• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.829-840
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• 1999

Ordinarily hair styles and headclothes show the racial characteristics. Uighur's men had let their long hair hang down their back in many queues, According to the order of estates men wore double high coronets hthree-pointed coronets from the headdress. Married women wore the felt headdress. The type of men's clothes were long caftans which had a round collar slits on the both sides and tight sleeves. They tied Chan Die belts and wore long boots. Women wore long tunics with everted collar which was decorated. Later the type of women's dress was changed into the long caftan. Late period of Turfan Uighur Mongol style had appeared.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• Journal of the Korean Society of Costume
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• v.19
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.55-63
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• 2004

The dress culture of Korea and Turkey should be necessary to study in view of a similar culture of Korea and Turkey due to similarity of oriental culture. Thus, as two nation's dress is investigated, cultural characteristics and dress form of two nations are analyzed with cultural background in detail. Also, comprehension is determinated for the dress color and texture as well as dress culture. In this paper, It is investigated theoretically for the function, type, and class of dress. Also, The form of Korean Po are compared to background of Turkish dress and Sulltans' dress form. To unify a cultural propagation and dress form, technical, inductive contents analytical method as well as literature review are used in positivism. Subject is limited to the Korean Po and Sultans' dress of Turkey. As a results, as the nation's dress reflect to culture and society of the nation, Korean dress have some similarity and differences comparing Turkish dress as followings. In dress form of two nation, rectangular Gil's shape was very similar. Mu's shape was similar too. However, Sultans' dress had outside shape of caftan type and Po had full or partial wrinkles by transforming Mu. Also, Sultans' dress did not have Sup. Korean Po have side slits or back side slits and Jun-Sam but Sultans' dress had only some side slits.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.2
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• pp.208-219
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• 1999

The costume style of Turfan had changed three times which were the period of peculiar style the period of Kochang style the period of influence of T'ang's culture. Before the founding of Kochang country the costume style of Turfan was two piece style. It was a character of nomadic people's clothes. Tops were tunic and caftan. The method of adjust caftan were two types. The one is wrapping toward left so the right edge of the top covers the left. The other is wrapping toward right. Bottoms were pants and skirts. This period was characterized by the traditional style. I called in it the period of peculiar style After the founding of Kochang country style as Kochang style. In this period Silkroad was so activated that cultural exchanges between many people and materials passed through Turfan. Turfan's culture soaked up the products of civilization of chinese and western Turkestan. Chinese and western Turkestan's costume influencd under the direct control of T' ang dynasty. Such an aspects were reflected the Trufan's costume. The Trucan's costume had changed into the foreign style that was the T'ang's costume. It was the period of influence of T'ang culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.61-77
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• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.163-179
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• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.155-162
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• 2000

Classifying the diverse and complex clothing category of nationality subcultures in China is not a simple task. However, summing up, it can be largely classified that clothing of the northern area is long trousers and short skirt. Among the clothing of Nationality in China, especially, Pao(robe: 袍) has its diversity and colorfulness. whose elements forming its each characteristic feature has enough value to be investigated fully in the historical point of view. The conclusions of this study reveals that Pao in nationality subculture in China can possibly be divided into the four types as Qipao(旗袍) in Dongpei area, Mongopao(蒙古袍) in Inner Mongolia, Qiapan in Xinjiang area, and Zangpao in Tibet area. The modes of Qipao and Mongopao are mainly similar in that they have diagonally on the right, stand collar in composition, but Qipao shows its diversity in collar and slashes, and Mongopao also shows diversity in its colare and waistband. Since western culture flowed into China along with its open door and reform policy, the splendid color and distinctive pattern, decoration, diversified method of compositions and clothing categories of Nationality cultures are disappearing in its their originality and nationality.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.