• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.1-21
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• 1998

The purpose of this study was to trace and to identify costumes described in the sumptuary laws of Silla in Sam Guk Sa Ki(三國史記). Conclusions and summary of the research can be summarized as follows. Pyo ui was an outer robe. It was worn by man and woman from all classes. Nai ui is considered as a kind of long inner garment worn under the outer garment. Ban bi is a short-sleeved garment worn over a jacket. Both sexes wore this garment but it was restricted to the upper class. Dan ui, a short garment, is a kind of jacket. Although records on this garment appear only in the items of woman's garments, it si considered that all people wore this garment since it was basic garment for the people of Silla. Bai was the bai ja. It was a kind of woman's over-cat with wide sleeves. Dang is considered as a kind of woman's outer robe originally made of ra. The upper class women entitled to wear the bai and the dang. Women wore skirts. They had tow kinds of skirts an outer skirt and an inner skirt. However, women of four du pum did not have an inner skirt. Trousers were worn by all people. Names of ban bi, bai, and dang were derived from T'ang China. These garments with their origins in T'ang China were used by the upper class people of Silla. They used those garments as a means of differentiating their social status from the lower class.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.263-274
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• 2003

This study analyzes how social environment influenced underclothes and characteristic which underclothes have is associated with the outer garment and the underclothes in the Middle Ages. As a result, 1 can get the next conclusion First, throughout the Middle Ages, body was involved with the sense of same and sin influenced by the religious austerity. This mentality was applied to the underclothes. As underclothes are not generally revealed, it is recognized to be not important but inefficient. Second, in the late Middle Ages, as the outer garment reveal the body line, the underclothes are affected by it. So men's and women's distinction in the outer garment is applied to the underclothes. In the second quarter of the 14C, class distinction and sexual attraction certainly present on the outer garment but are not applied to the underclothes. The conceptions that underclothes might express the spirit of the changing times, in sympathy with the outer garment, did not enter the medieval mind. Third, the function to protect the body is emphasized the underclothing in the Middle Ages, whereas it was important to identify rank sign in the history of underclothes. Throughout the Middle Ages the underclothing of both sexes is emphasized utilitarian in (unction rather than class distinction and sexual attraction. But women exposed their body line in thin chemise to represent sexual attraction in the late Middle Ages.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• Journal of the Korean Society of Costume
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• v.6
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• pp.105-119
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• 1982

This thesis is mainly about the changes of Garment's collar(옷깃) and outer collar (옷섶) which indicate the identification of dress history. Through the observations of some reports about important folk materials and genuine objects, the author has investigated and rearranged them focusing on Yi-Dynasty. (1400-1900) For the shape of the outer lapels(겉깃) of Korean Jacket(저고리) were used together Squar-Tray-Collar(목판깃), Sharped-Collar(칼깃), and Dang ko-Collar(당코깃) and coming to the end of inner lapels(안깃) formed squar-tray-collar. Squar-tray-collar and sharped-collar were mainly used together for the shape of the outer lapels of Korean overcoat(포). Dang ko-collar was seen only in two overcoat. Coming to the 18th centry, the outer lapels became round-edged like those of jackets, while the inner lapels formed squar-tray-collar. In the process of positional changes of the collar and outer collar of Korean jacket and overcoat, the outer lapels positioned outside the outer collar, or a part of width of collar's positioned upon the outer collar, or the whole outer lapels positioned inside the outer collar. And through these changes the current position of the outer lapels became settled in the end of the 19th centry. But the inner lapels did not undergo many changes compared with the outer ones, and their position was mainly outside the outer collar like those of current lapels. And the garment's collar and outer collar of jacket and overcoat became small while the width and length of breast-tie(고름) became large.

• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.2
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• pp.164-176
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• 1990

Kok-Ryung covers the collar of underwear and protects the neck. It is between outer garment and underwear and its form is bent. According to literature, Cheom-Yu, Keup, and Pang-Ryung belong to Kok-Ryung. Kok­Ryung was used in Yemaek and also it was used as a part of the uniform of government officer in Song Dynasty. The results of the study were as follows: 1) With the changes of the times, Cheom-Yu was used in Ju Dynasty, Pang-Ryung was used in Han Dynasty, and Kok-Ryung was used from Nam-Jo through Soo, Tang, Song Dynasity. 2) Cheom-yu, Pang-Ryung, and Kok-Ryung were all made of long rectangular cloth. How­ever, Chemo-Yu and Pang-Ryung were adjusted in front of the neck, Kok-Ryung was adjusted on the back. 3) The purpose of Kok-Ryung was practial one of sweat clothes at first. But it became for decoration and dignity gradually. Therefore, the users of it were changed from the common people to high government officers. 4) Cheom-Yu, Po-Ryung, Keup, and Pang-Ryung were all a kind of scarf and they are the same with Kok-Ryung in the respect. They were put on between outer garment and underwear or attached under the collar of outer garment. 5) Kok-Ryung of Song-Sa seems to be the round collar the uniform of government officers and it is different from Kok-Ryung of Suk-Myung.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1110-1118
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• 1999

