• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.732-740
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• 2009

The purpose of this study is to discuss Joseon dynastyis first perspective on the Western-style Court Costume which was newly introduced to Joseon through the problems receiving the credential that Japan had sent in new style. For this study, the records of Joseon and Japan at that period have been analyzed. The followings are the results of this research; First, a critical argument on the Western-style Court Costume occurred just before the Port Opening because whether wearing a western costume was the key factor in Joseon dynastyis receiving the credential that Japan had send in new style. Second, Japan received western costume as its domestic courtesy system by establishing the Court Costume of Civil servants in 1872 and consequently Japan established new ceremony procedure of western-style bow in 1875. Third, Joseon dynasty officially opposed to the Western-style Court Costume when Japan sent the credential, because the western costume selected by Japan had beenregarded as that of western barbarian at that time in Joseon. Accordingly, it seems reasonable that before the introduction of western costume into Joseon dynasty, an open-door policy for the West had been a prior settlement for Joseon dynasty regardless of the details of Western-style Court Costume. And also, the pride of civilization of Joseon dynasty, which has been used to express Joseon dynastyis identity as Joseon-centrism, had to be converted before the open-door policy. Ultimately, it could be inferred that the reception of the Western-style Court Costume had been raised as the political and diplomatic problems in the circumstances when the submissive relationship in the traditional Eastern- Asia had been forced to be converted to modern sovereign international relationship.

• Journal of the Korean Society of Costume
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• v.5
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• pp.113-140
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• 1981

"Jung Ri Eui Kwae" is the book, illustrated and recorded with court coutesy and manners during the King, Jung Jo's honoured coming to his own father's royal tomb "Hyun Ryung Won" of Sa Do Seh Ja(The Crown Prince to be mourned) with his own mother Hae Kyung Koong Mrs. Hong. According to this book, we can see the costumes and its ornaments of the civil and military officials and also of Yu Ryung(the maden court musician) and Dong Ki (a young Kisaeng girl) during serving at Bong Soo Dang bangquet celebrating his own mother's 60th birthday anniversary. It is interesting to review once more the royal ceremonies representing the portion of the costumes and its ornaments in the 18th century of the Yi Dynasty, Yung-Jung Jo era that is to be thought the reform period in almost every field of social system.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.395-413
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• 1994

Costume is mirror of diverse life styles and attitudes in human life. It has a meaning beyond "clothing" . Fashion illlustration is to express these costumes with a picture. So, it can be said that it is a ′mirror of costumes′ in historical side. The purpose of this study is to find the meaning of fashion illustration of 17th century, which called its first one and to look into its characteristics and costumes of 17th century respotlighting fashion illustrators and painters related with fashion illustration in those days. This study is based on Western Europe by literatures. The fashion illustration in 17th century designed by painters and fashion illustrators. They are Wenceslaus Hollar, Abraham Bosse, Jacques Callot, Jean de st Jean, N. Bonar, A. Trouvain, A. Arnoult in France and so on. The characteristics of fashion illustration in 17th century are as follows : 1. There was a quickening of modern civil consciousness in 17th century. As the subject of costume culture moved from noble class to the working class which began to have a free, the fashion illustration changed to the direction of informing their social class and job. 2. The fashion illustrations of 17th century showed storng realism which was a base of modern picture. 3. The most of them showed costume plates. It was not to transmit adding intended forecast but to describe sincerely in costumes′ record. However, the fashion illustration since the middle of 17th century was designed considering fashion. 4. It could be said that the fashion illustration of 17th century was the forest one of today. It was expressed by Wenceslaus Hollar′s ones. And it is found in his suggestion of popular costumes before and behind and delicate description like accessories. 5. They were transmitted by fashion magazines internationally. Le Mercure Galant, which printed mode plates in 1678, was the first modern fashion magazine aiming at general readers. The fashion illustration of 17th century can divide into ones for court, for working classes, costume plates. The fashion illustrations for court designed by court painters. There were court costumes of early time, spanish Mode and of lately time, French Court Culture. They had baroque elements with a bunddle of ribbons and race decoration. On the other hand, the fashion iooustrations for working class were under the influence on Netherlands styles. They were designed for the purpose of god function and much use. That′s why was under the influence of puritanical life creed. In this situation, the costume plates directed the fashion in those days. At that time, they were supplied widely and it amy be an attempt of popularization. The fashion illustrations of 17th century appeared that they had transmissible character and artistics expression. On the basis of them, we can look into the fashion illustrations of today.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.