• 패션비즈니스
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• 제2권3호
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• pp.157-165
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• 1998

In Koryo Dynasty Pyonbokpo(便服抱) was worn by both sexes. There were four styles that was Yosunchollic, Dappo, Pol, Poll, of the men's Pyonbokpo(便服抱). Double breast style (重据形) was used for the adjustments of these clothes. Neckline and he-m line were substituted by rectangular collar (목판깃). The width and length of sleeves in Yosunch-ollic was tighter and shorter as general Po. Coat-string (Okgolum), side slit were used. Feminine Pyonbokpo (便服抱) had usually same style of men's one. There was one was back longer than front length. They wore it with or without a belt. Knot-button, Coat-string (Okgolum), White straight collar (DongJung), side slit were used.

• 복식
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• 제60권2호
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• pp.20-34
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• 2010

This study is intended to suggest the characteristic of dress and its ornament introduced in terms of naturalized words on Korean newspapers and magazines published from the age of enlightenment to the Independence(1876-1945). First of all, naturalized words in that period(1876-1945) can be classified into words originated in Japanese, words originated in western countries and borrowed words came from Japan. Borrowed words which came from Japan are almost related to Japan's traditional dress like Gudu, Gabang, Kimono, Nemaki, Ebijahagama, Hagama, Sirusibanden, Doriachi, Dombi, Sarumada, Sseumeeri, Doriachi, and Mombbe. Borrowed words originated in western countries are like Frock coat, Bonnet, Necktie, Chapeau, Scotch, Homespun, Chamois, Skirt, Spring Coat, Ribbon, Silk hat, Panama hat, Handbag, Pajama, Shawl, Apron, Cuffs, Pocket, Handkerchief, Morning coat, Combination-one piece, Rain Coat, Burberry, and Permanent, etc. Borrowed words came from Japan is Lasa[raxa], jokki[jaket], Les[lace], Veludo[velvet], Bbanss[pants], Oba[overcoat], Meliyas[medias], Shass[shirt], Manto[manteau], and Sebiro[civil clothes]. As we can see from the result of research, borrowed words from the age of enlightenment to the Independence was because of its special social situation, Japanese imperialism, they are divided into real western words and words came from Japan or Japanese. In terms of items, a lot of words related to men's suit and women's dress, accessory, etc. It confirms that men's dress was westernized in the whole part compared to partially westernized women's one. A lot of words used at that period are now adapted to Korean language and became the foundation of words used in the current dress and its ornament area.

• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 복식
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• 제19권
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• pp.195-207
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• 1992

palestein had been a part of Islamic culture before Israel was established after World War II and their daily lives had been totally affected by the Korean, Consequently, the idea of clothing, types of women clothes and it's characteristics reflected in the Koran have been studied and the results are as follows: First, the idea of clothing reflected in the Koran emphasizes the equality of the sexed and treats women as men's equal partner. Second, in the Koran there is almost no reference on men's clothes, but it only recommends women to wear veil to cover their faces and bodies when they go out. The Koran argues that it is not to restrict women but to protect them. Third, due to it's geographical location, Palestinian clothes had been affected by it's neighboring areas, and the gumbaz-a kind of coat - is one of the examples of Turkish origin. In the beginning the gumbaz had been worn by upper class Palestinian women and subsquently by urban Nazareth women. They used to slip on gumbaz on their heads and shoulders. Fourth, In Palestein they wore jacket over coat or dress. The emboridered jacket from Bethlehem was mostly worn their wedding dress. Fifth, the headdress and face-veil in Palestein are the most unique ones and married women decorated headdress and face-veil with gold or silver coins which they received as wedding presents, and wrapped all their coin decorations in black cloth when husbands are dead. Bedouins decorated not only with coins but also with shells, buttons, stones and beads to articulate their chastity, social status, aestheticism, religion and magic.

