• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1559-1570
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• 2008

Since brought into from the economic life of nomads, the felt, the target of this study, has been developed in various ways of giving the functions of class symbol as well of protection against the cold and of ornamentation. Therefore, the study on how the felt was developed in Joseon Dynasty and how different culture from nomadic tribes it formed is significant in comprehensively under,;landing the economic, social and natural environmental factors in the Dynasty. The felt named "Jeon" has been constantly appearing in Korea from the ancient time, but it was not produced actively in the early part of Joseon Dynasty. That's why it was not a climatic condition suitable for sheep-breeding, and the government managed sheep-breeding but it aimed primarily at not producing clothing materials but having memorial ceremonies. Since sheep-breeding was not widely spreaded, production of Jeon was limited and some part was imported from China, so it was one of rare valuable goods. Therefore, the felt of wools named "Yangmojeon", the colored felt named "Chaejeon", etc. were used as liking items in the high-class society, and their materials and components were a little different depending on the official post. On the other hand, people in the low-class society used to wear the felt hats made of cattle feathers and miscellaneous fur, named "Jeonlip" and "Beougeoji". Since the middle of Joseon Dynasty, use of the felt was divided into two groups according to the users and the function, along with successful spreading of cotton and development of market economy. The function of Jeon to protect against the cold was replaced by cotton, but the felt hats of Beongeoji, Jeonlip, etc. were worn by common people continuously. As seen above, it is considered that the felt culture in Joseon Dynasty was formed very differently from the nomadic culture, because of its historical and sociocultural characteristics, and it had unique developing progress among all available fabrics.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.124-137
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• 2013

This study tried to get a deeper understanding of the characteristics of raincoats in Joseon by searching through historic records: the Annals of Joseon(朝鮮王朝實錄), personal or official records, paintings, etc. The time range of the research covers the entire period of Joseon. There were two prime types of raincoats: Saui, a cyperus coat, and Yusam(油衫), an oilcloth coat. The study proceeded as follows: 1) Identifying the people who wore the coats as well as the time period, 2) Figuring out the shapes and materials of those raincoats, 3) Postulating the reasons for the upward trend in popularity of a certain type as well as the eventual downward trend. Those research efforts revealed the following: 1) In the early Joseon, from royals to commoners, people wore Saui. But as time passed valuation about Saui might have become degraded. Eventually it became regarded as a farmer's smock in the 19th Century. 2) Yusam might not have been worn in the early Joseon. It was developed and spread after the middle of 17th Century. It was for soldiers and nobles, especially travelers, but by the end of the Joseon period, it was also used by commoners. 3) Saui was made of cyperus, but Yusam was made of oiled paper, cotton or silk. Those shapes were similar to a Western cloak. The analysis of the research findings led to following conclusions: 1) Around the middle of Joseon, people started to wear Yusam after the introduction of a Chinese version of it. 2) Yusam might have become popular in Joseon because of the social and cultural implications. At that time, people had pride in their culture and thought that real experiences and travels were important. 3) As people became fond of Yusam more, then Saui's popularity fell.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.589-594
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• 2017

The purpose of this study is to provide basic data for design and pattern development research in the modernization of Cheollik by comparing and analyzing the interrelationships between the components of the Cheollik. The 237 pieces of excavated costume Cheollik in the museums were surveyed. The size of the Cheollik components were examined by 100 year unit from 1400s to after 1800s. In the 1400s, the length of Cheollik was the shortest and the length of top was longer than the bottom. In the 1700s, the total length was the longest and the bottom was longer than the top. As the age increases, the total length and the bottom become longer and the length of the top becomes shorter. Poom and Gutseop were the largest in the 1400s and the smallest the after 1800s. As the age of the Poom and Gutseop decreased, the width of the Anseop increased. Gutseop was always present but Anseop was not always present in Cheollik components. As the ages passed, Jindong and Soogu became narrower and Baerae became wider. These change of Cheollik's sleeves form were affected by GongBok(so-called official wear) sleeves. By age, Cheollik did not show any big change in the basic shape, but the partial dimensions of the components showed changes. If the design and pattern research for modernization is done based on systematic establishment of pattern dimension of Cheollik, Cheollik dress combines practicality while preserving beauty and tradition at the same time.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.8
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• pp.395-400
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• 2020

