• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.802-812
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• 2006

The purpose of this study is to investigate effects of natural incense on the preservation of paper- and textile-based remains and the kinds and applications of natural anti-insect incense by reviewing relevant literatures of the ancient times. There are few ancient literatures of incense published in Korea. The researcher deducted how incense was used in this nation through reviewing verses contained in ancient literatures and medical books. In contrast, the kinds and applications of anti-insect incense used in China, where incense culture prospered, were investigated here through reviewing technical books about incense published during the Song(宋) and Ming(明) periods, $\ll$Incense record(香譜)$\gg$, $\ll$Chen's Incense record(陳氏香譜)$\gg$ and $\ll$Incense record(香乘)$\gg$. There were several methods of keeping clothes better from insects. In relation, how to use anti-insect incense varied in accordance with main materials of clothes, paper, textile, leather and others. Cymbopogon dstans(芸香), Brassica rapu var and Incarvillea sinensis(角蒿) are anti-insect incense which were used for paper. Anti-insect incense for textiles is classified into single and mixed incenses depending on whether only one kind of incense was used or more than seven kinds of the substance. Acori rhizoma(菖蒲), Capsella bursa-pastoris(薺菜花), Lactuca sativa L., Erigeron canadensis(莽草), Stemona japonica(百部) and Moschus sifanicus(麝香) are single anti-insect incense which were used for textile. While, the latter was called. ‘Yi Xiang(衣香)’ is mixed anti-insect incense which was used for textile. Artemisia asiatica(艾葉) and Zanthoxylum schinifolium(花椒) are anti-insect incense which were used for leather. Angelica dahurica(芳香) and Bamboo are anti-insect incense which were used for others. There were three main methods of using incense to prevent insects, that is, diffusing incense's strong scent and ingredients, exposing to smokes from burnt incense and washing with incense-boiled water. Diffusing incenses had a strong scent and antibiotic ingredients, which were put between books or clothes or into a storage box without being processed. If necessary, however, they were processed into rough powders that were in turn used singly, or otherwise mixed for a stronger scent and better insect elimination. Exposing to smokes from burnt incense was done as follows. A clothes was put on 'Long(籠)' underneath which there was a boiling water. The clothes was humidified by the water and then exposed to smokes from burnt incense. 'Long(籠)' had been long used since it was manufactured in the QinHan(秦漢) period for the first time. A local literature, $\ll$Koryo TuGing(高麗圖經)$\gg$ shows that in the Koryo(高麗) period, BoShaLu(博山爐) were used as a means of exposing clothes to smokes to prevent moths, similarly to China. Washing clothes with incense-boiled water was more effective in removing lots of worms and germs from clothes, but leaving the scent and ingredients of the used incense and maintaining the effect of anti-insect.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.105-117
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• 2007

The purpose of this study is to help the understanding the characteristics in the costumes of men and women throughout the overall acceptance process of 'Naewaebub' in the late 'Chosun Dynasty' in which the notion of 'Naewae' is more prosperous than any other period in Korean history. Originally the distinction between man and woman was not intended to display the high and the low but to show the mutual respect according to each duty. As time goes on, that ideal became gradually changed to heighten the man and lower the women especially in 'Han' period of China. There was the ideal of distinction in the ancient times in Korea. Until 'Koryo Dinasty' the community has the system of blood-tied that put together maternal and paternal. 'Karye' was introduced in the late 'Koryo Dynasty' and accepted to the stereotype of morale in the 'Chosun Dynasty' and there seemed to be 'Samgang' and 'Oryun' at once. Many restrictions was imposed to behavior in women like rules of prohibition in attending the temple and concealment of woman's face and was recognized to rule of distinction between man and woman. Confucian life custom has been settled to Korean society throughout the late 16th century and 17th century and there were some appearances in the housing construction which divide the residences of man and woman. The characteristics in the costume from the avoidance of opposite sexes are clear in the structure of clothes changed from similar style to different style. The examples of those characteristics are as fellows. The costume in man was developed to advanced 'Pyoun-bokkwan' and 'Pyounbokpo' as social action of man prospered. Meanwhile the trousers which had been the same in the man and woman were separated to different trousers between man and woman. The costume life style of woman was changed to using the a hair whirl, hiding the face in the street and overlapping the innerwear under the skirt which was extension of woman's closed life style in late 'Chosun Dynasty'.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.32-46
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• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1019-1034
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• 2008