• 복식
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• 제29권
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• pp.5-22
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• 1996

the present thesis aims to contribute to the further development of the men's wear indus-try in Korea which now confronts the need to adjust itself more actively to the conditions of the coming age of internationalization and free trade. To achieve this this thesis suggests the trade should provide for the changing domestic needs on theone hand and refine its wares as high value-added products in compe-tition with those from the advanced countries in fashion industry on the other, The history of the 'suit' the standard men's attire dates back to 1850 when the 'Ditto suit' was introduced composed of coat waist coat vest and trousers to remain virtually unchanged till the end of the nineteenth cen-tury and the modern men's wear originated in Britain. In Korea since the introduction of western clothes from 1876 custom-made suits had been dominant until 1944 while western clothes earned popular currency between 1945 and 1964 and ready-made suits began to spread with their advantages recognized in terms of practicality convenience and functionality The next phase from 1965 to 1985 witnessed the establishment of a number of ready-made brands although custom-made suits stayed in their height of prosperity until 1975. The turn-ing point for the men's wear industry came in 1975 when high-calss ready-made brands be-gan to turn up with the arrival of large companies in the market matching the change in consumers' life style. The men's wear market went through further diversification and specialization dur-ing the years between 1985. and 1990. Around the year 1990 however the expansion of the business suit industry came to slow down ac-companied by an oversupplied market. The fashion of pragmatism in the 1990s called for the growth of the casual wear department and as consumers' life style became more and more individualized conscious dressing in accord ance with T.P.O established itself as an important branch of culture, Such casual boom is likely to aid in promoting Korea's men's wear indus-try to peer with that of advanced countries. Consumers' fashion sense is now ahead of the trade's as well as being shortcycled highly individualized stylized and diversified. To meet consumers' demands under such circum-stances each company is required to develop its unique soft Know How based on accurate information and strategically specialized plan-ning. The trade should convert its hithero producer-oriented strategy to a new consumer oriented one and actively lead the needs and purchasin g pattern of consumers by providing an efficient and reasonable price policy with optimum supply of merchandise and also by presenting 'our' trend suited to our circum-stances.

• 한국의상디자인학회지
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• 제10권2호
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• pp.105-115
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• 2008

Men's outer wear, such as jackets and coats appeared since the 16th century. They have been changed from doublets, coats, justaucorps, tail-coats, frock coats and morning coats to contemporary men's suits. Since the early 17th century, sleeve patterns of men's outer jackets had been mostly two-pieces close fitted patterns. The purpose of this article is to compare sleeve patterns of various jackets, which appear in various historic costume books. Armhole measurements, sleeve head measurements, amounts of ease, armhole depths, armhole widths, crown heights, sleeve width and sleeve angle had been compared to find out the differences among patterns of different times and styles. Coming to the present, the difference between top sleeve and under sleeve became more obvious, and the sleeve angle became less curvy. Another interesting point is that there had been considerable amounts of ease, which is the difference between sleeve head measurements and corresponding armhole measurements. It is because the sleeve has been attached to the armhole not by seam but by string. It is believed that the present sleeves have more natural curve and shape compared to the past.

• 복식
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• 제52권4호
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• pp.39-50
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• 2002

The purpose of this study was to present adapting Korean beauty to the design of Wedding dress. For this study, Chosun Men's Pyoeui(coat) were considered first. Pyoeui had the courtesy and variety. They were Jobog, Danryeong. Chulrlk, Dabho, Jangeui, Aegjueumpo, Jigryeong, Changeui, Changos, Jungchimag, Hagchangeui, Simeui, Dopo, and Durumagi. Pyoeui were considered the formative features and the costume beauty describing Shape, Color, Material, Pattern. and Ornament. And Pyoeui were considered the instances which were adapted their formative features to Wedding dress. The formative features appearing on Wedding dress were merely applied the outward shape. Therefore it will be necessary to understand the outward features and the costume beauty about Men's Pyoeui for adapting Wedding dress. And then the continuous attempt is needed to adapt the beauty of Korean costume to the design of Wedding dress.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 복식
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• 제57권7호
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• pp.98-107
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• 2007

This study examines the men's coats in the early $17^{th}$ century through the excavated costumes of Kim, Hwak($1572{\sim}1633$)'s tomb. Kim, Hwak was a literary man with a high government position. After the Japanese Invasion of Korea in 1592, in the early $17^{th}$ century, there were many changes with the kinds and form of men's coats. From Kim, Hwak's tomb, there excavated 8 kinds of coats; Sim-ui, Dan-ryung, Jik-ryung, Cheol-rik, Do-po, Chang-ui, Joong-chi-mack, So-chang-ui, and they are 27 items. The characteristics of $17^{th}$ century costumes are well seen from these coats. Up to that period, Cheol-rik was worn as ordinary clothes, but from Kim, Hwak's tomb, there are 5 pieces of Do-po, and 15 pieces of Joong-chi-mack. This tells us that these items were widely worn after the $mid-17^{th}$ century.

• 한국의상디자인학회지
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• 제9권2호
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.