• 복식문화연구
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• 제16권5호
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• 복식
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• 제50권8호
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• pp.149-163
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• 2000

The purpose of this study is to research the Korean and Japanese costume systems and to compare both of them on the process of adopting the western-originated costumes. The consequences of this study are as follows. Chosen and Japan started simplifying the traditional clothings, Introducing the western clothings and executed the ordinance prohibitory topknots through reforming costume systems since Port Opening Treaties in 19th centra. Japan performed the reformation of costume system effectively through the grand campaign of social reforming enlightment by Meiji Government. Meanwhile in Korea, there were a continual repetition of adoption and rejection in the reformation of costume systems because of strong cultural self-esteem and competition of foreign Empires. However, western-originated cultural perspectives brought the strong self-devaluated view on their own cultures to both countries. And that's the first cause of substitution of western clothings for ordinary ones in both nations.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 복식
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• 제65권4호
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• pp.31-44
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• 2015

The purpose of this study is to examine introduction and establishment of the police uniform during Japan's early Meiji period, in order to get deeper understanding of the introduction of the modern uniform. The research method included a literature review of laws related to police uniform, which were collected and analyzed. The result shows that the uniform stipulated by Keisi-cho Uniform regulation in 1874 included characteristics of Western uniforms that show the rank of the officers using emblems, such as different cap badges and uniform stripes, while maintaining the same form. Later, the modern uniform system came into form with the addition of a national symbol, building system of formal wear, separating uniforms for different classes, and adding additional uniforms. This illustrates the process of introducing and establishing western-style uniform in the East and can serve as a reference for similar studies.

• 복식
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• 제50권3호
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• pp.145-159
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• 2000

The first introduction of reformed Korean traditional cloth in was started in the age of civilization and until liberation from imperialism it was made a reformation in faculty from Korean traditional clothing. And by 1980s western style costume took lead but after Asian Game in 1986 and Seoul Olympic in 1988 Korean traditional beauty was added to costume and there were various attempt to produce truly reformed Korean traditional clothing. The present condition of reformed Korean traditional clothing in 1990s are like this : 1) Most of reformed Korean traditional clothing ships could not fractionalize customers. So it needs to subdivide and specialize customer and investment to improvement of design. 2) A large percentage of reformed Korean traditional clothing is ordinary dresses. So it should develop various sorts and color, design and textile and be in harmony with international trend. 3) Most of shops handled a coordinate goods like a bag and shoes. 4) In the investigation customers they wanted various colors, high quality in design , logical price and a periodical sale. So four pieces of the reformed Korean traditional costumes were designed and produced based on the present condition.

• 한국의류학회지
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• 제33권5호
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• pp.732-740
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• 2009

The purpose of this study is to discuss Joseon dynastyis first perspective on the Western-style Court Costume which was newly introduced to Joseon through the problems receiving the credential that Japan had sent in new style. For this study, the records of Joseon and Japan at that period have been analyzed. The followings are the results of this research; First, a critical argument on the Western-style Court Costume occurred just before the Port Opening because whether wearing a western costume was the key factor in Joseon dynastyis receiving the credential that Japan had send in new style. Second, Japan received western costume as its domestic courtesy system by establishing the Court Costume of Civil servants in 1872 and consequently Japan established new ceremony procedure of western-style bow in 1875. Third, Joseon dynasty officially opposed to the Western-style Court Costume when Japan sent the credential, because the western costume selected by Japan had beenregarded as that of western barbarian at that time in Joseon. Accordingly, it seems reasonable that before the introduction of western costume into Joseon dynasty, an open-door policy for the West had been a prior settlement for Joseon dynasty regardless of the details of Western-style Court Costume. And also, the pride of civilization of Joseon dynasty, which has been used to express Joseon dynastyis identity as Joseon-centrism, had to be converted before the open-door policy. Ultimately, it could be inferred that the reception of the Western-style Court Costume had been raised as the political and diplomatic problems in the circumstances when the submissive relationship in the traditional Eastern- Asia had been forced to be converted to modern sovereign international relationship.

