• Journal of the Korean Society of Costume
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• v.27
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• pp.189-205
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• 1996

This Study aims to show that hats are a form of plastic arts the ideal means which provides characteristics aura for the appearance of a per-son and expresses his personality. And analyizing the characteristics and function of the hat designs this study examines the formative aes-thetic of hats and tries to show the possibility of developing the modern hat design. For the purpose this study needs to consider these points: First on the basis of the study of the culture of clothes from the ancient to the modern the origin of hats and the process of changes in hats are examined. Secondly after analyizing of the formative aestheic of hats focussed on the form and tex-ture this study tries to explore. Thirdly the symbolic meaning of hats is stud-ied and then how it was applied to the modern hat design is considered. On the basis of these considerations the conclusions of this study are as follows: First we can see that all the basic shapes of hats were formed very early in the history and hats' shapes were transformed rather by the changer of the size decoration and proportion of hats than by that of hat's form itself. Secondly analyizing various works of hat designers by focussing on the aspects of the for-mative aesthetic this study can find that the formative aesthetic of hat design is very import-ant in changing silhouette of clothes and it has may possibilities of development to meet the modern sense. And lastly this study suggests that in apply-ing hats which had been symbolically used to the modern sense we should pay attention not to simply imitate them but to recreate the aes-thetic characteristics of hat designs so that we can develop the style of hats including both practical function and aesthetic element.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.96-107
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• 2012

In ancient times, immigrants from Baekje wore various kinds of costumes that provided technological and aesthetic guidance for the Japanese costume, which has been modified and changed in Japan. The clothing and ornaments were strongly influenced directly by costumes of the Baekje period; therefore, many of the Japanese costumes at that time were crafted in the Baekje style. Through the antique records, paintings of tombs and bequests, we were able to find similarities between Baekje and Japan costumes in these categories: clothes, headgear, belt hooks and belt plaques, bronze shoes, and ornaments. (1) Clothes : They wore high-shaped hat and jacket and trousers(;袴) tied the bottom. (2) Headgear : There was a gilt bronze Conical Cap attached to the long tube with terminals in the shape of a hemisphere. (3) Belt hooks and belt plaques: There were horse-shaped belt hooks in mane styles and a checkered pattern on the lower part of the haunch and a belt Plaque shaped like the face of an animal. (4) Gilt bronze shoes: They were made with the style that had two side plates fixed in the instep side and heel-side. (5) Ornaments : They were made with flower-shaped plaques and spiral-shaped decorations. One earring was made with a three-winged pendent that were connected in a chain style and the others were in unique forms that were made by connecting narrow rings and a heart-shaped pendent.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.187-206
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• 1996

The Purpose of this study is to analyze the clothing excavated in Xinjinag, concerned with the study of clothing culture in Central Asia. The results are as follows : A headwear is a corn hat or round hat, the material is field, fur or woolen textiles. For hair accessories, feathers or wooden pins were used. The corn hats of the Scythians and the Huns also had same design and did not change even after being influenced from the culture of Han Dynasty. A woman's hair styles was many strips of braid, a man's hair style was a braid or a topknot. Regarding the clothing, a woman wore pull-over type and a man wore caftan for a jacket. Both a man and a woman wore widened coat and trousers as well as felt socks and leather boots, and longer socks than boots are the characteristics of the clothing of nomadic horsemen. The textiles was mainly wool, but silk was used for coats, socks and gloves in high society imported from China through the Silk Road after the 2nd century B.C. Compared with Korea clothing, a corn hat, widened coat, trousers and leather boots are similar with those of Koguryo. The influence of western culture is shown in a man's short hair, animal design, W1-Kum, a woman's pull-over type and a round neckline.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.72-88
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• 2011

