• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.19-33
• /
• 2008

Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.

• Journal of the Korean Society of Costume
• /
• v.65 no.7
• /
• pp.1-18
• /
• 2015

The purpose of this paper is to compare the body types of Korean-Chinese and Han-Chinese women in their 60's dwelling in Yanbian Korean Autonomous Prefecture. In addition, a survey was conducted to analyze the social and environmental factors that would decide the body types of these two groups of individuals. 1) The comparison of 74 items in physical measurements between the Korean-chinese and Han-chinese showed differences in 36 items. 2) As for the body measurements of women, difference was found between the Han-Chinese and Korean-Chinese in all height items except bust height, circumference, depth, length, and weight. The values of Korean-Chinese were lower than those of Han-Chinese. 3) Cluster analysis shows that Korean- Chinese women appear thinner in regards to common weight, while Han-Chinese women appear to be thicker in regards to with common thinness. 4) Korean-Chinese women dwelling in Yanbian Korean Autonomous Prefecture maintained unique traditional customs and eating habits of Korea and were in constant contact with Korean cultures, which seems to make them care more about body management for health and beauty.

• Journal of the Korean Society of Costume
• /
• v.57 no.6 s.115
• /
• pp.135-144
• /
• 2007

This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.

• Journal of the Korean Society of Costume
• /
• v.57 no.7
• /
• pp.153-161
• /
• 2007

In 2004, Mal-gun(抹裙) was excavated from a plastered tomb in Seok-nam-dong, In-cheon. This tomb is assumed to be from an upper-class woman. The excavated Mal-gun was used to fill in the empty spaces in coffin, and it was seriously damaged and foxed dark. The Mal-gun is made with thin, loose Sook-cho(숙초), and the width of the fabric is 70cm. Both sides of the crotches are overlapped in front, and the back is opened. The waist straps are detached, leaving a little part to show the width of the straps. The hems of the Mal-gun are sewed straight, without any pleats, except some spaces for the feet to go through. This study compared the Mal-gun of Joseon Dynasty from the documentary records and picture records with the excavated Mal-gun from Seok-nam-dong, In-chceon. Also, actual Mal-gun was manufactured according to the excavated Mal-gun to study the process of manufacturing and the formation. As a result, the excavated Mal-gun has the same form of that shown in Ak-hak-gwae-bum, a documentary record from the early period of Joseon Dynasty.

• Journal of the Korean Society of Fashion and Beauty
• /
• v.5 no.3
• /
• pp.92-98
• /
• 2007

This study analyzes the women's hair style and costume in late Chosun Dynasty appeared in Shin Yoon Bok' genre painting. Conclusions are as follows; First, in case of woman costume, the Jergori was short and the Chima was too long. The trend of simplified clothes on upper body and abundant clothes on lower body appeared. In addition, as 'geodulchima' became popular, women came to of en show an erotic beauty by exposing their underwear below chima. Second, in the women's hair style appeared in Shin Yoon Bok' genre painting, a unmarried woman did the braids and a feme covert did 'Ungeon Meori' and 'Tremeori'(a swept-back hair with the chignon) regardless of status. We can imagine the women's hair styles of a higher class who imitated those of 'Kie-sangs' through the features of Kie-sangs who were illustrated by Shin yoon bok.

• 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 Korean Society of Costume
• /
• v.60 no.5
• /
• pp.51-70
• /
• 2010

