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 Korea Fashion and Costume Design Association
/
v.8
no.2
/
pp.145-157
/
2006
The purpose of this study is to suggest new designs and patterns for men's coat by deconstructing and restructuring 18th and 19th century men's coat. In the postmodern society, the reinterpretation of the past fashion trends or items through extensive historical investigation has been frequently used as new design motifs and the new source of creative fashion design. Especially in the contemporary society, as multifarious forms and presentations are emphasized even in the men's fashion, it is urgently required more than ever to do thorough and extensive research for the design and structure of men's fashion. Therefore, through historical research on men's fashion, the 18th and 19th century men's coat, which is generally considered to be the most developed one in the concept and shape of 'coat,' has been reinterpreted and deconstructed to make new design for men's coat which corresponds to the trends and sensibility of contemporary fashion. In addition to this, to facilitate practical use of this new design by fashion public, the plane patterns for the actual production of these coat designs were presented.
The purpose of this study is to investigate men's coat of Jikryeongkoim style that were excavated from the tombs of the Yeosan Song family. Findings of the study can be summarized as follows. Except Dapho, all of the above mentioned coat were usually worn in the late 15th and late 16th centuries. Jikryeong and Cheolik were often worn in both of the centuries. But Aekjureum was often worn in the late 15th century and Jikryeong with no side hem and Jikryeong of Dopo style, in the late 16th century. Generally, the men's coat of Jikryeongkoim style had a short fore part and a long rear part, doubled kalgit of banmokpan style and a narrow sleeve in the late 15th century, while fore and rear parts of the same length, kalgit of ordinary style and the sleeve of bean chaff shape in the late 16th century. In both of the centuries, the coat had the outer Seop that was doubled and used short, narrow coat strings to be adjusted. Samgakmu was used to Jikryeong with no side hem and Aekjureum. Out of the coat, those which were lined or padded or quilted with cotten used Samgakmu, but those which were unlined didn't. To adjust the coat, usually, a pair of short, narrow coat strings was used. The coat had the coat strings directly stitched on them or indirectly connected to them by means of the coat string hanger.
The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.
Variety and individuality are characteristic of consumer in modern society. For the necessity of new designed men's formal suit is on the rise with advance of party culture and change of wedding style. In addition to growing numbers of Korean grooms are getting more interested in make themselves well-groomed on the wedding ceremony. The purpose of this study is to develop the men's formal suit pattern for right fit and better style for Korean grooms. In order to find out how to modify their fit, comparison among the existing patterns was necessary. In this study we proposed new patterns of men's formal suit, a morning coat, a tail coat, tuxedoes, director's suit, three-peaces suit, navy blazer. Considering the results of this study, developed patterns were altered to fit better and to smarter. They were well graded in waistline position, shoulder shape, back princess line shape. Also they were best to move around sleeve and bodice. And the developed patterns were altered to make armhole narrower to make bodice length shorter, to make bodice slimmer. The researcher's pattern's were made up into garments using wool 100%, silk 100%. According to verify the improvements and grade better in both appearance and comport, it will be to take the lead men's formal dress culture and expand the base of popular consume for men's formal wear.
This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.
This study examines the costume artifacts discovered in the burial site of Choi Kyung Sun(1561~1622), which was moved from Gangwon in Gangrung Province. About 30 artifacts, including costumes, were recovered from Choi Kyung Sun's grave. The collection of men's coats discovered in the grave consisted of a Dallyeong (Official's robe), Jing-nyeong(Man's coat), Jungchi-mak(Man's coat), Cheolrik(Man's coat), Chang-ui(Man's coat), Gwang-su-ju-ui(Man's coat), and Do-po(Man's coat). Han-sam(Undershirts), Jeo-go-ri(Jacket), and trousers were also recovered, along with several items made of textiles, such as the cloth used to shroud and wrap the body. The costume artifacts recovered from Choi Kyung Sun's grave have several characteristics that distinguish them from other early 17th-century costume artifacts. Firstly, the body had a hairband made from horsehair. Secondly, the men's trousers were of the type worn before the Japanese Invasion(1592~1597). Thirdly, the style of the coats' sleeves, when compared with artifacts from other regions, was from an earlier era. Through these costume artifacts, it can be inferred that people who lived in the Gangwon Province, which was far away from Seoul, continuously wore outfits from before the Japanese Invasion, and trends spread slowly.