This study is about the costume relics that were excavated from M10 of the 6th site, M13 and M14 of the 8th site among all the Runghai(龍海) ancient tomb sites that were known as the royal family's tombs of Balhae, which were built from the late 8th century to the early 9th century. These costume relics were also introduced in the academic journal of Chinese archaeology(考古) 6 in 2009. The summary of the results that focused on finding features of the costume relics and its meaning were as follows: 1. Male and female statues, both of which were excavated from the Runghai ancient tomb sites, had the shape and composition of the government official's costumes such as the Danryeong(團領), Bokdu, and Gwadae. The female's hairstyle and accessories were quite similar to other costume relics of Balhae. In particular, the male statues wearing the Danryeong and Bokdu were considered as the normal figures of government officials of Balhaeafter the mid 8th century. 2. The female statue wearing the male attire is considered as a maid, and we can confirm that women dressing up like a man was a popular trend in Tang(唐), and this trend was introduced to Balhae. 3. The back flap(垂脚) of Bokdu that the male statue is wearing in M10 of the 6th site, has a shape that has not been found in the ancient relics of both Balhae and Tang. Therefore, it is considered as a unique shape of Bokdu of Balhae. However, it needs to be observed more and discussed in the future. 4. In regards to the Gwadae, the outside of the Gwadae is decorated with jade and has an embossed carving that is gold inside. The Gwadae of the Runghaisites has a unique design and it is distinguished from other ancient relics. 5. The gold trefoil crown and the leather conical hat that were found in M14 of the 8th site can be seen as the basic composition of official's hats in ancient Korea. Also, the motif of the gold trefoil is closely related to Anthemion that is often seen in the relics of the Three Kingdom period. Thus, we can assume according to this important finding that the style of ancient Korea official's hats came from either the king or a royal family of Balhae after the mid 8th century.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.66-80
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• 2017

The headdress is one of the most important clothing characters in China, as it was used to distinguish the 55 minority groups in China. Each minority group has a unique headdress culture. Among the 55 minority groups, the Zang, the Yi, and the Miao focus their ethnic costumes on the headdress, and have a more distinctive headdress culture compared to be other nationality groups. The Yi is one of the minority groups that linvd in Southwest China. They usually lived in compact communities in Sichuan, Yunnan, and Guizhou provinces, as well as the Guangxi Zhuang Autonomous region. The total population of the Yi is the sixth largest among the 55 minority groups. Modern scholars believe that the Yi people are descendants of the ancient Qiang people, which is a group that lived in Northwest China six or seven thousand years before. It is believed that the Qiang went down to the southern part of China and allied with the aboriginals in that region, and this group of people became the Yi, Due to its long history, cultural background, and the large number of people and settlements, they have produced a unique costume culture. The women's headdress culture is considered to be the one of the most important characteristics of their costume culture. There are four forming element of the Yi women's headdress, religious faith, myths, geographical distribution and customs & festivals. The first three elements play an important role in the protection and spread of headdress, while the fourth element provides potential for the modern headdress development. Because of much influence factors, more than 100 types of Yi women headdresses have developed. Depends on categories, Yi woman headdress can be divided into kerchief, hat, fascinator and other accessories wore on the hand. This study investigated the development of the Yi women's headwear, and screened and analyzed representative Yi women accessories, such as the headscarf, hat, and fascinator. This analysis will provide basic materials for further studies of Yi women's headdress or costume.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.101-112
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• 2005

21th is the century of culture. So each country create new culture from tradition, and at the hub, there is Rapid development of network which makes these things to be able. Also, Korea selected Han-Bok as a symbol of Korea culture, and also Han-Bok internationally. Han-Bok expresses our nation's emotion very well, and also, Han-Bok has universality that can stimulate on world's sensitivity. Consequently, this study will arrange and analyze the records of foreigners' feeling who visited in the period of the opening of a port as a target of our study. This study will offer materials for study in the period of the opening of a port. Also, this study will discover the significance and organization of our clothes. Way to wear it and the beauty of our clothes that we didn't even realize or not mentioned on the record because we were too accustomed to our beauty from the ancient time. So, we would like to be basic study that can make our clothes globally and appeal to world's sensitivity by finding the universality. The result of this study is as follows. First, the items of hat made us be called as a 'world of hat' so, Gat, Galmo(갈모), a women's winter hat(조바위), a fur-lined hood(남바위) and Ayam(아얌) will be obtained the world's focus. Secondly, we checked Belt, breast-tie, rainbow striped sleeves and Pocket which append vitality and movement arrested the foreigners' attention. Thirdly, foreigner's were interested with straw shoes and paper shoes.

