• Journal of Conservation Science
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• v.37 no.2
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• pp.144-153
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• 2021

Gwanghwadang-Wonsam was designated as National Folklore Cultural Heritage No. 52 in 1979, it is in good condition. However, a problem is the attached a phoenix insignia badge that did not exist when it was designated recently. As it became known as the only purple Wonsam artifact with "phoenix insignia", raising the need for its conservation. In this regard, scientific analysis was required to correct misinformation about designated cultural assets and restore the original designated state by analyzing the history of the Gwanghwadang-Wonsam, other relics of the phoenix insignia and its making design patterns. An X-ray fluorescence analysis was used to confirm that the Phoenix insignia's metal threads were titanium-plated silver. Phoenix insignia using titanium-plated gold thread was not identified in Gwanghwadang-Wonsam photographs in 1986, and the TiN-type membrane plating method was used in various industries in the 1990s, which can be estimated to be attached in the early and mid-1990s. Especially, the scientific analysis results from the X-ray fluorescence analysis in this study provide key evidence for conservation processing. This study demonstrates the importance of investigating relics and similar artifacts in the conservation process of inherited relics and as a precedent for restoration that corrects misinformation about designated cultural properties.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.123-137
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• 2002

The purpose of this study is to analyze the actual condition and problems of current ready-made shrouds. Current shrouds were formed after the 20th century and therefore are quite apart from its traditional precedents of Chosun Dynasty. In this respect, several problems can be pointed out. 1. The use of natural colored hemp as a primary textile of current shrouds is far from our tradition. Silk, ramie, and cotton have to be used together with hemp. Also, more variety of colors can be used other than natural white. 2. The size of ready-made shrouds has to be categorized at least into three: large, medium and small 3. The pattern and sowing method of Dopo(도포) and Wonsam(원삼) should be corrected in line with those of the traditional Dopo(도포) and Wonsam(원삼). 4. The design and items of current ready-made shrouds have to break away from the standardized convention and should seek more of a variety that our rich tradition provide. 5. The rational index should be suggested so that consumers can compared the quality and price of ready-made shrouds available at their hands.

• Journal of the Korean Society of Costume
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• v.20
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• pp.191-201
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• 1993

As a part of study examining Korean costume remaining in Yanbian China, this study explored changes in ceremonial clothing for marriage worn by Korean(Chosun race) in Yanbian China. About one hundred years ago, Koreans moved to Yanbian China and had worn traditional clothing for marriage ceremony until before 1940. Data were collected by true interview and field observation while staying in that area. Samo and Dalyung for bridegrooms, Wonsam and Jockdoory for bridegrooms, wonsam and Jockdoory for brides were usual costume for wedding ceremony, however, for couples in inferior conditions of life, Bazy and Jeogory for bridegrooms, yellow Jeogory and red Chima for brides were accepted for ceremonial costume. As western culture came to this area in about 1940, bridegrooms wore western style suit, while brides dress in white Chima, Jeogory and Neowool. To date, Korean brides have worn traditional Chima and Jeogory for marriage ceremony though slight change has occurred in clothing material and in the forms of Chima, Geogory and Neowool. As the pratice reflected the fact that Korean in Yanbian China as established and sustained traditional China as established and sustained traditional costume and Korean identity even in hush socio-cultural environment.

• Journal of the Korean Society of Costume
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• v.58 no.9
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• pp.1-17
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• 2008

One of features of fashion in Joseon period is culture of overlapping of several clothes. This culture appeared with Hapbong(合縫:sewing of several clothes as one) at late Joseon period and developed into simpler and more practical fashion culture. Hapbong is mainly identified at men's official uniform such as Jaebok(祭服), Jobok(朝服), Kwanbok(官福), Gugunbok(具軍服), and women's formal dress such as Wonsam(圓衫) and Dangeui(唐衣) which formed several clothes get to be a set. Such fashion was designed to maintain dignity and power while simple to wear. And It has the trace of overlapping visually on the collar, sleeve, breast-tie and others. Hapbong is attributable to thoughts of practical science, post-toadyism, modernization, renovated the system of clothing, and advanced sewing technique.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Journal of Conservation Science
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• v.37 no.5
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• pp.525-535
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• 2021

This study identified material properties through scientific analysis on Jikgeumdan(satin with gold threads) from Donggungbi-Wonsam and the gold threads used in the embroidery. The Donggungbi-Wonsam's base of gold threads were estimated to have used mulberry fiber's Korean paper(Hanji) because non-wood-based fibers were observed. The X-ray spectrometer showed that the Tongsuseulan of Donggungbi-Wonsam was a flat gold thread of pure gold and Jikgeumdan of flat silver thread of its Saekdong and Hansam. High sulfur levels were detected in the flat silver thread, which appeared to have formed silver sulfide by either manufacturing process using sulfur or conservation environment. he dragon insignia's embroidery is also described as two types twisted gold threads; pure gold and alloying-gold and silver. while dragon insignia's border line is decorated with a twisted gold thread of pure gold. In particular, it was investigated that adhesives such as an animal glue, a protein-based compound by gas chromatography mass spectrometry. Additionally, XRF and Raman spectroscopy analysis on the mixture substances between the metal surface and the base paper of gold threads identified talc and quartz in the gold threads and Seokganju(hematite) in the flat silver threads.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.113-121
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• 2016

The purpose of this study is to analyze the types and characteristics of wedding ceremony robes in the Jeju area from the 1950's to the 1980's. The analysis used 413 wedding pictures. The results of the study are as follows: 1. The following are the propotion of robe types used wedding ceremonies. 1.0% of Danryeong & Jangot, 6.5% of Danryeong & Wonsam, 1.5% of Danryeong & Chima+Jegori, 2.7% of Durumaki & Chima+Jegori, 24.7% of suit & Chima+Jegori and 63.7% of suit & wedding dress from the 1950's to the 1980's. 2. The Korean-style robes gradually decreased from the 1950's, and disappeared in the 1970's. The Chima+Jegori was introduced in the 1950's, reached its peak in the 1960's and its popularity continued to the 1970's. In the 1980's, after the Korean-style robes disappeared, the western ceremony robes were used in all the ceremonies. 3. After the Western-style robes, in which a bride wears a wedding dress, was introduced in the 1960's, its usage rapidly increased in the 1970's and is still popular today.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.