This research aimed to study the making of western men's coats in the early 19th century. First of all, the study figured out the concepts and forms of western men's tops in the early 19th century by collecting and categorizing pictures including engravings, paintings and pattern books, and literature data. Second, this research identified the patterns, sewing, and design techniques by examining the pattern books on men's clothing in the early 19th century, and analyzed the preserved costumes to restore the selected models. Third, this research presented historical evidences and patterns after designing a men's tailcoat of the early $19^{th}$ century and checking the fit based on the analyzed forms and design techniques. The research discovered that the analyzed results between the tailcoat forms depicted in literature, pictures and pattern books and preserved costumes were almost identical. From this, it can be assumed that the tailors followed a manual when designing garments during that time given the similarity between historical records and remaining items. In addition, it can be seen that the forms and designing methods of men's clothing in the 19th century were almost similar to that of the modern menswear, despite the differences in producing process.
This research examines pattern production of 3 men's costumes in the second half of 19th century by 3D reconstruction to reveal technical aspects of mail costumes. The steps are as follows. First, an examination of selective type according to research study. Second, a pattern analysis of 3 historical male tops of 19th century referred to 9 pattern books of the France National Library collection. Third, a categorized type analysis that referred to paintings of the Musée d'Orsay collection. Fourth, a measurement and structure research of 3 historical garments of Fashion and Textile Museum collection. Fifth, the pattern making and fitting by 3D simulation. Research discussed the following subjects and results. First, main type of men's coat can be categorized by frac, redingote, jaquette, and veston. Second, the male costume pattern contained in pattern books was researched along with distinguished silhouettes and structures; X silhouette for frac and redingote, H silhouette for jaquette, and straight box silhouette for veston. Third, based on the analysis of representative type of men's costume per period conducted previous studies, 2 redingotes and a jaquette in the museum were selected and compared to other data such as image materials. Last, the following process was conducted for reconstruction; 'Drawing diagram-Primary pattern drafting by measurement value-3D virtual fitting-Checking the fit-Modification and complement'. We also obtained a 3D virtual reconstruction and a 2D research pattern that suggested a costume pattern by each type along with 3D reconstruction that included insights for male coat techniques of 19th century France.
While the women of the Korea Dynasty wore hat(笠子) and Mongsu(蒙首) on top of it when going out, the Yi Dynasty, due to more strict Contucian ethics and isolated way of life, had seen the development of the covering clothes, rather veil, for avoiding the opposite sex with diversity and both men and women began wearing PHO(coat), a Korean topcoat over the head and thurs called Changots, but originally PHO for men was named Changyi a men's outer coat. Neuwul(羅兀), like Mongsu(蒙首) of Korea Dynasty was a thin black hood worn on top of the Wowllip or a kind of skirt draped over the head and the latter was called Changots, very similar to Sgaechima, a kind of long hood formally worn by women. Meanwhile, local women wore a long veil with no arm sleeves dubbed Cheunyi(薦衣) But since western civilization and culture landed on Korea around the end of the 19th century, the women's social status has been raised to almost the same level with men and the way of life has changed towards openness, in which men and women have almost daily contact with one another, so these days we can hardly find such veil style covering clothes around us.
본 웹사이트에 게시된 이메일 주소가 전자우편 수집 프로그램이나
그 밖의 기술적 장치를 이용하여 무단으로 수집되는 것을 거부하며,
이를 위반시 정보통신망법에 의해 형사 처벌됨을 유념하시기 바랍니다.
[게시일 2004년 10월 1일]
이용약관
제 1 장 총칙
제 1 조 (목적)
이 이용약관은 KoreaScience 홈페이지(이하 “당 사이트”)에서 제공하는 인터넷 서비스(이하 '서비스')의 가입조건 및 이용에 관한 제반 사항과 기타 필요한 사항을 구체적으로 규정함을 목적으로 합니다.
제 2 조 (용어의 정의)
① "이용자"라 함은 당 사이트에 접속하여 이 약관에 따라 당 사이트가 제공하는 서비스를 받는 회원 및 비회원을
말합니다.
② "회원"이라 함은 서비스를 이용하기 위하여 당 사이트에 개인정보를 제공하여 아이디(ID)와 비밀번호를 부여
받은 자를 말합니다.
