• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.218-230
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• 2012

The 25 pieces of women's jogori worn by ChangRyung Jo's family(1721~1742) that are preserved in Yeoju Museum, Gyeounggi Province, Korea were examined in this study. The aim of this study is to analyze women's jogori that were excavated from the grave of Changryung Jo's family, and to characterize women's costumes around the middle $18^{th}$ Century. The size of the jogori was divided into two groups. The garment length of the first group ranged from 31cm to 34cm and the bigger size ranged from 36.5cm to 40cm. The number of jogori in the group with the smaller size was twenty-five pieces and five pieces for the group with the bigger size. Changryung Jo's jogori was composed of two pieces of padded jogori, four pieces of quilted jogori and nineteen pieces of double layer jogori. Even though the direction of the margin located on back seemed point toward the right hand side, the gorum, the string for the tie, and the Sup, the outer gore of the jogori located on the other side of the margin had no pattern of direction. The line of jogori from the armhole gets narrower toward the edge of sleeves which could be recognized as a typical pattern of the middle $18^{th}$ Century jugori. The bigger group of jogori seemed to be worn by people other than ChangRyung Jo's relatives and used to be a gifts to aid in funerals. Major characteristics of jogori is could be categorized into the Dangko Mokpan collar jogori and Samhaejang jogori. The results of this study helps set the relative dating for the women's jogori of middle $18^{th}$ Century where not much excavations have been made.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.8
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• pp.1378-1385
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• 2001

Textile The purpose of this research is to develop the design for activation of women s hanbok focused on functionality and convenience as well as on keeping the traditional beauty, and then to produce them. As a result of these explorations, I have reached conclusions as follows. first, the transformation of jackets and skirts are mainly limited to partial change in elements of the dress design-width and length of a jacket string and the upper strip on the outside of a jacket, change in width, and granting of symbolic meaning. Second, aesthetic features and formative beauty of traditional hanbok that the harmonization of mainstream colors and highlighting colors and curved silhouettes evoke were mental by products created as our people wished to become friendly to and to harmonize with nature. Third, grounded upon study of lines form and survey on brands, I have developed designs that maintain hanbok’superiority and at the same time incorporate functionality and convenience to fit modern life. I believe that the outcome of these of these explorations will contribute greatly to carrying the traditional beauty of Korean dresses to the maximun, and to developing and popularizing functional and practical living-fitted Korean dresses.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.