• Journal of the Korean Society of Costume
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• v.58 no.9
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• pp.1-17
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• 2008

One of features of fashion in Joseon period is culture of overlapping of several clothes. This culture appeared with Hapbong(合縫:sewing of several clothes as one) at late Joseon period and developed into simpler and more practical fashion culture. Hapbong is mainly identified at men's official uniform such as Jaebok(祭服), Jobok(朝服), Kwanbok(官福), Gugunbok(具軍服), and women's formal dress such as Wonsam(圓衫) and Dangeui(唐衣) which formed several clothes get to be a set. Such fashion was designed to maintain dignity and power while simple to wear. And It has the trace of overlapping visually on the collar, sleeve, breast-tie and others. Hapbong is attributable to thoughts of practical science, post-toadyism, modernization, renovated the system of clothing, and advanced sewing technique.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.4
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• pp.593-600
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• 1999

The wedding business in getting specialized and subdivided lately. Due to this current the importance and the necessity of the software for wedding business emerged. So far people who were preparing for their wedding have usually picked up their wedding dress from the pictures on the brochure at the wedding dress shop. But it costs the customers time and money and most of all they can not satisfy their customers with the completed wedding dress sometimes. Moreover customers pay a lot of money for the wedding dress just because they wear the wedding dress once in their whole life. This is unreasonable actually. To solve these problems to help the customers choose their wedding dress that they really like and to provide the wedding dress with good price we developed this software. The purpose of this research is to help people who will marry soon save their time and money in this busy world by showing the shape of the wedding dress before the dress is completed. They can see if the dress goes well with them before it is sewed by seeing the imaginary wedding dress on the computer screen. We are trying to maximize the customer's satisfaction with this research. It is the idea of this research to differentiate this new concept of wedding dress from other existing concepts by grafting this software on companies' accumulated experience in marketing and diffusing this software through the country.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.594-604
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• 2000

This study aims to investigate the changes in the Wedding costume for Paebak(Hyunkugorye) in Westernizing Korean society of the twentieth century. For this study, I analyzed the related literature for the first half of the twentieth century due to the lack of relevant photographs, while I used the method of content analysis of 116 photographs for the second half of the twentieth century. It is obvious that bridegroom and bride wore the same clothes for Hyunkugorye and the formal wedding ceremony in the early twentieth century. According to the analysis of photographs, wonsam was rather more widely used than hwalot as the bride's wedding costume in the late twentieth century. But there were many changes starting from the early 1970s. The changes were deviated from the traditional style and became more decorative and somewhat crude: that is, people began to embroider wonsam and the piping was added to the collar of danryung. All these changes resulted from the pursuit of commercial interests with the misunderstanding of and the indifference to traditional beauty, while Korean society had experienced the Japanese rule of Korea, the Korean War and the industrialization during the 1960s and 1970s. Therefore, to establish appropriate wedding culture and costume in Korea, it is important to educate people who get involved in wedding business for traditional wedding culture and clothes, because nowadays . most of bridegrooms and brides borrow ceremonial costume for Hyunkugorye.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.74-87
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• 2010

Jeokgwan(翟冠, crown decorated with pheasant motifs) is a queen's ceremonial headdress during the early Joseon dynasty. It originated from Bong-gwan(鳳冠, crown decorated with phoenix motifs) worn by the Chinese empress. Bong-gwan(鳳冠) was originally various types of hairpins worn with the topknot hair style, such as Bongchae(鳳釵) Hwasu(花樹) Bakbin(博鬢), but during the Sung dynasty(宋, 960-1279) these ornamental hairpins were combined with the crown worn by the empress. Bong-gwan(鳳冠) worn during the Ming dynasty(明, 1368-1644) varied according to the wearer's social status and it was worn both by the empress and other court ladies. Jeokgwan(翟冠), one type of Bong-gwan(鳳冠) worn by the queens and princesses of Ming dynasty, was given to those of the Joseon dynasty as a gift until the early 17th century. According to the portraits and remains of China, when women wore the Jeokgwan(翟冠), they were supposed to place the crown onto the hair, and then, fix the crown to the hair by putting on gorgeous hairpins. The lower edge of the crown was wrapped around with Gu-gwon(口圈), which was decorated with kingfisher's feathers. There are several flowery decorations on Gu-gwon(口圈), and this style is similar to Daeyobanja(大腰斑子), a queen's ceremonial hairband during the late Joseon dynasty.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.144-161
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• 2013

Seok, shoes worn for rituals that originated in China, is worn as part of a formal dress in Korea. The Seok for men were worn with Myeonbok(冕服: kingly ceremonial costume) and Wonyugwanbok(遠遊冠服) and the Seok for Jeokui(翟衣: queenly ceremonial costume) and Jangsam(長衫). Myeonbok, Wonyugwanbok, Jeokui and Jangsam were ceremonial costumes of ancient times. This paper examines Seok, which has never been the focal point of a study, and focuses on the period of Joseon(1392~1897). It was possible to concretely identify its changes in each of the periods and genders by means of the literature and picture data. It turns out from this paper that a unique Korean style emerged in the days of Kings Yeongjo(英祖: 1694~1776) and Sunjo(純祖: 1790~1834). The Seok that were imported from China after the Goryeo period included a neck part, which was a departure from its original form. However, during this period, fences were added on the top of the shoes, and rings were added to thread laces in Seok from China. Women wore their Seok in this period with different ornaments in accordance with the different situations.

• Journal of the Korean Home Economics Association
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• v.39 no.5
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• pp.89-105
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• 2001

This study on Jeung San Kyo, one of Korea's new religions, considered the name, kind, form, color and the thoughts of ritual dress which is involved in 15 religious blanches acting currently according to books and the actual research. The following is below. 1 Each names of ritual dresses called rigious branches are Bob Bok(법복), Doh Bok(도복), Yeah Bok(예복) and Jea Bok(제복). 2 In most religious blanches, ritual dress is the Korean cloths which Poh is wear above and Kwan is put on, and the form of Poh(포) is the similar with Durumagi(두루마기), Danryungpoh(단령포), Jungchimak(중치막), Jikryungpoh(직령포) etc, but not the form of Git, Moo and Yiohmim. Kwanmoh is named Chill-Chung-Kwan(칠층관), Yiun-Hwa-Kwan(연화관), Yiun-Kwan(연관), In-Hwa-Kwan(인화관), Tong-Chon-Kwan(통천관) etc. 3. In most religious orders but Dae Suun Jin Li Hueay(대순진리회), Jeung San Doe Jang(증산도장), Colors are used, white, lightblue, and yellow is used in Jeung San Pop Jong Kyo(증산법종교), Dong Doe Pop Jong Gyum Gang Doe(동도법 종금강도). White color means the mind of a people tradition, and light blue expresses an Oriental nation, namely, “Korea”, and is the color representing Jeung San Kyo, and yellow shows the central religion in the future. 4. Jeung San Kyo ceremony fashion reflects the ideologies of the principal role, the Um and Yang-five elements, and, nationalism according to form, color.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.96-108
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• 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 Korean Society of Costume
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• v.56 no.8 s.108
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• pp.74-82
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• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).