③ "회원 아이디(ID)"라 함은 회원의 식별 및 서비스 이용을 위하여 자신이 선정한 문자 및 숫자의 조합을
말합니다.
④ "비밀번호(패스워드)"라 함은 회원이 자신의 비밀보호를 위하여 선정한 문자 및 숫자의 조합을 말합니다.
제 3 조 (이용약관의 효력 및 변경)
① 이 약관은 당 사이트에 게시하거나 기타의 방법으로 회원에게 공지함으로써 효력이 발생합니다.
② 당 사이트는 이 약관을 개정할 경우에 적용일자 및 개정사유를 명시하여 현행 약관과 함께 당 사이트의
초기화면에 그 적용일자 7일 이전부터 적용일자 전일까지 공지합니다. 다만, 회원에게 불리하게 약관내용을
변경하는 경우에는 최소한 30일 이상의 사전 유예기간을 두고 공지합니다. 이 경우 당 사이트는 개정 전
내용과 개정 후 내용을 명확하게 비교하여 이용자가 알기 쉽도록 표시합니다.
제 4 조(약관 외 준칙)
① 이 약관은 당 사이트가 제공하는 서비스에 관한 이용안내와 함께 적용됩니다.
② 이 약관에 명시되지 아니한 사항은 관계법령의 규정이 적용됩니다.
제 2 장 이용계약의 체결
제 5 조 (이용계약의 성립 등)
① 이용계약은 이용고객이 당 사이트가 정한 약관에 「동의합니다」를 선택하고, 당 사이트가 정한
온라인신청양식을 작성하여 서비스 이용을 신청한 후, 당 사이트가 이를 승낙함으로써 성립합니다.
② 제1항의 승낙은 당 사이트가 제공하는 과학기술정보검색, 맞춤정보, 서지정보 등 다른 서비스의 이용승낙을
포함합니다.
제 6 조 (회원가입)
서비스를 이용하고자 하는 고객은 당 사이트에서 정한 회원가입양식에 개인정보를 기재하여 가입을 하여야 합니다.
제 7 조 (개인정보의 보호 및 사용)
당 사이트는 관계법령이 정하는 바에 따라 회원 등록정보를 포함한 회원의 개인정보를 보호하기 위해 노력합니다. 회원 개인정보의 보호 및 사용에 대해서는 관련법령 및 당 사이트의 개인정보 보호정책이 적용됩니다.
제 8 조 (이용 신청의 승낙과 제한)
① 당 사이트는 제6조의 규정에 의한 이용신청고객에 대하여 서비스 이용을 승낙합니다.
② 당 사이트는 아래사항에 해당하는 경우에 대해서 승낙하지 아니 합니다.
- 이용계약 신청서의 내용을 허위로 기재한 경우
- 기타 규정한 제반사항을 위반하며 신청하는 경우
제 9 조 (회원 ID 부여 및 변경 등)
① 당 사이트는 이용고객에 대하여 약관에 정하는 바에 따라 자신이 선정한 회원 ID를 부여합니다.
② 회원 ID는 원칙적으로 변경이 불가하며 부득이한 사유로 인하여 변경 하고자 하는 경우에는 해당 ID를
해지하고 재가입해야 합니다.
③ 기타 회원 개인정보 관리 및 변경 등에 관한 사항은 서비스별 안내에 정하는 바에 의합니다.
제 3 장 계약 당사자의 의무
제 10 조 (KISTI의 의무)
① 당 사이트는 이용고객이 희망한 서비스 제공 개시일에 특별한 사정이 없는 한 서비스를 이용할 수 있도록
하여야 합니다.
② 당 사이트는 개인정보 보호를 위해 보안시스템을 구축하며 개인정보 보호정책을 공시하고 준수합니다.
③ 당 사이트는 회원으로부터 제기되는 의견이나 불만이 정당하다고 객관적으로 인정될 경우에는 적절한 절차를
거쳐 즉시 처리하여야 합니다. 다만, 즉시 처리가 곤란한 경우는 회원에게 그 사유와 처리일정을 통보하여야
합니다.
제 11 조 (회원의 의무)
① 이용자는 회원가입 신청 또는 회원정보 변경 시 실명으로 모든 사항을 사실에 근거하여 작성하여야 하며,
허위 또는 타인의 정보를 등록할 경우 일체의 권리를 주장할 수 없습니다.
