• Journal of the Korean Home Economics Association
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• v.41 no.5
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• Fashion & Textile Research Journal
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• v.9 no.3
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• pp.286-294
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• 2007

Dolbok, the first birthday suit, is a formal suit a person puts on for the first time after birth. It not only a symbolizes of Korean customs or traditions, but also represents transmitted ideas, values and lifestyles of Koreans. In this nation where strong preferences for son prevailed, dolbok for boy was specially important. 1.Styles of weaing Dolbok are classfied into trousers and jeogori, baeja, magoja, durumagi, jeonbok, sagyusam and yongpo styles in accordance with what kind of clothes was finally worn. 2. Accessories of dolbok for boys included dolddi, dol jumeoni, gulre, bokgeon, hogeon and tarae baeseon. 3. Dolbok of trousers and jeogori, baeja or magoja style simply consisted of 2 to 4 units of clothes. It was usually worn by ordinary people, and strongly imaged as common. Dolbok of durumagi or jeonbok style was a combination of 5 to 6 units of clothes and mainly worn by noble and royal families. It was remarkably formal, but quite brilliant. The suit for first birth anniversary which was sagyusam or yongpo was made in accordance with court rules and used by the royal family, It consisted of 7 to 8 units of clothes. Dolbok of sagyusam or yongpo style used invariable, simple patterns and colors, but had strong images of courtesy and dignity. 4. Regarding accessories of dolbok, the long-hanged goreum was a symbol of parental wishes for the $baby^{\circ}{\emptyset}s$ health and longevity and dolddi was joined by dol jumeonisymbolizing the wealth and prosperity of the baby. In addition, hogeon was a hat whose shape was the head of tiger symbolizing wishes for bravery and health and tarae beoseon was childlen's socks that had seams, symbolizing prosperity, on the fore edge. Seon for sagyusam was used as a symbol of preventing diseases or evil spirits to protect the health of the baby.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.35-44
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• 2003

In Anthropology, ceremonies which human should pass in lives are difined as ‘Rites of Passage’. Each Rite has its own Clothing style, which is little different from general Clothing in shape, composition, color, meaning, etc. This Study shows composition and characters on Birth Ceremony Clothing through Documents and Survey around Chonnam Area. Survey Area is subdivided into 3 parts : Koksung(A Basin of Sumjin River-Eastern Area of Chonnam), Na-ju( A Basin of Yeongsan River-Western Area of Chonnam), and Kangjin(Southern Area of Chonnam). This Study analyses characters on Baenaet Jogori, 100th-day Clothing and First-birthday Clothing in Chonnam Area. In case of Baenaet Jogori, its shape in Survey is similiar to that of documents. In case of 100th-day Clothing, New Jogori and Baji have been made usually. First-Birthday(called “Dol”) Clothing shows difference between male and female infant. Male clothing consists of Pungcha Baji, Jokki, Magoja, Doltti while Female clothing consists of Pungcha Baji, Chima, Jumoni, and Doltti. In making of infant Clothing, 5-colors(Blue. Red, Yellow, White, Black) which consists of basic color in the Theory of the cosmic dual forces and Shape of Letters such as 壽ㆍ福ㆍ亞ㆍ卍 are used usually. This kind of colors and Shape of letters symbolize longevity and fortune. As a result of study, I find what Ritual Clothing in Birth has many symbolic meaning which reflects life-style culture. This study lay meaning on that deals infant clothings as a kind of Ritual Clothing.

• Journal of Fashion Business
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• v.14 no.1
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• pp.106-115
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• 2010

This study's purpose is to, first survey the traditional children clothing, clothing which doesn't get studied mostly. Second, to choose the factor that can modernize. Third, to design the present one-piece dress. Fourth, to gather an understanding about traditional children clothing and make a chance for children to wear the clothing that has a traditional factor. Traditional children clothes have a same shape with adults' clothes they use five primary color and use a pattern of a symbolic meaning which means healthy and long life. For ordinary wears there are Chimajogori and Bajijogori and for ceremonial dresses they wore Durumagi, Sagyusam which are Po and Dangui and headdress was added. The shape was considered by the children growth condition so the Gorum got longer. The dragon, cicadas, butterfly, phoenix and lots of flower pattern was used by the difference with the class. 5 one-piece design adapted Jogori, skirt, Dangui, Sagyusam, Magoja and used the traditional fabric by mixing the five primary color and the five secondary color was used to make traditional color. This study expects for a chance of children to wear traditional Hanbok or Hanbok-adapted clothes.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.110-123
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• 2013

The purpose of this study is to analyze the first birthday Hanboks on Internet shopping malls and to find the reason why the costume has various types. From April to May 2012, first birthday costumes were sold on 154 Internet shopping mall sites. On 48 of the shopping malls, traditional Hanboks were sold, on 33 of the shopping malls, fusion Hanboks were sold, and on 73 of the shopping malls, Western formal wear was sold. The percentage of the Hanboks and Western costumes for the first birthday was almost the same. Boys costumes in the traditional Hanbok consisted of 'Magoja, Joggi, Jeogori, and Baji" or 'Baeja, Jeogori, and Baji" with Jeonbok or Sagyusam. Boys' headgear consisted of Bokgun and Hogun. Girls' costumes in the traditional Hanbok consisted of 'Jeogori, Chima' or 'Dangui, Chima or Seuranchima'. Girls' headgear was Gulle, Jobawui, and Baessidaenggi. Boys' costumes in the fusion Hanbok consisted of 'Jeogori, Baji, and Wanggunmo' which is different from the traditional Hanbok in materials, colors, and parts of construction. Girls' costumes in the fusion Hanbok could be divided into 3 different types; a modified traditional skirt, Chima, 'Chima and Jeogori" with new materials and colors, and Western dress with traditional materials. The first birthday Hanboks on the Internet shopping malls are simple and convenient compared to the traditional ones. Furthermore, parts of the costumes are influenced by some popular historical dramas. One of the reasons why the costumes have changed is because the customers have few experiences about traditional Korean costumes and their interests have been affected by the modern media.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• Journal of Fashion Business
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• v.26 no.1
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• pp.68-91
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• 2022

The purpose of this study is to create modern patterns based on considering the types and design elements of Joseon hwapo patterns containing Korean identity, and to develop costume designs by applying design elements of traditional Korean dress, Hanbok. These designs combine traditional costumes with modern sensibility using the attribute listing method, and present them using a 3D virtual clothing program. Through this, it is meaningful as it organizes data on Joseon hwapo patterns, which were rarely dealt with in the traditional Korean costume research, and it is also of research value as it is a work that utilizes Joseon hwapo patterns as a new source of fashion design development. As a research method, literature research was conducted based on the documents, 'Nabeshima-sarasa hidensho', 'Nabeshima-sarasa mihoncho', and 'Zoho kafu benran', which are related to Joseon hwapo remaining in Japan. Based on the literature research, research was performed by creating pattern design and costume design using the attribute listing method, and 3D virtual clothing. Traditional Korean costumes used in design development in this study were saekdong-jeogori, dolddi-jeogori, magoja, hongjangsam, durumagi, jungdan, gollyongpo, jeogui, breast band, mujigi-chima, chima, and baji. Further, accessories used in each costume, such as pyeseul, daedae, hapi, and jeonhaeng-utchima, and features of configurations, such as yongbo, chest ribbons, band hem, gusset, collar and dongjung, heorimalgi, neckline, and sapok line, were used for design development.

• Journal of the Korean Home Economics Association
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• v.45 no.1
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• pp.63-73
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• 2007

Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.