pendent.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.945-956
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• 2001

The costume for gods in the Ancient Roman myth was studied by examining in the embossed-carving, sculptures, mural-painting and various documents of the period. The clothes item, hairstyle, symbol & ornaments and shoes of the gods in the Roman myths were analyzed to understand the formative process in the religious costumes, and results are as follows. First, the costumes for male gods are the same as those for ordinary men lived in ages, including toga, paludamentum, tebenna, tunica. The costumes for female gods are also the same as those for ordinary women lived in ages, including stola, palla, tunica. Second, the hairstyle of male gods is short curled-hair, twisty roll-up hair and braid long-hair due to the influence of Etrurian in the early days. Another hairstyle is appeared in form of the laurelled-crown. The hairstyle of female gods is curled long-hair, chignon style and braid roll-up hair decorated with hairband. Third, the symbol & ornaments which represent the responsible possession of male gods, are appeared in beard, a stick of the message, arrow-case, offering-dish, antlered-glass, shield, spear-handle, as the superhuman forms, such as the lightning shape. For female gods they are is appeared plastron, a stick of the message, flower. some female gods wear necklace, foot-ring, bracelet. Fourth, male gods wear shoes in forms of sandal, buskin, boots, but all female gods are in barefoot. It could be explained by the fact that a man-centered society in the ancient roman is reflected in the world of gods. As mentioned, Gods costume in Roman myths was very similar to or nothing different from the ordinary peoples in Rome. However, they used corps, sacrifices or sepcific symbols depending on the fields that they were responsible for in order to be distinguished from the ordinary people. This is the result from the peoples expression that they should keep a close relationship with Gods hoping to be protected, and rely on them under whatever circumstances.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.13-34
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• 2008

In Headgear and Ornaments for Diadem in the Period of the Three States there was Conical Cap(or Pointed Cap), Feathered Cap(Trim), and Crown[Tree-typed Diadem and Tree and Antler-typed Diadem] was excavated from the tombs. Feathered Trim is 5 types, Feathered Trim I-A, Feathered Trim I-B, Feathered Trim II-A, Feathered Trim II-B, Feathered Trim II-C in according to upper part of central insert plate style. Feathered Trim I-A, I-B, II-B type was general style that was found in most of the old tombs in ancient Silla, Gaya. Feathered Trim II-A type was excavated from the only Silla tombs and II-C type was excavated from Gaya tombs. The Ornaments for Diadem in Baekje was excavated from the tombs is adorned with a arranged leaf-stems on either sides and the flower-shaped. They were distinguished with the original mode of Goguryeo and ancient Silla at the time. Tree-typed Diadem is five part in according to the Mountain(;山)-typed piled up. Only one Mountain(;山)-typed one in three stand-up ornament(I-1 type), and three step one in three stand-up one(I-2 type), modification one (I-3 type), three step one of four and five stand-up ones(I-4 type), and four step one of four and five stand-up ones (I-5 type). Tree and Antler-typed Diadem is three part in according to the step of Mountain(; 山)-typed and cross-shaped of the upper part. Three one of three step one of Mountain(;山)-typed and two Antler- typed (II-1 type), cross-shaped one(II-2 type), four step one(II-3 type).

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.125-138
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• 2004

This study has the aim of defining the special characteristics and images of the rainbow colored fashion by understanding the theoretical bases of rainbow colors and analyzing rainbow colored fashion images in historical materials. western and folk costumes. modern fashion design. Giving careful consideration to the rainbow colored fashion makes it possible to develope the innovative way of fashion design to satisfy the needs of color usual for designers and colorists. To obtain the purposes, document study and survey study have been executed. The results of this study are as follows. In document studies, the beginning of rainbow colored fashion went back in ancient Egypt. Also saikdong of korea, poncho of indians are the examples of the rainbow colored fashion. The rainbow colored fashion were put on a man of position in principle ceremony for ornaments. In survey studies, the clothing perception characteristics in rainbow colored fashion were analyzed. Main factors of perception characteristics In the rainbow colored fashion are ＇closed form＇, ＇whole＇, ＇indeterminate＇, ＇rounded＇, ＇planar separation＇ The factors that affect the perception of rainbow colored fashion are ＇closed form＇ and ＇indeterminate＇ characteristics. And rainbow colored fashion images and clothing perception characteristics can be classified into four main images : Vigorous, Colorful/fairy, Fresh, Mysterious/brilliant. Therefore. this study is to systematize the characteristics and images of rainbow colors. Based on the results makes it possible to adapt rainbow colors to fashion design efficiently, for the suggested design elements and color palettes include basic three fashion design elements color. texture. form.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.13-22
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• 2007

As the world has been forming the global village and the cultures of each country are exchanged, the unique cultural specialty of each country high been merged with the generality in the world. The increasing interest on the oriental world and the globalization recently brings the fusion form of oriental and occidental cultures. In such a global trend, it is our challenge to find out the traditional beauty and the design factors of Korea for the new challenge and development of Korean fashion and to develop the most Korean and global design by interpreting them in a modem sense. It is the Era of the Three States when an of official hat among the personal ornaments of Korea was firstly described on the literature, including the literature of ancient China and Chronicles of Three States and Heritage of Three States of Korea. Those literatures clarified that the people in Goguryeo Baekje, Silla and Gaya decorated themselves with gold, silver and jade. Furthermore, since various kinds of ornaments have been excavated, they shown the development of metal craft in the Era of Three States. This study aim to exploit the design motives among the gold crown elements among the ornaments during the Era of Three States, interpret them in a modem expression, develop the textile design using the Adobe photoshop and suggest the application approaches by applying them to the clothing design.

• Journal of Fashion Business
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• v.14 no.6
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• pp.188-203
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• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.