• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.1
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• pp.107-125
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• 2020

Indigo [鴉靑] was used as a symbolic color in 15^th century diplomacy. This study reinforces the historical research for characteristic and shapes of indigo colored royal clothing gift in King Seongjong's reign with a focus on po [袍] and ieom [耳掩]. Clothing made of fur that was combined with satin damask, silk gossamer [綃] were frequent gift, and a sable coat was a symbol of high-ranking clothes. Another clothing's materials were satin damask, sheer fabric gauze [羅], cotton, tabby with silk and ramie [紵絲]. The indigo color of King Seongjong's reign was recommended not for luxury. Historical research factors for indigo clothing gift were extracted from noblemen's relics. Danryeong and jigryeong are shaped of narrow sleeves and trapezoid gusset pleated in and out. Sable coat can consist of satin damask outshell, sable lining, and double oblique collar. Heohyung are presumed types of short sleeved fur vests. Ieom can be reconstructed with an indigo fabric outshell and sufficient fur. Dapho has gusset pleated wide and narrow. As additional gifts, the shapes of yoseon-cheopri and cheopri were analyzed. We selected a commercial fabric similar to relics and an indigo powder dyeing method to remedy a lack of traditional material. The reconstructed data were presented as flat drawings and samples.

• Journal of Conservation Science
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• v.5 no.2 s.6
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• pp.15-24
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• 1996

Th)s study was carried out of the historical characters and textile coservations for Mrs. Danha Lee's Wonsam. As the textile material was silk, dry cleaning method was suggested. The solvents for dry cleaning were n-hexane, n-decane, and benzene. During the second cleaning process, the dry soap(HI-TECH, 120:1, volume ratio) was added to the mixed solvents. The reaction's temparature was $20^{\circ}C$, and the reaction's time was 30 minuutes. It seemed to be a gift for hot from the Royal Family because of the attachment of pheonlx hungbae. This wonsam was decorated symmetrically by gold weaving yarn, the basic fabric was green silk satin with glorius letters and floral patterns. It was made on the 17th C and the oldest thing among them.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.4
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• pp.319-329
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• 1989

The present paper mainly cocerns, in social aspect of the cultural change, with how cholik was introduced and accepted in $Kory\v{o}$ dynasty. It was through cultural transmission in political relations with Won dynasty that $ch\v{o}$ lik was first listed on our own costume system in later $Kory\v{o}$ dynasty. The acceptance by $Kory\v{o}$ society can be interpreted as the twofold effects; positively, it enriched our costume system and, negatively, it brought about various conflicts, which in turn caused some unwelcome reactions. Once it had permeated into $Kory\v{o}$ culture. it could not avoid being changed by social conditions. The changing process can be defined as the dual cycles of fashion. The first one startd at mid peroid of $Kory\v{o}$ when King $Chung-ry\v{o}$l provided a law to wear the $W\v{o}n$ costume and. ended at larter $Kory\v{o}$ of King Kong-min's reign. The second cycle rose in the period between King Sejong's reign and late $Chos\v{o}n$. Each of the two cycles appeared to have its own characteristics; 1. The first cycle. 1) In spite of the long period of a century, the cycle was very abrupt both in development and decline. 2) The abrupt pattern of the cycle can be attributed to the nation-wide law provided by the ruler. 2. The second cycle. 1) Compared with the first cycle, the curve was rather slow. 2) The fashion originated from the hyperimitation of the government officials, since the costume was the royal gift by Chinese Emperor. 3) The main cause of the development of the fastion was the wars, rather than the public preference. 4) The main cause of the decline of the fashion was that it could no more differentiate the social status, that the wearer was laughed at by the Chinese, and that the long period of wearing the same dress stimulated the fashion psychology. 5) The increasing size of the costume rather decreased the very function of the costume.