Coronavirus disease 2019 (COVID-19) was identified in December 2019 in China and has spread globally, resulting in an ongoing pandemic. Because COVID-19 is spread mainly from person to person, every person is required to wear a facemask in public. On the other hand, many people are still not wearing facemasks despite official advice. This paper proposes a method to predict whether a human subject is wearing a facemask or not. In the proposed method, two eye regions are detected, and the mask region (i.e., face regions below two eyes) is predicted and extracted based on the two eye locations. For more accurate extraction of the mask region, the facial region was aligned by rotating it such that the line connecting the two eye centers was horizontal. The mask region extracted from the aligned face was fed into a convolutional neural network (CNN), producing the classification result (with or without a mask). The experimental result on 186 test images showed that the proposed method achieves a very high accuracy of 98.4%.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.1-18
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• 2015

The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.52-62
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• 2011

This study is about the history of costumes depicted on the book Goryosa(高麗史) Ye-Ji(禮志). Researches about the costumes of Goryo dynasty are very rare and are mostly based on Goryodogyung(高麗圖經) and Goryosa Yebok-Ji(與服志). However, records about suitable costumes for a special scene of a rite can also be found in Ye-Ji besides Yebok-Ji. Therefore, this study analyzes Ye-Ji and categorizes the results into character and situation. Characters that can be found are king, officials, crown prince, aristocrat, commoner and envoy. Situations that can be found, according to the original text, are Gilrye(吉禮), Hyoongrye(凶禮), Goonrye(軍禮) and Garye(嘉禮). The results of the study are as follows; $\blacktriangleright$ The king had to change clothes in order to suit the situation according to the precise sequence of rituals. Therefore the king had to wear different clothes in the same rite, optionally, depending on the situation. This also applies to the case of officials. $\blacktriangleright$ The crown prince and aristocrats generally wore the same clothes as officials. $\blacktriangleright$ In the important ritual of Garye(嘉禮), many cases can be found where officials wore Jobok(朝服) and hands-on worker wore Gongbok(公服). $\blacktriangleright$ It is remarkable that on the New Year's day, the winter solstice and Sungsoojul(聖壽節; the emperor's birthday) the envoy of Ming Sangbok(常服); whereas the king and the officials of Goryo wore the Myunbok(冕服) or Jobok(朝服).

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.164-178
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• 2014

Historically, white clothes have been passed down through the generations as the symbol of the Korean people. This study was motivated after coming across a text written by Lee Ok(李鈺, 1760~1815), a writer during the Joseon dynasty. Lee wrote that "Koreans mostly wear blue clothes." This raised questions regarding the wearing practice of the white clothes at the time of King Jeongjo's reign(1776~1800), and led to further studies on the matter. The results show that discussions were held about changing the color of the government official's changui(氅衣) from white to blue. An order was also given replacing white boots with black boots. Therefore, it is supposed that blue clothes phenomenon was influenced from the blue changui policy. However, this change was temporary as later generations wore preferred white with the exception being women's skirts. Women preferred blue skirts to white skirts for a long period. Detailed analysis of the white changui showed that people were burdened by high dyeing costs, and this was a big factor as studies indicated a large gap in wealth disparity. In a society that put funeral and ancestral rites as one of its priorities, the white clothes could have been favored due to its multi-functional use. Also, the noblemen who set importance on Gija(箕子) Joseon connected white clothes custom to Gija. This connotes that the reason for wearing white clothes differed depending on the class. And as white clothes were widely worn, people developed different ways of wearing the clothes for aesthetic purposes.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.18-34
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• 2013

This paper examines the costumes of 18th century Joseon dynasty that appears in the writings of Lee Ok(李鈺, 1760~1815). The main characteristics that can be inferred about the clothing from his writings are as follows. 1) It suppose that the color of first grade(一品) official uniform was purple. The popular color for the bride's ceremonial dress was red. 2) It was likely that only bridesmaids or married women were allowed to wear Jokduri(ceremonial coronet). 3) White clothes were only preferred in Yeongnam-udo, whereas other regions mainly wore blue, which differs from the national preference for white clothes that was prevalent in the end of the Joseon dynasty. 4) Once cotton was harvested, it only took 5 days to convert it into cotton cloth and be sold on the market. Cotton cloth was one of the most important products during the latter half of the Joseon dynasty. It was common practice in markets to sell expensive costume materials as counterfeits or fungible goods with the intent to cheat. 5) The buddhist monk's hat is various that short cylinder form(短桶帽) and jade or gold headband button(玉圈 金圈) attached shape, etc. Consequently, Lee Ok's writing is a suitable reference for researching Joseon dynasty clothing, since it includes detailed and various descriptions of everyday clothing worn by strict noblemen, which is difficult to find elsewhere.