• Journal of the Korean Society of Costume
• /
• v.63 no.1
• /
• pp.135-146
• /
• 2013

The purpose of this study is to investigate the meaning and possible shape of Goryeo-Achungunsura-jisun(高麗鴉靑雲袖羅質孫) through the details regarding its color, fabric, and pattern in the $13-14^{th}$ century writings and costume relics. Goryeo-Achungunsura-jisun was the summer dress coat that government officials wore during the Jisun feast of Yuan, and it was symbolic of the political strategy of Yuan as well as the excellent Goryeo fabric material, but no relics remain. During this period, Achung (dark blue)was the color that was used to dye silk, dress coats of upper class men, and background fabric of the embroidered official patch. And, the term, Yunsu (cloud sleeves), was probably sleeves with cloud pattern. The most typical cloud pattern in the 13 and the $14^{th}$ century was the 'flowing, gathering-headed cloud'. The Ra(silk gauze) weaving technique of Goryeo was developed rapidly in the $12^{th}$ century, and the quality of the Ra in the late Goryeo was good enough to be used for making the official's dress coat in the golden age of Yuan. According to the characteristic of jisun and man's formal-suit style in the Mongolian-Yuan, the possible styles for Goryeo-Achungunsura-jisun can be summarized as follows: a basic Mongolian gown with narrow sleeves and deep crossed diagonal opening, a Mongolian gown with waist pleats, the combination of half sleeved gown and long sleeved Mongolian gown. These styles would be made of delicate Goryeo Ra, cloud patterned sleeves, fabrics dyed in dark blue color, and shawl or embroidered patch ornaments for officials of Yuan, which was more simple than materials for Khan's Jisun to avoid rebellions.

• Korean Journal of Human Ecology
• /
• v.6 no.1
• /
• pp.97-109
• /
• 1997

Sean means a narrow cloth added to the edge of costume or cushion. At the beginning, Seon was originated to prevent from fraying warp of cloth or wearing out of cloth. However, with the progress of clothing culture, it is used to satisfy the human desire of decoration and enhance the function of costume. The Seon appeared on costumes of Ming dynasty was simple compared to that of the period preceeding it. The position of Seon was mostly at neckline, end of sleeves and hemline. The width of Seon also was quite monotonous and lacks of varieties. The patterns of Seon were limited to ax, cloud and dragon and cloud and chinese phoenix. And the colors used were also limited to four colors, namely Blue, Red Crimson and Black. In Ming dynasty, the same colors of Seon as those of the costume were more preferably used, while different colors of Seon were used in the previous era. The reason why Seon in Ming dynasty show simple design and use the same colors as those of the costume was due to Ming dynasty's desire to represent and to enhance her castic political structure. The need for class distinction was expressed through the pattern rather than the colors of the costumes themselves. While, in Ming dynasty, Bo(補) which was attached to the breast and the shoulders was used to represent the social class because it could be easily distinguished. In Ming dynasty, to stress Bo and to make Seon less conspicuous, Seon became simple and the colors of Seon were same as those of the costumes avoiding strong contrast in style and colors.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.2
• /
• pp.47-62
• /
• 2011

The purpose of this study was to investigate the knitwear preferences and purchase behaviors of university students. The subjects were 493 university students in Daejeon and Chungnam Provinces. The method of this study was a survey and measurement instruments were 34 stimuli which were manipulated pullover patterns and shapes and self-administrated questionnaire with knitwear design preference items and knitwear purchase behavior items. Data were analyzed by factor analysis, frequency analysis, Cronbach'${\alpha}$, t-test, ANOVA and $Sch{\acute{e}}ffe$ test using SPSS program. The results of the study were as follows. First, university students most preferred achromatic colors, pastel tones, solid patterns, and 100% cotton. Second, as for knitwear purchase behaviors, university students considered the esthetical factor to be most important among 4 dimensions (comfortable, esthetical, economical, and conspicuous factors) as important purchase criteria, and they used internet web sites for knitwear purchases. Third, there were significant differences in preferred pullover shape depending on neckline shape, neck depth, sleeve shape and clothing length. University students preferred the classic pullover design with V neckline, normal neck depth, set-in sleeves and normal length. Fourth, university students preferred the cloud motif and riding man motif among the 9 Baekje traditional motifs and one point small pattern on the left chest and crosswise bending pattern for pattern arrangement.

• Journal of the Korean Society of Costume
• /
• v.67 no.1
• /
• pp.147-168
• /
• 2017

This study examines the types and characteristics of women's garments excavated in the early Joseon Dynasty before 1592. The study sorts out headgear, jacket, skirt and trousers, and coats from the historical texts in the early Joseon Dynasty and excavated women's wears in the fifteenth and sixteenth centuries, and analyzes their textiles and patterns. The Joseon women's garments convey several features. They are wide across the chest and square shaped collar with virtually straight sleeves. While their breast-ties are extremely little for the size of clothes, they do not have any inner-tie. They have broad and short dongjeongs which seem to be hard to be adjusted. There are a variety of headgear. Jang-Jeogori slit down in both sides. The Jeogori after the seventeenth century transformed a more practical form of a fitting dress to an individual body in comparison with the sixteenth jeogori. It is identified that the fabrics in the early Joseon period were woven more diversely and colorfully than the late Joseon period. Most of the excavated fabrics in the sixteenth century were in silk. Materials for adornments before 1592 were not much diverse and their designs mostly contained patterns of lotus flowers, patterns of cloud and treasures with oblique lines. The colors are mainly brown, navy and green. The Joseon women's clothes were comprised of skirts with folded hem, coat with round collars, wide leg pants, Jangot, long-sleeved coat with folding collars, and quadrangular pieces of cloth in various sizes, or mu and so forth. Joseon women's clothes, like men's wears, partake of active functions in their headgears, wide leg pants, styles in short front and long back, and coat with round collars.