• 복식
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• 제15권
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• pp.149-166
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• 1990

Korean clothes is traditional folk costume native to Korea, Which is in Korea clothes. The past Korean costume was developed in the native costume, together influenced by chinese costume. But in the late Yi dynasty the contact with western countries brought about a turning point in Korean costume history, with rapid growth of economy since Korean war in the 1950's, the magnification of industrial structure, the development of productive technique, transformation of consumption pattern and the development of communication have been increased concerns for the western costume. In 1953 the introduction of nylon which was imported from Japanese brought about a fuming point in clothing habits. In 1967 the development of the fiber industry got a firm stand in ready-made clothes. Consequently our traditional Korean clothes was regarded as nonfunctional, nonproductive and it was pushed out of daily life little by little and it was deprived of the function of ordinary costume by the influence of western costume. But in these days the Korean clothes appears as the desire of pursuing traditional style in addition to mordern style of Korean clothes.

• 한국의류학회지
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• 제39권4호
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• pp.477-491
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• 2015

This study analyzes Chinese dresses featured in propaganda posters since the mid-$20^{th}$ century as well as explores the political characteristics of dress. This study used an in-depth interview method to investigate information from 10 Chinese familiar with public awareness and donning practices of the Chinese from 1949 to present. Interviews and analysis provided the following conclusions. First, Zhongshan-zhuang, Liening-Zhuang and Bulaji were widely worn in the Reconstruction because of the revolutionary spirit; in addition, Huayishang also became simultaneously popular as a means to reflect the new aspects of socialism. Second, Jufu/Junbianfu were the most common dresses during the period of Cultural Revolution because the government used various mechanisms to control public opinion. Third, Western fashion began to enter the Chinese market and suit wearing by the Chinese became a symbol of the Reformation and Open-door policy. Traditional dress is no longer a symbol of Feudalism and is a part of Chinese culture that has been reaccepted in the Reformation and Open-door times. Finally, during these 60 years, Chinese dress has obvious political characteristics, but began to change. The changes of political characteristics were, de-politicization expressed by the introduction of Western ready-made, permissions for traditional dress and diversification/ individualization.

• 한국생활과학회지
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• 제14권5호
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• pp.795-803
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• 2005

This paper discusses the late nineteenth-century Korean intellectuals' understanding of Japanese customs on the basis of Ki-Su Kim(金綺秀)'s records. Ki-Su Kim was conservative on his inspection and observation trip to Japan Even though he was loyal to Chinese philosophy, he expressed his great interest when he was reluctant to see the Western technology flowered in Japan because it is not mentioned in Confucianism(朱子學). However, he, like mordern scholars in the later period of the Chosun dynasty, took an objective view of the military matters, such as the military training of soldiers, weapons, and others. On the one hand, he appreciated the western garment in that it, fitting the human body perfectly, makes people comfortable. In the later period of the Chosun dynasty, the Koreans had a sense of their superiority to the Japanese and held them in contempt, which had been rooted in the Japanese invasion of Chosun in the year of Imjin(AD 1592). Even around AD 1870, the Koreans regarded the Japanese as a barbarian or a savage, even though the Japanese had attempted to modernize their country with the introduction of the Western civilization since the renovation of Meizi(明治).

• 대한가정학회지
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• 제43권8호
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• pp.69-81
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• 2005

The purpose of this study is to design high school boy's uniforms, which fit well and express the traditional aesthetics of Korean clothing. Korean traditional clothing is getting ground for the use as active wear as well as formal wear such as wedding or special holiday clothing. This is partly due to the introduction of western clothing in Korea because of the practical nature of this type of clothing. This study was carried out as follows: 1. First, 197 high school boys from 5 different high schools were surveyed. All of these schools use Korean style school uniforms. The survey asked the students about their satisfaction with the current designs, problems and design preferences for Korean style high school uniforms. In general, the boys are not satisfied with the aesthetic and fashionable aspects of their uniforms. 2. The second survey dealt with design preferences from a variety of design options of Korean-style school uniforms. The design options were presented to the students as in the form of 10 different types jackets and 6 different types of pants. Using the results of the second survey as a guideline, the designs of Korean style school uniforms were developed. 3. In order to make the test garments, a block bodice pattern for the Korean style school uniforms was developed. Using the developed bodice block pattern, 6 designs were made of wool. The 6 test designs consisted of 3 different types of jackets and 3 different types of pants. 4. Incorporating the most preferred design features, school boy Korean style school uniform designs were developed. The characteristics of the design include neck line opening and its finishing, AH and sleeve shape, embroidered traditional patterns and fastenings. In this study we were able to develop comfortable clothing, which expressed the traditional aesthetics of Korean clothing.