• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.42-53
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• 2006

The purpose of this research is to study doll's symbolism representing our social culture and the characteristics of clothing design. The ball joint doll was selected, that are pretty much resembled to human body in terms of facial expression, body proportion, joint movement, etc. Results of research are summarized as follows: the ball joint doll is indicated a doll whose joints are free to move with a round shaped joint, which originated by Yochilya simon, who adopted German Hans Bellmer's method.'rho ball joint doll, first, there appeared state of human isolation due to the material civilization and industrial revolution, and trend of adhering to one's own world made human possess dolls. Second, according to the doll play became a representing play culture among Kidult culture, dolls, that are resembled with human being, were recognized as personalized objects. Third, along of expanding digital culture that makes easy to exchange information via Internet, so, ball joint doll market is growing fast, for which various levels of mania are being formed. Take a look at the doll fashion in modern society. In accordance to form of Look, it is largely categorized Young Casual look, Office look, Ethnic look and Military look. When take a look at design specialty, young casual look was presented as a comfortable silhouette and also made of elastic materials and expressed vivid bright tones. Office look image was expressed as a suit of jacket with skirt, and cotton wool polyester materials and acro-matic colors. Ethnic look was represented by Japanese traditional dress and Chinese traditional clothing. The Military look was generally emphasized army uniforms of straight silhouette and shoulder straps.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.164-180
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• 2012

This study focuses on the hats in the advertisements of the newspapers from the Greater Korean Empire to the Time of Independence. There were Yeomo(禮帽), Jungsanmoja(中山帽子), Jungjeolmoja(中折帽子), Women's hat, Undongmoja(運動帽子), and Hakdomoja(學徒帽子) from 1897 to the 1900s. The names of the hats were written with Chinese characters as there was no specific name for women's hats. There were a lot of hats in the 1910s; Jungjeolmoja, Jungsanmoja, Hukyeomoja(黑禮帽子), Panama, Doriuchi(鳥打;とり-うち), Maggomo(麥程帽), Ilkyomoja(一交字帽), cheongyeonmo(靑年帽), Jajacheongyeonmo(刺子靑年帽), Hakaaksangmo(學生帽), Undongmo, Laparyunmoja, Banghanmo(防寒帽), Mokchulmo(目出帽), Pungbangi(風防耳), Nambaui, and Pungdongi(風憧耳). Most of the hats were western hats for men. From the 1920s to 1930s, the hats were classified as to the shape and uses as compared to before that period. The hats were advertised in the newspapers such as Jungjeolmoja, Jungsanmoja, Panama, Doriuchimo, Maggomo, Ilkyomoja, cheongyeonmo, Jajacheongyeonmo, Hakaaksangmo, Undongmo, Banghanmo, Mokchulmo(目出帽), Adongmokchulmo(兒童目出帽), Pungdongi, and Pungchasamsangun(風遮三山巾). There is little information about hats from the late 1930s to the time of independence because of the censorship of the press. The hats during that period were almost the same as the before that time. There was a new name of a cap, Jeontumoja(戰鬪帽子) which was for a soldier. The hats in that period were one of the westernized items with shoes before the westernization of the Korean costume under Japanese imperialism. Furthermore, the western hats could be spread by the men who were in the center of the society. On the other hand, women's western hats were not common because women had rarely worn them before that period. They just wore traditional winter caps steadily.

• Journal of the Korean Society of Costume
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• v.5
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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.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.1060-1069
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• 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).

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean Society of Costume
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• v.17
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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.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.844-859
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• 2013

This study investigated the characteristics and changes of cotton and silk textile production in Honam district, especially in Gurye, Jella Province from the 1930s to the 1980s. To do this, research method in this study was both literature and fieldwork research and results were as follows. First, in terms of cotton fiber cultivation of Gurye, Chinese Cotton(在來綿) has been substituted for America Cotton(陸地綿) and additionally, Yellow Cotton (黃綿) has been cultivated in the 1930s. Also, in terms of silk fiber cultivation of Gurye, Joseon Silkworm has been substituted for Japanese Silkworm by inflowing the Japanese mulberry tree. Second, in terms of spinning method, cotton spinning has been conducted at every house by an individual tool from the 1930s to the 1950s and has been gradually changed to mechanization by market shop equipped with mechanized cotton gin and cotton whipping tool. However, there have been no changes in silk spinning method from the 1930s to the 1980s. Third, loom type has been changed from the traditional Korean back-strap loom to the treadle loom between the 1930s and the 1940s. Fourth, dyeing was conducted by chemical dyestuff after weaving. The circulation of textile was done through the joint market by Japan in the 1930s~1950s and has changed to the market sales by producers since the 1950s. Fifth, since the 1970s, the outputs of cotton and silk textile of Gurye have been reduced. This was connected with the westernization and the inflow of the synthetic fiber and cloth in cotton and was related to the changes of the nation policy and silk fiber inflow from the china to the Korean farm villages.