• 복식
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• 제35권
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• 대한가정학회지
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• 제8권1호
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• 복식
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• 제24권
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• 복식
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• 제52권2호
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• pp.103-113
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• 2002

Heungdukwang'(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shills's(統一新羅) costume. But among the clothing pieces that appeared in Heundukwang'(興德王) costume ordinance, classification of Naeoe(內衣) and Danoe(短衣) is not clear. This study focuses on the categorization of Naeoe(內衣) and Danoe(短衣). Upper garments included among costume ordinance were Pyooe(表衣), Naeoe(內衣) and Danoe(短衣), Pyooe(表衣) and aeoe(內衣) were unisex, while Danoe(短衣) was worn only by women excluding the lower class. Pyooe(表衣) is applicable to Po(袍), Naeoe(內衣) is aplicable to Yu(유). Shilla'(新羅) upper garments appearing in visual records are as follows: -With the exception of Pyooe(表衣), the length of men's upper garments were between hip and knee length. These upper garments featured V-neck and round neck styles with the left side of the garments folded over the right side. -Again excluding Pyooe(表衣), women's upper garments were similar to men's upper garments having V-neck and round necklines. We know this to be true from the relics found during the excavations of Hwangsungdong and Yonggangdong, as well as from the women in the stone reliefs of Sangju. Although we know the shape of necklines. the length of upper garments remained a mystery because women of that tome tucked in their upper garments into the skirts and/or wore an over garment. However a clay doll found around Bulguksa(佛國寺) wearing a knee length garment with V-neck. The upper garment was opened in the front and was worn over another garment with same length and round neckline. At that time, The upper garments found in China and Japan. were not much different than those found in Shilla (新羅). They also included garments that were waist length, had peach-shaped necklines, or were worn over head. Shilla's(新羅) traditional upper garment was between hip and knee length, but with the introduction and influence of Chinese costume. upper garments with a length coming down to the high waist line began to appear. In addition to Chinese influence, because Shilla's(新羅) women wore the upper garment first and then the lower garment, a long upper garment was not necessary. These shorter upper garments came to be known as 'Danoe(短衣)'When we perceive clothing. we look at silhouette first and then the details. Silhouette is much determined by length and neckline or the front of the garment determines the details, So we need to attention to the basis of ancient dress classifications. These classifications were according to first length [Po(袍), Yu(유)] and then neckline [Danryoung(團領), Jingryoung(首領)]. As a result. Naeoe(內衣) and Danoe(短衣) are classified by the length. The length (內衣) was between hip and knee length while Daneoe(短衣) was waist length. Danoe(短衣) was worn by putting the bottom of it inside skirt naeoe(內衣) was worn over a skirt or plant. But both had V-neck and round neck styles, and styles with the left side of the garments folded over the right side.

• 복식
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• 제12권
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• pp.9-23
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• 1988

This study is on the costumes for Korean traditional play, Nong-ak(farm music), and intends to analyze their aesthetic features, laying emphasis on Pilbong Nong-ak, Im sil, Chollanam-do. About its origin there are many kinds of theories; for example, the theory of hoping stability, the theory of it being related with Buddhism, the theory of martial music, etc. Shamanic, Buddhist, and martical fators that support these theories are expressed through flags, bells, drums, Deograe (half-coats), Cheonrips (sang-mo, felf hats), go-kkals(peaked hats), colored lines called 'ga-sa', which are used in Nong-ak. The characteristic of the costumes used in Pilbong Nong-ak is that it keeps its conservativeness and the costumes of its members are various and splendid. For example, leader groups' black half coats, Changbu's and Hwa-dong's red and bule over coats are remarkable. Particpants wear gok-kal or cheonrip, trousers and half coats which are the basic costumes of Korean Hanbok, and wear blak half coats or blue vests and put blue, red, and yellow lines around them. The colors and knotting methods of those lines in this region are the same with those of chollawoo-do and Kyongi province, but different form those of Kongwon and Kyong-sang province using green, red, and yellow colors. This comparison of colors shows each region's preference of peculiar colors and those colors coincide with colors used in flags. The research on the aesthetic characteristics of Nong-ak clothes through each region's clothes tells us that these can be linear clothes which have expressiveness as stage clothes used in Madangori, the play which is performed in the field, and modern spatial formativeness. Those characteristics are as follows; 1. The expressions of a rhythmical and daring round line by turning a long line of sang-mo. 2. Various rhythms according to the attaching methods. 3. The expressions of thick, simple, and daring color lines. 4. Natural beauty of materials. 5. The popular simplicity and non-technicality 6. The beauty of five-direction colors, Oriental ideal colors Consequently in this study our national consciousness of beauty are examined through clothes. It is suggested that the aesthetic characteristics of Nong-ak clothes and ornaments should be effectively expressed, for this purpose. interests in participants' clothes should be increased in order to prevent the confusion of each region's features. Also it is necessary to improve color lines, their length, width, and knotting methods, and beautify instrument. Finally this study intends to bring the reappraisal about the art of Nong-ak clothes and its re-establishment in view of modern aesthetic consciousness.