The purpose of this study is to grasp creation background and social position of courtesan which is treated in social and cultural context and its effect on fashion and research representative courtesans from ancient hetaera to the 19th century and their costume characteristics. Its another purpose is to analyze the costume of Violetta, who is a heroine of opera and its costume characteristic as a courtesan. Most Courtesan clothing were made from bright color, silk and lace which were light, or transparent materials. Using silk and cashmere which were the symbols of class, she took the cutting edge fashion and struggled to break the social barriers. The clothing which the Courtesan wore always became a gossip among people and popular to the designers who could show their creativities because the Courtesan boldly wore the cloth like movie actresses or stars. The Courtesan who led the fashion not only showed the fashion as a simple expression of the beauty but also as a socio-cultural phenomenon which reflected their social awareness with arts, and changed according to the situations of the time and people. Violetta's party dress which was shown in the first and third acts of showed the shoulders and chest because of the deep and wide cut decollete, the waist was tightened with a corset as much as possible, and the opulent hips were inflated by the crinoline so when they walked it was swaying. Also it was decorated with splendid materials such as silk and lace, and sparkling jewels, fans, and neckless and even in case of the general clothing in the second act, it was decorated with braids and lace, frills and ribbons. In the third act, the weakness of the sick woman who was closing her life as the splendid Courtesan was emphasized by using colors of white and light purple and thin transparent materials.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.71-84
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• 2005

Fibulae have been used as clothing fasteners throughout history. They were especially popular with the Celts, but were also used by the Greeks, Romans, Saxons, and Vikings, to name a few. The earliest examples are found in the Mediterranean and Middle East, and date from 800 B. C. and earlier. Their use continues today, in the form of the modern safety pin. The first fibulae of the Bronze Age were very simple, much like modern safety pins. The form of this small functional object varies from simple to extravagant since it is also seen as a piece of jewelry, and is thus subject to the evolution of style. Its size depends on the thick/Jess of the clothing to be attached. Its fabrication demonstrates a great mastery of metal work. Fibulae would vary with the taste and wealth of the wearer. The Fibulae were divided into 10 styles according to the shape, Fibulae with Safety pin shaped style, Penannular shaped style, Animal shaped style, Diamond shaped style, Radiated head shaped style, Horsefly shaped style, Arched bow shaped style, Fan-shaped style, Trumpet shaped style, Arched-fan shaped style.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.402-415
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• 2011

The purpose of this study is to research the ideologies of African-American hair-styles according to cultural phenomena. This is a qualitative research using the books and theses about society, culture, hair and beauty, and materials of internet. The results are; Firstly, African-Americans are citizens or residents of the United States who have origins in any of the black populations of Africa. About 75 percent of the dark-skinned people on this continent have hair labeled "kinky". Secondly, African hair-styles expressed Supernaturalism and Traditionalism in the formative period of African culture. African-American hair-styles reflected Colonialism in the period of slaves. African-American citizen's hair-styles showed Nationalism after 1960s' Black Pride Movement in the period of settlement in America, and expressed De-territorialism since the boom of 1970s' Reggae. Today, the wearing of dreadlocks, cornrows, and afros has transcended racial and religious barriers. No longer necessarily reflections of ancient traditions and cultural identification, they are just as often fashion items.

• Journal of the Korean Society of Costume
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• v.30
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• pp.307-320
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• 1996

The purpose of this study is to classify of the ancient belt 'the Gwathai' especially in the timesof three countries. For this purpose the Gwathai was classified as to the motif which was decorated on the plate of the Gwathai and also another parts of the Gwathai were studied. The Gwathai could be classified of three parts. The first rectangular plate and the hanging part with heart motif and the second reverse-heart plate. The character of the third part was the specificity of the plate motif. Also there was a hanging part at the Gwathai and it was organized with the diverse form At first it was used for the practical pur-pose and then later for the decorational pur-pose. But this study could'nt reval the chang channel of the Gwathai and the relation be-tween region. This is the limit of this study. So more study is necessary to clarify this point.

• Journal of the Korean Society of Costume
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• v.41
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• pp.63-93
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• 1998

This thesis focuses on how the dancing suit frequently used in the Korean royal court has been chronologically changed to that of the modern times. It also aims at how the implicit symbols shown in the royal court dancing suit are related to the traditional concepts and thoughts on Lunar-Solar-Five-Natural-Elements(Eum-Yang-Oh-Haeng). The results of this thesis are as follows. In the historical period of Koryo dynasty, the Buddhists religional ceremonies of YeonDueng-Hoi and PalGwan-Hoi favoured a ritual dancing of DangAakJeongJae originated from the old ancient China, and at the same time it also employed HyangAakJeongJae of Sin-la dynasty. Especially, the DangAakJeongJae contained the kinds of SooSeon-Dyo, Soo-YeonJang, PoTae-Aak, OhYa-ng-Seon, and YeonHwaDae-Mu; and the Hyang-AakJeongJae dealt with Moo-Go and Aa-Bak.