② 당 사이트가 관계법령 및 개인정보 보호정책에 의거하여 그 책임을 지는 경우를 제외하고 회원에게 부여된
ID의 비밀번호 관리소홀, 부정사용에 의하여 발생하는 모든 결과에 대한 책임은 회원에게 있습니다.
③ 회원은 당 사이트 및 제 3자의 지적 재산권을 침해해서는 안 됩니다.
제 4 장 서비스의 이용
제 12 조 (서비스 이용 시간)
① 서비스 이용은 당 사이트의 업무상 또는 기술상 특별한 지장이 없는 한 연중무휴, 1일 24시간 운영을
원칙으로 합니다. 단, 당 사이트는 시스템 정기점검, 증설 및 교체를 위해 당 사이트가 정한 날이나 시간에
서비스를 일시 중단할 수 있으며, 예정되어 있는 작업으로 인한 서비스 일시중단은 당 사이트 홈페이지를
통해 사전에 공지합니다.
② 당 사이트는 서비스를 특정범위로 분할하여 각 범위별로 이용가능시간을 별도로 지정할 수 있습니다. 다만
이 경우 그 내용을 공지합니다.
제 13 조 (홈페이지 저작권)
① NDSL에서 제공하는 모든 저작물의 저작권은 원저작자에게 있으며, KISTI는 복제/배포/전송권을 확보하고
있습니다.
② NDSL에서 제공하는 콘텐츠를 상업적 및 기타 영리목적으로 복제/배포/전송할 경우 사전에 KISTI의 허락을
받아야 합니다.
③ NDSL에서 제공하는 콘텐츠를 보도, 비평, 교육, 연구 등을 위하여 정당한 범위 안에서 공정한 관행에
합치되게 인용할 수 있습니다.
④ NDSL에서 제공하는 콘텐츠를 무단 복제, 전송, 배포 기타 저작권법에 위반되는 방법으로 이용할 경우
저작권법 제136조에 따라 5년 이하의 징역 또는 5천만 원 이하의 벌금에 처해질 수 있습니다.
제 14 조 (유료서비스)
① 당 사이트 및 협력기관이 정한 유료서비스(원문복사 등)는 별도로 정해진 바에 따르며, 변경사항은 시행 전에
당 사이트 홈페이지를 통하여 회원에게 공지합니다.
② 유료서비스를 이용하려는 회원은 정해진 요금체계에 따라 요금을 납부해야 합니다.
제 5 장 계약 해지 및 이용 제한
제 15 조 (계약 해지)
회원이 이용계약을 해지하고자 하는 때에는 [가입해지] 메뉴를 이용해 직접 해지해야 합니다.
제 16 조 (서비스 이용제한)
① 당 사이트는 회원이 서비스 이용내용에 있어서 본 약관 제 11조 내용을 위반하거나, 다음 각 호에 해당하는
경우 서비스 이용을 제한할 수 있습니다.
- 2년 이상 서비스를 이용한 적이 없는 경우
- 기타 정상적인 서비스 운영에 방해가 될 경우
② 상기 이용제한 규정에 따라 서비스를 이용하는 회원에게 서비스 이용에 대하여 별도 공지 없이 서비스 이용의
일시정지, 이용계약 해지 할 수 있습니다.
제 17 조 (전자우편주소 수집 금지)
회원은 전자우편주소 추출기 등을 이용하여 전자우편주소를 수집 또는 제3자에게 제공할 수 없습니다.
제 6 장 손해배상 및 기타사항
제 18 조 (손해배상)
당 사이트는 무료로 제공되는 서비스와 관련하여 회원에게 어떠한 손해가 발생하더라도 당 사이트가 고의 또는 과실로 인한 손해발생을 제외하고는 이에 대하여 책임을 부담하지 아니합니다.
제 19 조 (관할 법원)
서비스 이용으로 발생한 분쟁에 대해 소송이 제기되는 경우 민사 소송법상의 관할 법원에 제기합니다.
[부 칙]
1. (시행일) 이 약관은 2016년 9월 5일부터 적용되며, 종전 약관은 본 약관으로 대체되며, 개정된 약관의 적용일 이전 가입자도 개정된 약관의 적용을 받습니다.