• 복식
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• 제64권3호
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• pp.32-46
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• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• 복식
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• 제66권6호
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• 한국의상디자인학회:학술대회논문집
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• 한국의상디자인학회 2005년도 Fasion road:Korea to belarus
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• pp.161-163
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• 2005

• 한국의류산업학회지
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• 제22권1호
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• pp.11-24
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• 2020

This research examines pattern production of 3 men's costumes in the second half of 19th century by 3D reconstruction to reveal technical aspects of mail costumes. The steps are as follows. First, an examination of selective type according to research study. Second, a pattern analysis of 3 historical male tops of 19th century referred to 9 pattern books of the France National Library collection. Third, a categorized type analysis that referred to paintings of the Musée d'Orsay collection. Fourth, a measurement and structure research of 3 historical garments of Fashion and Textile Museum collection. Fifth, the pattern making and fitting by 3D simulation. Research discussed the following subjects and results. First, main type of men's coat can be categorized by frac, redingote, jaquette, and veston. Second, the male costume pattern contained in pattern books was researched along with distinguished silhouettes and structures; X silhouette for frac and redingote, H silhouette for jaquette, and straight box silhouette for veston. Third, based on the analysis of representative type of men's costume per period conducted previous studies, 2 redingotes and a jaquette in the museum were selected and compared to other data such as image materials. Last, the following process was conducted for reconstruction; 'Drawing diagram-Primary pattern drafting by measurement value-3D virtual fitting-Checking the fit-Modification and complement'. We also obtained a 3D virtual reconstruction and a 2D research pattern that suggested a costume pattern by each type along with 3D reconstruction that included insights for male coat techniques of 19th century France.

• 복식
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• 제62권8호
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• pp.118-133
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• 2012

A historical research on the costume of memorial service officials during the period of late 18th century, King Jeongjo period, is performed for an accurate reconstruction of the memorial service for King Danjong, which is a part of King Danjong Cultural Festival held at Yeongwol. This paper summarizes the results of the research as follows: 1. Jangneung memorial service is held only on Hansik day and the procedure follows the rule based on Gukjooryeui(國朝五禮儀). The service was first held in 1791 for King Danjong and his royal followers. 2. The rule based on Chunkwantonggo(春官通考), defines the king's tomb memorial services and attendees. King Danjong's memorial service follows the rule regarding its attendees and the attendees include high-ranking local government officials, local confucian scholars, and service men. 3. The costume of attendees for the King Danjong's memorial service is as follows: 1)Dangsangkwan(堂上官) and Danghakwan(堂下官) wear Sangbok(常服), which consisted of Samo(紗帽), Heukdanllyeong(黑團領), Pumdae(品帶), and black boots(黑靴). 2)Local confucian scholars wear their uniform consisting of Yukeon(儒巾), Dopo(道袍), Sejodae, and black boots. 3)Service men wear their uniform consisting of Jeonjakeon(典字巾), red-robe with rounded collar called Hongui(紅衣), Kwangdaw hoe(廣多繪), and Uuhae(雲鞋).

• 복식
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• 제65권1호
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• pp.136-149
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• 2015

This research aimed to study the making of western men's coats in the early 19th century. First of all, the study figured out the concepts and forms of western men's tops in the early 19th century by collecting and categorizing pictures including engravings, paintings and pattern books, and literature data. Second, this research identified the patterns, sewing, and design techniques by examining the pattern books on men's clothing in the early 19th century, and analyzed the preserved costumes to restore the selected models. Third, this research presented historical evidences and patterns after designing a men's tailcoat of the early $19^{th}$ century and checking the fit based on the analyzed forms and design techniques. The research discovered that the analyzed results between the tailcoat forms depicted in literature, pictures and pattern books and preserved costumes were almost identical. From this, it can be assumed that the tailors followed a manual when designing garments during that time given the similarity between historical records and remaining items. In addition, it can be seen that the forms and designing methods of men's clothing in the 19th century were almost similar to that of the modern menswear, despite the differences in producing process.

• 한국의류학회지
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• 제35권8호
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.

• 한국의상디자인학회지
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• 제7권1호
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• pp.1-13
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• 2005

This study is for the construction of Cheo-Yongdance Costumeby historical research based on Ak-Hak-Gue-Peom(樂學軌範). Through the production of Cheo-Yongdance Costume by historical research, it is examined and this study is expected that be a help of the right succession of a traditional costume. Cheo-Yongdance Costumeis draught to real size by comparing the size and picture suggested in Ak-Hak-Gue-Peom. In the specialty of Cheoyong(處容) dance Costume in the drawing, the length of clothes was 152cm that is longer than the length of the excavated Danlyeong(團領) of Chosun Dynasty period. Width was 81.9cm that is very big and the width of Danlyeong is 11.7cm. The sleeve length of Hansam(汗衫) is 20O.60cm and it is one that attached Hansam to Jeogori(저고리). The material used for Cheoyong dance Costume is Dan(緞), Cho, Joo(紬), Red gold patterned brocade(紅金線). At the same part, and as the goal was differently used at the same clothing. As the methods of dyeing, the process of dyeing naturally is suggested. A gardenia seeds, indigo plant, and ink stick are used for the color of blue, red, yellow and black. The producing process is made in concrete by suggesting the process of producing clothing. Danlyeong is required the technique of smoothing out wrinklesin case of attaching. Goon(裙) was made by making plaits below and attaching string for making form in the literature. Ui(衣), Chon-ui(天衣) and Goon(裙)'s Bang-sul(方膝) are drawn a Man-hwa Mun(蔓花紋) on Ak-Hak-Gue-Peom by using the golden dyeing material. As the result of producing the clothe by using the recorded size in Ak-Hak-Gue-Peom, it could be examine a pertinent dance clothing for expressing the dance performance with big motions.

• 한국의류학회지
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• 제42권2호
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• pp.360-378
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• 2018

Noeui was a garment used for women's outfits and robes. In the late Joseon Dynasty it was a special garment that could only be worn by the class belonging to the royal family. Noeui was especially prepared as a wedding dress, and was worn by the bride at the Chinyeong ceremony on the day of the wedding ceremony. Until now, Noeui did not have in depth research at the costume history despite its importance as a royal costume in the Joseon Dynasty. Thus, based on Uigwe for the Royal Wedding Ceremony of King Injo and Queen Jangryeol (which is the only material with a diagram of Noeui and its pattern) this study historically investigated and restored the Noeui set of Queen Jangryeol, which was arranged in 1638, when King Injo and Queen Jangryeol were married. This academic study is the first to historically confirm and restore Queen Noeui's set, and rigorously analyze the historical materials as well as provide new comments on the shapes of Noeui's Git and the front side.

• 복식
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• 제64권7호
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• pp.11-28
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• 2014

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).