• 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.61 no.2
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• pp.72-87
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• 2011

The 21st century are seeing a large number of performing arts, and one of them, opera is evolving, transforming itself as one of total arts. Besides, the costume in performing art which play a major role in opera's visual impact, characterize figures, set the tone for performance and greatly contribute to the perfection of the stage. Under these circumstances, the study developed designs of stage costumes and built a full-scale production of the Magic Flute, one of three greatest Mozart operas. The opera based on a fiction, is still popular today since it is a fantastic fairy tale introducing moral and ethical lessons. The play's background itself is Egypt. But due to its fairy-take-like storyline, it has been performed focusing on various concepts rather than on costumes prepared through background research. As such, this study conducted research on designs of stage costumes that contains the element of Egypt and also take athleticism and comfort into consideration. The results derived from the study were as follows. First, traditional dresses of ancient Egypt were used as a basis while adding some modem touch in terms of forms or colors, which resulted in a new design. Second, a variety of images were captured using textures and colors that fit the characteristics of attributes of the figures. Third painting techniques were used to help highlight the symbolic image of Egypt-simple, not heavy and extravagant-with fairy-tale-like fantasy.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.20-35
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• 2011

The purpose of this study is to investigate war helmets that were worn by high navy officers during the period of Japanese Invasion of Korea(1592~1598). War helmets worn during the War are classified into three types depending on whether they have a visor or 'cheom' and tongues or 'drim'. The war helmets of circumferential type has neither cheom nor drim. Those of cheom type has cheom, but not drim. And those of drim type has both drim and cheom or jeonbi. The war helmets of cheom type consist of a gamtu which is made of steel and looks like a reversed bowl and cheom that surrounds the entire circumference of gamtu. The war helmets of drim type are reclassified into two types in accordance with the shape of the gamtu and whether they have ganju. Of the two types, one type looks like a reversed bowl and has decorations on the top without ganju. The other type looks like a bottle neck and has ganju on the top, decorations above ganju. War helmets were in transition during the period of Japanese Invasion of Korea. Both the war helmets of cheom and drim types were worn during the War. At that time, the officers also wore war helmets having no ganju and looking like a reversed bowl and those having ganju and looking like a bottle neck. During the period, most war helmets were made of steel, but in the 18th and 19th centuries, most of them were made of leather.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.94-108
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• 2013

This study is about the armors that high navy officers of Joseon wore during the period of Japanese invasion of Korea(1592~1598). The kinds of armors that these officers wore during this period are Sueungap, cheolgap, pigap, jigap and myeongap. Sueungap, cheolgap, pigap are all described in literatures, which were released in that period and the early Joseon period. According to publications that were released during that period, Yuyeopgap was a type of an iron armor. Armors that are recorded in only literatures published in the early Joseon period include swaejagap, gyeongbeongap, dujeonggap, hwangdongdujeonggap and dudumigap. Myeongap is found only in publications that were made in the above war time. The styles of armors are largely classified into chalgap and dujeonggap. The chalgap-styled armors used gapchal as their main component. Dujeonggap-styled armors used fabrics and dujeong. The names and the manufacturing methods of the gapchal did not changed since its creation in the early Joseon period until the above wartime. But, their shapes were considerably changed between the two times. This is clearly shown in armors that were found in the moat of the Dongrae-eup fortress. Dujeonggap-styled armors that were used during the period of the Japan-Korea war were a successor to those of dujeonggap-styled armors of the early Joseon period. But the former armors were different from the latter in that they had no gapchal inside. They are well represented by Jeong Chung Sin's armor.

