• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.60-73
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• 2006

This study analyzes the Baekche official costume system, including the dress, cap and belt systems, by relating documentary records with the results of excavations. The study shows that the system differed depending on the time. A system of dress based on official ranks was instituted during the region of King Goi in the third century. The rap amd belt systems were begun in the first half of sixth century The official costume system, as recorded in the Chinese history $Sus{\u{o}}$, included many subdivisions of cap colors, which followed belt colors. According to $Gudangs{\u{o}}$, dress and cap systems changed in the seventh century. The official costume consisted of a $jacket(j{\u{o}}gori)$, trousers(baji), and coat(po). The coat had wide sleeves and reached below knees. Its collar had straight neckline. Officials of all rank wore silk caps and belts of matching colors. Officials above sixth rank used silver flower decorations on their caps. Officials wore wide-crouch trousers and generally adjusted the hems of the trousers, but this practice stopped in the sixth century. Officials wore shoes or boots depending on occasion. From a historical viewpoint, Baekche is important for having been the first Korean kingdom to establish a government organization. The salient feature of the system of organization established in A.D. 260(the twenty-seventh year of the region of King Goi) was the application of different colors to identify different ranks.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.103-116
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• 2011

The purpose of this study is to investigate the revision of the western-styled court costume in the Daehan Empire. For this purpose, 1) historical documents were reviewed, 2) one set of the court costume of Chigimgwan and another set of the court costume of Juimgwan were probed, 3) the photos of people wearing court costume were analyzed. The results of this study are as follows. First, the $14^{th}$ Imperial order of "official costume statute" had been revised in 1904, 1905 and 1907 through official gazettes. The last version of official costume statute enacted the more detail than the first rule. Second, the $15^{th}$ Imperial order of "official costume rules" had been revised in 1904, 1905, and transformed into official costume rules reform on $12^{th}$ Dec., 1906. The revision in 1905 made gold embroidery of court costume more simple than the first rule. The form of court costume was totally revised by change of the shape of adjusting on the top in the revised rule of 1906. Third, the revision in 1905 was actually manufactured and worn by the people because it can be confirmed in the relics of the court costume of $2^{nd}$ Chigimgwan in Yonsei University Museum, and the court costume of juimgwan in Kwangju Municipal Folk Museum. The relics made by the revision in 1906 had not been reported until now, but they can be confirmed in the photos left. Fourth, the sovereignity of the Daehan Empire was actually lost by $22^{th}$ Imperial family order which urged the servant having the title of nobility of Japan to wear the court costume of Japan. Therefore, the endeavor of the Daehan Empire which wanted to establish and develop the costume system of modern independent nation was discontinued.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.157-173
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• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.

• The International Journal of Costume Culture
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• v.3 no.3
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• pp.181-192
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• 2000

The nature of internationalisation is explored and the historical stages in the process described. A series of profiles of fashion companies, which have pursued policies of internationalisation, is presented. The challenges faced by fashion producers and retailers, as they enter the twenty-first century, are identified and the changing context of fashion consumption is recognised.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.38-38
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• 2003

Costumes has changed according to its historical background, social conditions and life style for that particular age. The same is true of our clothing. Many changes are found in them based on our ancestral knowledge in an effort to apply better conveniences and more sophisticated clothing culture.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.63-63
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• 2003

Western clothes began to be body-fitted from the middle ages and have changed into various forms. As the functionalism and simplicity were pursued through the modern society, western clothes became to be the clothes for all over the world.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.80-80
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• 2003

The velocity of change of the world in its speed and scale are very rapid. The new terms like "nano" and "genom map" and etc are continuously generated. The current main themes are focused on the society in change, the information-oriented society. To do it, it is very interesting to consider to view the diverseness of cultures in the western society. Especially this study reconsindered the historical background of the hippy's hairstyles and their influence on the current hairstyles. current hairstyles.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.1-14
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• 2009

This study is intended to examine the modernization of Chinese costumes through historical events, and to analyze the characteristics of the costume modernization process. The modernization of Chinese costumes appears to have begun with the Opium Wars, and the Nanjing Treaty(1842), the Beijing Treaty(1860) and the official residence of western people in Chinese territory. Afterwards, in order to initiate change, the Chinese people themselves implemented the Westernization movement(1861-94), placing an emphasis on the westernization of external elements such as technology and form, but aspects such as costume, deeply saturated in their traditions, do not appear to have changed significantly. Despite self-empowering movements such as these, as western forces diffused deeper into the Chinese mainland, neo-intellectuals formed the axis of a revolutionary movement. A major example can be found in the Xinhai Revolution(1911) revolution, which forbade the binding of feet and shaving of frontal hair and partially implemented western formal dress. Through these factors, the modernization process of Chinese costume demonstrates characteristics of an adherence to traditional dress and partial acceptance of western attire. Through this, we may understand the modern costumes of China, which adhered more to tradition than Japan, which pursued western costumes actively within a similar period, and Korea, which rushed modernization due to Japanese authority.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.135-151
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• 2011

The purpose of this study is to research the costume styles during the Silla(新羅), and Paekje dynasty[百濟] in 'Seodong tale'. In those days, costume form, color, pattern, and ornaments played an important role in representing the differences in social status. The Methodology of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in 'Seodong tale' through the antique records and tombs bequests and expressing the clothing of the appearance people in the picture. This study is about the costume styles representing the differences in social status during the Silla and Baekje dynasty in 'Seodong tale'. Sedong wore 'Heug Geon(黑巾)' and 'Yu', 'Ko(袴)'. The king of Silla, Jinpyung wore Tree and Antler-typed Diadem and 'Po(袍)' with 'GwaDae(銙帶)' and Earrings, Necklaces, Rings. The servant of Baekje wore 'Eunmhwakwansik[silver crown]' and 'Jangyu' bound the silver belt and 'Ko'. Silla Princess of the court, Seonhwa wore Feathered Trim with Conical hat, and 'Yu' bound the belt and 'SangdongChima' and Earrings, Necklaces, Bracelets, Rings. Sedong's mother's hair style was 'Eonjeunmeori' and wore 'Yu' and 'Ko'. The queen of Baeje, Seonhwa wore 'Keumhwasik[Gold crown]', and 'Po' bound the belt and Earrings, Necklaces, Bracelets.

• The International Journal of Costume Culture
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• v.3 no.2
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• pp.161-174
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• 2000

Today's advanced transport and mass media enables people to access easily and frequently to traditional costumes from different countries in the world. Consequently, fashion designers who are fascinated by the variety and beauty of traditional costumes, tend to adapt them to modern fashion design. The continuous study of traditional costumes at such time contains a meaning as a source of inspiration for the creation of a new fashion design. Therefore, among various costumes of the world, this study will focus on the costume of Palestine, that is situated at the crossroads of Europe, Asia and Afria and has exchanged various historical cultures with other cultural regions. It, especially, expects to provide a unique idea in the material modification field of today's fashion design by examining mainly the embroidery ornament which is the most distinctive feature of Palestinian costume. The conclusion was revealed that Palestinian women's costume largely consists of embroidered silk and cotton garments with a V-slitted square panel (gabeh) attached to the chest part. And a variety of luxurious embroidery was employed to emphasize different parts of the dress. These embroideries differ from area to area. Especially the embroidery from Bethlehem was well-known in many places and influenced those of other regions.