• Journal of the Korean Society of Costume
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• v.47
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• pp.19-32
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• 1999

The results from the consideration of this are as follows. 1. Dan dynasty has been 10-parts dancer and musician group for courtesy ceremonial meetings of ancient china. 2. Except ceremonial dance and music common dance and musics performed it in front of common peaples meetings. 3. After unification of Dang dynasty many commercial men and artist come frome western of China threfore influenced their costume habbits and behabiers from royal families costumes and common peaples costume without concern of that one's social position. 4. As the people who lived in thewest areas of old china there characterestics of the costumes are open breast jacked breast laped long skirt long scarf long boots narrow sleeve jackets patterend textilles(for womens) round neck narrow sleeved one-pies dress belt, long boots. patterend textiles(for mens). 5. Dancer's Costumes mode are as follows: 1) For females : high hair style, Twin 'high hair style. jewrery decorated hat bird's hair decorated cap. ribons. 2) For mens: Bok-doo. Hokongdu 6. Except traditional old china dancer dress they have many interested dancer dress for instance dang dynasty's 'Ye-sang woo yui dnace' dancer dress is very elegant and interested hip level jacket has peacoak wing shaped sleeves and long skirt has try angles shape attached apron this dancer dress begins wi-jin nam·book-dynasty. 7. Men dancer dress is just head cap bok doo long narrow sleeved one-pies dress.

• Journal of Fashion Business
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• v.3 no.4
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• pp.19-30
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• 1999

The purpose of this thesis is to overview the periodical changes of the fastenings, from the pins and buttons in ancient age to the velcro in these days, and to study the relationships of these various fastenings to the costume types, and also to research how it is applied to the latest fashion. The fastening is closely related to the costume types, being various in its form, like pins, fibula, brooches, buttons, lacing, points, hooks & eyes, press studs, zipper and velcro. It is clear from the fact that the fastenings have developed remarkably since 13th century when the costume became tightly fitting to the body, while the fastenings had been very simple, like buttons or fibula, for so long time from the ancient time to the 12th century. The end of fastening's development is to be fitting to the body and to make it easy to take on or off the costumes by use of it. In '99 S/S, '99-00 A/W $pr{\hat{e}t}-{\grave{a}}$-porter collections, ornamental fastening was more emphasized then practical one, probably due to the development of more stretchable fabric.

• Acta Via Serica
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• v.8 no.2
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• pp.1-24
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• 2023

The art of carpet weaving is the most habitual form of traditional art in Azerbaijan, it reflects a rich inner world and occupies a special place in the history of a national culture's development. The Azerbaijani carpet has always stood out for its plots, ornaments, compositions, and high quality and the Azerbaijani people, faithful to their spiritual values, have protected and developed it throughout the centuries. In this article, several Ganja-Gazakh-type carpets from the Azerbaijan National Carpet Museum collection and their artistic and technical characteristics are discussed. Specimens of material, sacred language, and ornamentation are considered. The deepest meaning is embodied in tamga in particular. Tamga is a unique phenomenon serving as an amulet, lineage sign, and self-identification of Turkic peoples. The Gazakh carpets of the Ganja-Gazakh type cover the Gazakh region of Azerbaijan, the Borchali region of Georgia, and the Goycha Lake region of Armenia. Karapapakh Azerbaijani Turks have inhabited these areas since ancient times. Tarakama (nomads) are often equated with the name Karapapakh (black hat). One of the densely populated regions of Tarakama is Gazakh. Gazakh, Garagoyunlu, Salahli, Shikhli, Kamarli, Damirchilar, Gaymagli, Goycali, Daghkasaman, Oysuzlu, Gachagan, and pile carpets with different compositions are woven in the Gazakh carpet weaving center. Large, simple in form, step-shaped or hook-like medallions, horn-shaped patterns, animal images, and stamps with symbols of ancient Turkic tribes characterize the Gazakh carpet weaving group.

• Journal of the Korean Society of Costume
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• v.27
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• pp.173-188
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• 1996

The purpose of this study is to present the form of Korean policeman's headgear which is endowed with traditional Korean characters and a creative property that has distinctive from other headgears. The investigation was carried out through the researh of policeman's headgears in foreign countries such as United Kingdom France Belgium Italy germany and Japan. The dom-estic investigation was carried out through the Focused Group Interview and analysis on the domestic policeman's service and headgear. Lastly the research into the characteristic of Korean traditional headgear's from was carried out. Consequently two types of policeman's head-gear hat and cap were newly developed and the system of practical use was suggested. The results of this study were as follows: 1. Through the use of traditional and formal elements of Korean ancient headgears korean policeman's headgears were improved in distinc-tion and dignity. 2. Through the use of unisexual form police-man's headgears were improved in uniformity. 3. Through the use of transformal accessories policeman's headgear were improved in simplified system. 4. Through the use of newly formed and lighten weighted materials policeman's head-gears were improved in functionability.