• The Korean Journal of Community Living Science
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• v.22 no.1
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• pp.103-113
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• 2011

The purpose of the study was to examine formative features of embroidered norigae in form, color, pattern and expressive technique through positive analysis of relics and various of collections of work and to consider expressive features of embroidered norigae. The results of the study were as follows. First, embroidered norigae has handcrafted decoration. it was made by being sewed for women longing for their family's happiness. Embroidered norigae is a dress worn by women that is hung on a coat string or the waist part of a skirt. Second, it is eco-environmental. Embroidered norigae applied things seen in nature such as flowers, butterflies and bees to its pattern. Third, it has practicality. Embroidered norigae has high practical value besides a decorative function. Needle case norigae and incense case norigae provide functions in accordance with women's wisdom and skill as well as practicality. Fourth, it is praying for good luck. Women embroidered patterns symbolizing their desires in life such as their family's happiness, wealth, many sons and a long life. Fifth, it has balance and harmony. The knot of embroidered norigae has a perfect symmetry in the front/back part and in the right/left part. And the main body and tassel are symetrical in the right/left part, which gives stability and comfortableness. Embroidered norigae is classified into knot, main body and decorative part in its form. The three kinds express their unique beauty by being harmonized together. Finally, it has a property of melody. Movement of the tassel has a property of melody shaken by the wind and movement of its wearer.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.49-66
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• 2003

In the relationship between post-modern feminism and the body. the body of women, which has been taken as 'other' by dominant arguments, has escaped from the fixed idea at post-modern times and the post-modern feminists tried to escape from the taste of the times about body image that was prevalent in the former times.'The taste of the times' here means the fixed physical form of ideal women's body by the educational custom, and it includes the educational prescription which establishes the docile body of women. This kind of educational custom aims at the perfect and permanent restriction on size, shape, desire, attitude and movement as well as on the overall demeanor and each part of the body. And the custom produces 'dependent and trained'. that is, inferiorized women's body. Hence, this paper points out that the feminity as a fixed Physical form should be overcome in order to move forward, and as one part of the effort, it attempts to analyze the designs which deformed and distorted women's body in 1990s. This research indicates that the work, which tries to deviate the fantasized and casted women's mystery, has been closely connected with the expression of 'non-separate bodies' and 'irregular body shapes' in 1990s, which aims at escaping from the fixation of women's body Image. Therefore, it is concluded that the target design trend of this research, which expressed the deformation and perversion of the body, provides the anti-these against the ideal body image of women and the these of feminity. which have been reproduced in various methods and patterns throughout the public and the culture on the whole by expressing the refusal and deviation of the existing women's body image through the post-fixation of the body pattern.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.26-42
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• 2009

The purpose of this study is to examine how to sew the hem of men's coat which were excavated from the Yeosan Song Clan's tombs that are thought to be formed between the late 15th and the late 16th centuries, findings of the study can be summarized as follows. 1. Andan, or inside facing was used to prevent the hem from being worn or swollen or to make the hem properly arranged. It was generally used for single-layered and cotton-quilted coat for men. Deotdan was used mainly for men's coat having oblique cutting lines and jemuldan for those having straight cutting lines. In single-layed coat for men, the width of andan was widened a little as the times moved from the late 15th to the late 16th century, but in cotton-quilted ones, the width was not significantly changed. 2. Fixing the lining and the upper was used as a method to prevent the lining of men's coat from being pushed out or the hem of the clothes from being swollen. The method was generally used for double-layered, cotton and cotton-quilted coat for men. The double back-stitching was usually used for double-layered and cotton coat for men and the broad-stitching for Cotton-quilted ones. 3. Among men's coat, those whose siding was partially opened were less spare in the lower end than those whose siding was wholly opened. For this reason, the former clothes were more likely to have the tip of the siding easily torn. To solve this problem, overhand knotting 1, overhand knotting 2 and lotus-flower knotting strings were used for men's coat whose siding was partially opened. Among the three types, lotus-flower knotting was most elaborate in form. For men's coat, overhand knotting became gradually replaced by lotus-flower knotting as the times moved from the late 15th to the late 16th century.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.147-162
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• 2007