This study was to examine the effects of garment types on thermal insulation using a thermal manikin. cotton polyester wool silk and rayon were selected as outer wears like a blouse a skirt slacks and one-piece for this study Acetate was chosen as a lining. Brief and upper innerwear with long sleeves(cotton) were also chosen as the innerwear. The results were as follows: 1. The thermal insulation of the garment of single layer was in proportion to the covering area of garment in all types of clothing. 2. On adding the innerwear or the lining or both the thermal insulation of the each garment of single layer were showed a different trends by garment types. The thermal manikin insulations of one-piece dress adding the innerwear was higher than those of blouse-skirt suits. The thermal insulation of one-piece dress adding the innerwear and lining was lower than those of blouse-skirt suits. 3. The increasing rates of thermal insulation of multi-layered garments had different value by garment types but garment made of rayon and silk were showed very high increasing rates of thermal insulation. 4. The increasing rates of the thermal insulation of one-piece dress added the lining the innerwear or both except polyester showed the highest value and then blouse-slacks suits' turn came ound Blouse-skirt suits had the lowest the increasing rates of thermal insualition value.

• Journal of Fashion Business
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• v.5 no.2
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• pp.35-48
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• 2001

The purpose of this research is to understand the importance and structure of underwear which is the closest cloth to the body. Scope of this research is from middle of 19th century to the beginning of 20th century. Firstly, I studied background of the times and change of women's status and duty. Secondly, I examined the outer garment closely by the ideal beauty of each period based on the study, and thirdly I looked into structure ways of underwear. Then lastly, I took a close look about the relation of outer garment and underwear, comparing with and researching both. I studied this research, focusing on corset, crinoline and bustle based on main characters such as reform and transform among several functions of underwear. The research results are such as follows. First of all, when women's social and economic status was subjected to men, women had worn corset and fashionable dresses even though there was many object movements and vices in women's garment. Secondly, according to those movements, the ideal beauty had changed little in the same sort emphasizing on breast and hip. Thirdly, structure method of underwear changed by ideal beauty and shape of outer garment. Due to increasing sports participation, improvement of women's position, achievement of practical use, women used more drawers and stopped wearing hoop. And the weight of underwear like combination and suspender attached to corset had decreased and advanced into the more practical way. Because of industrialization, function seemed to be granted by technology development, social position change of femininity.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.27-32
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• 2002

This study attempted to make a comparative analysis of dress and architecture to investigate the spatial effect of transparency expressed in fashion. As a result, the following findings were obtained: First, the openness of the space. It means that the human body or the dress inside it can be seen through or the inside space is opened. The volume, form and color of the undergarment seen through this transparent outer garment brings about any change to design. Also, it can be found that the role of the space is further extended as the inside space is seen through outwardly due to the outer garment. Second, interpenetration of the internal and external space. That the human body and the undergarment are seen through due to transparent dress brings about the linkage between spaces and opens the inside outwardly. Third, the briskness of the space. The trait of transparency that exposes the object behind outwardly as it is causes its form and space to be activated and conveys its spatial briskness.

• The Korean Journal of Community Living Science
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• v.14 no.3
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• pp.21-30
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• 2003

An underwear originated from when a human lost his purity and recognized his situation. But, it could not be sure when underwear and an outer garment were classified according to a function. An underwear has been used for a decorative and mental function, as well as a practical one. Also, it is the most fundamental medium to understand a human and a period. However, many studies on outer garments not an underwear have been done till now Therefore, this study was done to be arranged and analyzed materials scattered in order to give a correct understanding of an underwear as a clothes. The data were based on the existing fashion pamphlets, fashion magazines and other materials. The main results were as follows; Female's contemporary underwear was classified into Hosiery, Foundation and Lingerie. The Hosiery was again classified into chemise, combination, drawers and brief. The most typical hosiery was a chemise for a health and hygiene, and the drawers was adhered closely to a body. The Foundation which had a function to be well shaped was classified into Brassiere, Girdle, All in one, Body suit, Corset, Waist nipper and Garter belt. A typical contemporary foundation was a brassiere and a girdle. A brassiere had a role to support the breast up and A girdle compensate a hip area. The Lingerie which made body silhouette be vivid was classified into Slip, Panty, Wintum, Linge, Home lingerie, and so on. A slip, a panty and a lingo were typical lingeries. A slip made an outer garment be well-formed.