• 한국의류산업학회지
• /
• 제9권5호
• /
• pp.486-492
• /
• 2007

The purpose of this study is to investigate the characteristics of the men's costumes of the ruling class of the Heian period by studying the costumes demonstrated in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, a picture album of the Heian period. The findings of this study are as follows. The costumes shown in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, can be classified into two types. One of the types is the costumes that were newly made in the Heian period such as Jik-eui, Su-eui, Ha-seub, Sok-dae-jang-sok. The other type, period including Omoja, Ji-gwan, Pyo-go is the costumes that were made by modifying the costumes of the previous. The costumes of the Heian period were evolved into a new type of outfit by changing the way of wearing them, their form, and their color. The costumes became various in types, became bigger in form, and used various colors. As a result, the costumes of the Heian period were developed into more colorful and fancier compared to those of the previous period. The costumes of the Heian period can be interpreted as japanized-embracing and japanizing the culture of the continent-costumes of the previous period rather than as simply copying the costumes of the continent. The driving force of this phenomenon can be analyzed as the effect of japanization that was widespread in the culture in general of the Heian period. This japanization made it possible to create peculiar and genuine costumes of the Heian period.

• 복식
• /
• 제39권
• /
• pp.167-179
• /
• 1998

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Chosun period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Ky ngsech'iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today's hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today's hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Korean could not cope with the western costumes indepen-dently imported during Japanese occupation in the last period of the Choson Dynasty and con-tinuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

• 한국의류산업학회지
• /
• 제8권5호
• /
• pp.523-529
• /
• 2006

The purpose of this study is to investigate the costumes of the ruling class in the Asuka-Nara Period by looking at the change in the clothing law of the era. During the Asuka-Nara period, various cultures such as Buddhism, architecture, sculpture, paintings, music, and so on were introduced through vigorous exchange with Chosun and Tang. Contrary to the primitive-Kohun Period, the regulation about costumes was enacted as law in the Asuka-Nara Period this fact tells us that there was high interest in clothing. Frequent reorganization of clothing law had to do with the rank system of Japan as well as with the exchange with other countries. The clothing law of Asuka-Nara Period was mostly consisted of the regulations about costumes of the ruling class including the royal family and government officials. The law regulated different coronet and color for the clothing depending on the different rank of the government officials. The more classified the rank was, the more varied color was used. In addition, there was a variety in the costumes system; 2 piece clothing of the Kohun Period was continuously used while new types of clothing were also introduced. The royal family members and government officials wore different types of clothing such as Yebok, Jobok, and Jebok, depending on time, place, or the purpose of occasion. The costumes of this period could be inferred from the analysis of the relics.

• 복식문화연구
• /
• 제11권2호
• /
• pp.253-262
• /
• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• 복식
• /
• 제66권3호
• /
• pp.107-120
• /
• 2016

This study examines functions in traditional Korean special costumes in accordance with the climatic factors of the Korean peninsula. The study focused on clothes worn by commoners during the Joseon dynasty. Climate change has been a major global issue in recent times, and it has been a hot topic in social, cultural, scientific, economic, and industrial communities. Studies have been conducted regarding the rapidly changing climate, and finding ways to cope with unusual temperatures. This thesis studies the development of special costumes in preparation for unusual climates, and requirements of the costume in accordance with the climatic factors, as well as the direction of its development. Its biggest significance lies in collecting and organizing the research data on special costume studies, and on costumes of the commoners, which have been fairly insufficient up to this point. After the Little Ice Age, the Joseon Dynasty period faced poor external environment due to unusual temperatures. The results of studying the costumes of the commoners are as follows: The climate of the Korean peninsula displayed different characteristics depending on the season, so the form, material, and appearance of the seasonal clothing items showed clear differences, and the difference in the crops cultivated according to the climate led to difference in material and material preference shown in the costumes. This meant that costumes differed based on region. In addition, difference in social hierarchy, regulations on costume according to class, and farming oriented social background during the period of Joseon dynasty slowed the development of costumes of commoners, but appears to have had a positive effect on the development of special costumes. We anticipate more succeeding studies on costumes of the commoners and special costumes in the future. We hope more costumes that can wisely respond to the approaching changes in temperature in the Korean peninsula can be designed via modernization of traditional Korean special costumes.

• 패션비즈니스
• /
• 제10권6호
• /
• pp.1-8
• /
• 2006

This study was aimed at reviewing kinds and characteristics of children's costumes in consideration of their social and cultural backgrounds and particularly, those of children's costumes during the period of Enlightenment following Chosun dynasty and thereafter. Namely, this study focused on children's costume history in view of not adults' costume miniatures but their own concept. It is deemed very significant to review the history of our traditional costumes and thereby, express their decorative features with our contemporary sense. It is results can be summed up as follows; Strictly speaking, the period of Enlightenment can be defined as the one from Gwangwhado treaty in 1876 through annexation of Korea by Japan in 1910, but it may well extend until our emancipation from Japan in 1945. By 1890's, children's costumes remained almost traditional, but since then, the Chimas as well as Jeogori and breast tie began to be narrower. Particularly, Children's Jeogori began to be narrower with their breast tie disappearing gradually. By 1910's, children's costumes had changed much, with the breast tie replaced by the buttons and the longer Jeogoris.

• 대한가정학회지
• /
• 제49권5호
• /
• pp.11-22
• /
• 2011

This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King's Costume, Queen's Costume, and Government Official's Costume. Dress sketches and 3D illustrations also have been presented.

• 복식문화연구
• /
• 제12권6호
• /
• pp.1060-1069
• /
• 2004

We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).

• 패션비즈니스
• /
• 제8권6호
• /
• pp.57-67
• /
• 2004

The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.

• International Journal of Costume and Fashion
• /
• 제7권2호
• /
• pp.64-75
• /
• 2007

This is a project presented to obtain Master of Fine Arts degree in Costume Production. The candidate has to present 20 costume illustrations and four full constructed costumes for selected actors. At the presentation, the candidate is given 45 minutes to present followed by questions asked by the committee and audiences and it was presented and exhibited in Brookline Arts Council. The thesis consists of two parts; research and analysis on the play, and the result of the design and production for the $play^{1)}$which consists of four fully built costumes-two in chosen fabrics and the other two in muslin with full closure worn on selected actors for each character. The period for the costume design is the Elizabethan period, the actual period the play Hamlet was written in England. The play Rosencrantz and Guildenstern are Dead is a play written in 1967 from a view of two small characters from Shakespeare's play Hamlet. So the costumes of Hamlet's characters are in full period, but the main two characters' costumes will have some of modern twists.