The purpose of this study is to grasp the inconvenience and problems with caregivers' uniforms and preferred designs by examining the wearing conditions of these uniforms in medical welfare facilities for the aged. To attain this purpose, a questionnaire was completed by direct observation and by interviewing caregivers in specialized hospitals for the aged and those engaged in nursing and then a preliminary examination was carried out. The questionnaire was given to 228 caregivers. Following are the results of this research. It was found that the caregivers in medical welfare facilities for the aged were women in their 50s, wearing primarily a size 77 uniform. It was revealed that when the caregivers bathe patients, they usually get wet from the knees to the bottom part of their pants and many of them (61.2%) change both their tops and pants after giving a bath. The caregivers said that every part of the tops of existing uniforms, except the armpits, were a little large or too long. It turned out that the area of the armpits, the front buttons, crotch, hip area, and knees are mostly the areas that readily wear out in the uniforms. It was reported that the uncomfortable parts in the uniforms a.e the armpits, shoulders, and the front adjusting parts of the tops and the hips, thighs, and the crotches of the pants. The material for the uniforms have problems in ventilation, fluffing, absorption of sweat, and permeation of odor.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.108-123
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• 2007

The purpose of this study is to investigate costumes worn by high government officials which are illustrated in Tamna Sullyeokdo at the era of King Sukjong of the Joseon Dynasty. The findings of the study are as fellows: 1. Tamna Sullyeokdo showed that Moksa wore an simplified version of Jobok at a congratulatory ceremony. They wore Sibok at such events as examinations, Yeonhyang or Jinsang. Particularly at Yeonhyang, Samo was decorated with some red flowers. The officials wore Yungbok when they were participated in military training, hunting or arrow shooting competitions. They wore Pyeonbok when they go on a trip 2. Pangwan wore Sibok when they took an examination. They wore Yungbok during military training while they wore Pyeonbok during Tamseung. 3. Hyeongam wore Sangbok at a congratulatory ceremony. When they take part in military training, examinations, Yeonhyang or Jinsang, those officials wore Sibok. They also wore Yungbok during military training, Yeonhyang or Jinsang. They wore Jurip decorated with some red flowers during Yeonhyang. And they wore Pyeonbok when they were inspecting military training of Seongjeonggun. 4. Gungwan wore Yungbok at every events. They wore Jurip decorated with Hosu and Jeonrip on their head, and wore Cheolrik during military drills, arrow shooting competitions, examinations, Jinsang, or Tamseung. They wore Jeonip decored with red flowers during Yeonhyang. During regular military trainings, those officials wore Jeonrip decorated with Sangmo on their head and wore Cheolrik and Jeonbok. During Tamseung, they wore Jeonrip decorated with Sangmo on their head and wore Jeonbok with Jungchimak or a set of Jeogori and Baji.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.14-22
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• 2007

This study is about the excavated costume representing fundamental "Conservation and Restoration". It's not a report of a specific case, but it is a guideline that contains the costume and textile of museum collection. It is not research based on experiments; however, this paper is basically consists of various reported-documents. Followings are the conclusions of this study 1. These are the factors that we have to know to prevent the causes of fabric's degradation. -Light, -Humidity and temperature, -Microscopic organism, -Insect and rodent animal, -Air pollution, -Ph, -Handling 2. Basic principles of conservation and restoration follows are: -Select the Reversible method, -Represent the easily distinguishable repaired place, -Should be acted by an expert or people with experience, -Before the restoration, accurate and specified records should be completed, -Procedure, treatment method, and materials used should be recorded prior to restoration, -Should be cared minimally, -Be cautious when using the conservation materials, -When caring, make sure nothing is against the principle of aesthetic, historic, and form of preservation 3. The types of restoration are type of straight or curve, type of hole, type of without warp or weft, type of special part damage something like sleeve, collar, type of form that is severely damaged, and type of separated pieces. 4. The method of restoration is sewing, stitching, and the combination of sewing and stitching. 5. The restoration seams are welt seam, plain seam, flat felled seam, french seam etc. And there are kinds of used-sewing, such as, broad stitching, backstitch, half backstitch, basking, hemming, saddle stitching etc.