The ritual to change the hairstyle holds the same meaning as the coming of age ceremony. The ceremony was performed throughout three times including choga, jaega, and samga. The garment and hairstyle attuned to the ceremony formalities. Women in the royal family had 'su-siK when they were fully grown up during choga, 'gwang-sik' during Jaega, and 'keun-meo-ri (big hairstyle)' during samga. 'su-sik' is the noblest hairstyle according to social status, which is allowed to be worn only by spouse of king and prince, regardless of adult or not. During jaega, 'gwang-sik' which was 'u-yeo-meo-ri', is made by winding 'darae (wig)' around a jjok-jin-muri (bun) [Jo-jim-meo-ri]? which distinguished the hairstyle of unmarried women, who did not go through a coming of age ceremony yet. Unmarried women maintained a hairstyle which is mostly twisted into one string, but they had 'saeang-meo-ri' when they were prepared for ceremonial costumes. Also, they had 'ga-raemeo-ri' when growing further. keun-meo-ri during samga is an addition of keun-meo-ri chaebal(wig) onto u-yeo-meo-ri. Women in the royal family made geo-du-mi by adding keun-meo-ri, which is formed by twisting wig, and oimyeongbu (noble ladies) and sanggung (court ladies) added a wooden wig called u-yeo-mi. Also, yeoryeong wore ga-ri-ma. In this way, the types of hairstyles were distinguished according to hierarchy. As the coming of age ceremonial dress. Wonsam was worn. During choga. wonsam was worn as a formal dress and during jaega and samga wonsam was worn as a full dress.

• Journal of the Korean Society of Costume
• /
• v.67 no.1
• /
• pp.147-168
• /
• 2017

This study examines the types and characteristics of women's garments excavated in the early Joseon Dynasty before 1592. The study sorts out headgear, jacket, skirt and trousers, and coats from the historical texts in the early Joseon Dynasty and excavated women's wears in the fifteenth and sixteenth centuries, and analyzes their textiles and patterns. The Joseon women's garments convey several features. They are wide across the chest and square shaped collar with virtually straight sleeves. While their breast-ties are extremely little for the size of clothes, they do not have any inner-tie. They have broad and short dongjeongs which seem to be hard to be adjusted. There are a variety of headgear. Jang-Jeogori slit down in both sides. The Jeogori after the seventeenth century transformed a more practical form of a fitting dress to an individual body in comparison with the sixteenth jeogori. It is identified that the fabrics in the early Joseon period were woven more diversely and colorfully than the late Joseon period. Most of the excavated fabrics in the sixteenth century were in silk. Materials for adornments before 1592 were not much diverse and their designs mostly contained patterns of lotus flowers, patterns of cloud and treasures with oblique lines. The colors are mainly brown, navy and green. The Joseon women's clothes were comprised of skirts with folded hem, coat with round collars, wide leg pants, Jangot, long-sleeved coat with folding collars, and quadrangular pieces of cloth in various sizes, or mu and so forth. Joseon women's clothes, like men's wears, partake of active functions in their headgears, wide leg pants, styles in short front and long back, and coat with round collars.

• The Journal of Natural Sciences
• /
• v.8 no.2
• /
• pp.289-321
• /
• 1996

After the two big wars (Imjin Woeran and Byungia Horan), the Lee Dynasty confronted rapid transitional periods in almost all aspects of the society. Corruption of the governmental system by the wars and disordered social structures also caused confusion in the social position system. In addition, development of the commercial economic system and monetary economy brought up a new rich middle-class, "Joong in Gyegeup". In ideological aspects, Confucianism indulged in and stick to isms and ics, and the Confucian morality slackened, thus a more pragmatic ideology, "Silhak Sasang", developed. And the emergence of the modern literature and art of the 'common people' was followed by the appearance of the common-people class including those having the common-people concept among the noble-class "Yangban Gyegeup". This evoked a new common costume culture and the fashion appeared. The public could no longer find the power and appeal from the preexisting ruling classes due to the changed role and sense of value. Thus, they sought a new symbolic leader group that would to be the new standard of the newly changed society. That was a group of people called as "Kisaeng" liberal and independent. They were performing social activities, enjoying poetry, music and dancing, and classy dressers, having physically attractive bodies. The erotic as well as luxurious mode proposed by them reflected the trend of that time. It concurred well with the concept and taste of the public, so it was accepted with a good response. That is, by following these leaders, the public achieved their identification and tried to share the prestige of the leaders. For this reason, the Kisaeng group attracted the public attention and led the taste of the public, thereby becoming the influential fashion leaders of that age.

• Journal of the Korean Society of Costume
• /
• v.56 no.7 s.106
• /
• pp.54-68
• /
• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.