• 패션비즈니스
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• 제5권4호
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• 한국산학기술학회논문지
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• 제20권10호
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• pp.284-295
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• 2019

셀러브리티들은 한 시대의 지배적인 문화를 형성하기도 하며, 새로운 유행을 선도할 수 있는 영향력을 가진 대상이다. 서울 패션 위크에 참석하는 국내 여성 셀러브리티들은 자신만의 패션 미학을 대중들에게 노출함으로써 패션 리더로서의 이미지를 구축하기도 하며, 컬렉션을 개최하는 패션디자이너들의 브랜드 홍보 및 판매를 촉진시키는 결과를 창출한다. 본 연구는 최근 5년간 서울 컬렉션에 나타난 여성 셀러브리티들의 패션 스타일의 분석을 토대로 여성 셀러브리티들의 패션 경향을 파악하는데 목적이 있다. 내용분석에 따른 본 연구의 결과는 다음과 같다. 첫째, 직선형의 스트레이트 실루엣, 무채색의 활용, 문양이나 장식이 없는 경우가 높은 비중을 차지하고 있음에 따라 셀러브리티들은 모던하면서도 미니멀한 스타일을 선호하는 것으로 나타났다. 둘째, 슬림 실루엣과 프린세스 실루엣, 원피스 드레스나 스커트의 착용, 부드러운 소재나 러플의 장식을 통하여 전통적인 여성미를 드러내는 페미닌 스타일을 선호하고 있었으며, 원피스 드레스에 재킷을 매치한 형태 또한 다수 나타남에 따라 남성미가 절충된 시크 페미닌 스타일로의 변화를 시도하고 있는 것으로 나타났다. 셋째, 박시 실루엣, 화려한 컬러들이 믹스된 멀티 컬러, 반짝이는 소재와 그래픽이나 레터링의 문양, 다수의 디테일이 높은 비중을 차지하고 있음에 따라 유행의 선도자로서의 강렬한 존재감을 드러내는 맥시멀 스타일을 추구하는 것으로 나타났다.

• 복식
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• 제17권
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• 대한소아치과학회지
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• 제29권2호
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• pp.168-179
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• 2002

어린이의 치과 치료시 행동조절에 도움이 되고자 치료를 위해 내원한 어린이 환자 150명을 대상으로 치과의사의 의상에 대해 설문조사를 시행한 결과 다음과 같은 결론을 얻었다. 1. 가운과 일상복에 대한 선호도 조사에서는 성별(P<0.05), 연령(P<0.05), 거주지(P<0.05), 내원 횟수(P<0.05)에서 가운에 대한 선호도(65.3%)가 높았다. 2. 가운의 종류와 가운의 속의 복장에 대한 선호도는 긴 가운에 와이셔츠(30.7%), 양복형 가운에 와이셔츠(18.7%), 긴 가운에 폴로셔츠(17.3%) 순으로 나타났다. 3. 가운의 색에 대한 선호도는 흰색(34.7%), 분홍색(18.7%), 초록색(18.0%), 파랑색(15.3%), 노랑색(13.3%) 순으로 나타났다. 4. 가운의 무늬에 대한 선호도는 만화 캐릭터(49.3%), 병원로고(28.7%), 민무늬(14.7%) 순으로 나타났다. 5. 여자 치과의사의 일상복에 대한 선호도는 폴로셔츠(37.3%), 줄무늬셔츠(28.7%), 라운드티셔츠(18.7%), 개량한복(15.3%) 순으로 나타났다. 6. 남자 치과의사의 일상복에 대한 선호도순서는 무늬넥타이에 민무늬 와이셔츠(28.0%), 민무늬 넥타이에 와이셔츠와 넥타이 없이 무늬셔츠(21.3%), 넥타이 없이 민무늬 와이셔츠(14.7%)순으로 나타나났다. 7. 보호장비 착용에 대한 선호도 조사는 마스크와 글러브(28.7%), 장비 없음(26.7%), 마스크와 글러브와 보안경(22.7%), 마스크만 착용(22.0%) 순으로 나타났다. 본 연구의 결과에 비추어 볼 때, 어린이 환자의 치과 치료시, 심리적 안정감을 주기 위해서는 흰색의 획일적인 가운에서 벗어나 다양한 색채와 형태로 디자인된 치과의사의 복장이 어린이에게 친근감을 주어 행동조절에 도움이 될 것으로 사료된다.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.