• The Research Journal of the Costume Culture
• /
• v.32 no.5
• /
• pp.696-713
• /
• 2024

This study aims to gain insight into society and culture in the 10th to 7th centuries B.C. by exploring the clothing in Assyria, which was the most powerful force in Mesopotamian civilization at the time. As a research method, literature and empirical studies were conducted in parallel, focusing on a total of 127 Assyrian artifacts held in domestic and foreign museums. The results of this study are as follows. The basic forms of Assyrian clothing are tunics and shawls. The tunics have short sleeves and are knee or ankle length with a special type of tassel decoration. They have a wide belt at the waist, and a decorative panel is attached vertically below with a strap. In addition to the basic clothing, there are loincloths and overskirts, with some having open right sides and fringe decorations to denote a higher status. The overskirt has a third or fourth-tier skirt structure with an open front and fringe decorations on the edges. Most military members, except for archers, wore knee-length tunics as uniforms. As for armor, they wore short-chest or knee-length coat-type lamella armor. Headwear mainly consisted of cylindrical hats and headband-type decorations. In the case of bracelets, mainly rosette-shaped decorations and simple ring-shaped bracelets with three or one turn were worn. For shoes, sandals were mainly worn, and soldiers mainly wore boots. As a result, each costume element is expressed in various ways depending on the wearer's status, clearly showing Assyrian costume culture.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.1
• /
• pp.29-47
• /
• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• Journal of the Korean Society of Costume
• /
• v.59 no.3
• /
• pp.96-108
• /
• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.16 no.3
• /
• pp.179-189
• /
• 2014

Peplums have a great advantage in easy styling for wearers to acquire desired physical and reminiscent images depending on the type and where it is placed on the waist line. However, the study of peplum blouses has not yet recognized. This study suggests a baseline data for visual appraisals as a determined key factor is changes. The result of this study as follows: First, peplums published between 2012 through 2014 collections are used for decorative effects on tops or bottoms as the finest decoration details of fashioning women's physical attractiveness. Its application has been extended to various fashion themes such as belts and overskirt that are made of peplum itself. Second, peplums published between 2012 through 2014 collections have close correlation of how the position, shape, and length of peplums are attached on bottoms. Peplum effects are categorized as extension of tops, expansion of bottoms, connections of tops and bottoms, and separation of tops and bottoms. Third, total of seventy nine peplum blouses that are found in the domestic online shopping mall are analyzed. The total length of peplum blouses are generally produced to 56 to 61cm, which is little shorter than or approximately equal to the hip line of women aged in between twenty to twenty four. In addition, the most popular peplum design is made of flare and cutting lines on the waist line and is 45.56% of samples. The most common location of peplums is identified as 3 to 6 cm above the natural waist line or the natural waist line and is 78.47% of samples. Fourth, the key factor of peplum blouse that can significantly influence the visual image is the total length of blouse, position of peplum, and peplum shape.

• The Research Journal of the Costume Culture
• /
• v.30 no.2
• /
• pp.281-296
• /
• 2022

This study is designed to compensate for the lack of children's clothing relics from the early 18th century and to reproduce young upper-class girls' costume as hanbokcontent. The shapes and materials of costumes are based on the record of 『Sukjong-silrok』 in 1701 and the characteristics of adult ladie's costume relics in this period, but reproduced as miniatures of these relics as like Joseon children's clothing of another period. The reproduced costumes are formal wear for 3~4 year-old girls, consisting of yeoui [女衣], long unlined skirts, and lined skirts. Sizes were set at a height ratio of approximately 155:95. Yeoui is sam-hoejang-jeogori using pine pollen-colored damask with a grape-squirrel pattern and a purple damask with flower-treasure pattern. The full length of yeoui is 24.5cm. It has a square-dangko outer collar with square inner collar. The long unlined skirt is a six-width overskirt that is 82cm long, made with lotus patterned sa. The lined skirt is a five-width skirt that is 61.3cm made with flower-treasure patterned red damask and ju. Several long pleats on both sides of these two skirts have been omitted. The result provides meaningful content for children's clothing in the early 18^th century and will be used as costume for an educational trial performance.