• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.227-234
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• 2003

The purpose of this study is to investigate how the Post-modernism social cultural pattern has been reflected in collar of costume. In the classes social, collar in costume is the expressive medium of ideology and status symbol such as Passium of ancian Ezypt and Byzantin collar which is examined religion belif. The conspicuous function of collar can be examed as the ruff collar, which is the expressive medium of self-confidence, but the whisk collar and the flat collar means decline the authorized conspicous function. In the cultural pattern of Post-modernism, collar in costume presents the coexistence of double-sides value such as androgyny, dividinism and eclecticism. For example, the tailored collar or shirt collar in women's suit with delicate materials express the self-confidence, energy and intelligence, and the round collar or the draped collar in men's suit with rough material express the sensibility and liberty. In the deconstructivity through breaking the basis form of the collar, callar can be transformed in to sleeve, cape or hat on occasion. In conclusion, the function of collar changes by the cultural pattern and expresses the spirit.

• 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 Korean Society of Costume
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• v.5
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• pp.185-196
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• 1981

This study concerns Jeugo-ris' collar patterns according to the pictures of the actual measurement of the bequests in Yi dynasty. In early Yi dynasty not only outside collar but also inside collar was the Mog-pan collar. In middle Yi dynasty many Jeugo-ris' bequests has been discovered. The form of the collar was various In before and after the 1590's, the Mog-pan collar and Kal-collar, Dang-ko callar was coexisted. But after the 1700's Jeugo-ris' collar pattern was fixed to the Dang-ko collar. In early and middle Yi dynasty the width of the collar was three or four times as wide as it on these days. In late Yi dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. The same thing as the form of the collar on these days had been appeared from the 1900's.

• Journal of the Korean Society of Costume
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• v.6
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• pp.105-119
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• 1982

This thesis is mainly about the changes of Garment's collar(옷깃) and outer collar (옷섶) which indicate the identification of dress history. Through the observations of some reports about important folk materials and genuine objects, the author has investigated and rearranged them focusing on Yi-Dynasty. (1400-1900) For the shape of the outer lapels(겉깃) of Korean Jacket(저고리) were used together Squar-Tray-Collar(목판깃), Sharped-Collar(칼깃), and Dang ko-Collar(당코깃) and coming to the end of inner lapels(안깃) formed squar-tray-collar. Squar-tray-collar and sharped-collar were mainly used together for the shape of the outer lapels of Korean overcoat(포). Dang ko-collar was seen only in two overcoat. Coming to the 18th centry, the outer lapels became round-edged like those of jackets, while the inner lapels formed squar-tray-collar. In the process of positional changes of the collar and outer collar of Korean jacket and overcoat, the outer lapels positioned outside the outer collar, or a part of width of collar's positioned upon the outer collar, or the whole outer lapels positioned inside the outer collar. And through these changes the current position of the outer lapels became settled in the end of the 19th centry. But the inner lapels did not undergo many changes compared with the outer ones, and their position was mainly outside the outer collar like those of current lapels. And the garment's collar and outer collar of jacket and overcoat became small while the width and length of breast-tie(고름) became large.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1228-1241
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• 2010

This study aims to help understanding on design of basic pattern of shirt collars and to suggest schemes to raise completeness of shape by reviewing problems shown in finished products after sewing. From March 2009 to August 2009, 12 patterns for education and firms were collected centering on basic shirt collar form respectively. There are four problems generally raised from a completed shirt collar. In case of overlapping shirt collar on front neck point, the sewing point of shirt collar should be drawn at front neck point of collar band at a distance of about 0.2~0.3cm, and the center front of band and one of bodice should be arranged in a straight line. In case of the problem about right and left length difference of shirt collar, it is raised by closing so the problem was solved by prolonging about 0.2 cm of the center front of left collar. It was evaluated that adjusting notch point when sewing would be more rational solution than solving something on patterns for distance difference problem of shirt collar between right and left part at center front. And a problem about getting loose of front garment between collar band below and the first button was also raised. It was designed 0.2cm cut of collar band. Around basic shirt collar form, above mentioned solutions are applied to the patterns for education and manufacture experimental clothing. So as a result of sensory evaluation, generally good ratings on all items were received.

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.77-79
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• 2004

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.163-176
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• 2003

Waist lined Coat with Pleats excavated from Byun-su(1447-1524) Tomb in Yangpyeong were very similar in size to the costume of Haeina Temple which is the oldest YosunChollik up to now YosunChollik was popularly worn in the Yuan Dynasty of China(원) and it is presumed to be flown into Korea in that period. In China, the coat with a straight collar was called ByeonseonOh , and one with a round collar was called ByeonseonOhja in the Yuan Dynasty. The excavated relics of Haeinsa Temple are almost same as ByeonseonOh. In the Myoung Dynasty(명), the coat with a straight collar was called YoseonOhja, and one with a round collar was called Round collar YoseonOhja . The Waist lined Coat with Pleats excavated in the Byunsu Tomb is same as YoseonOhja Attendants who is low in position and doctors used to wear the coat, which was spread to diverse classes by degrees. Later, even emperors and high ranking officials used to wear it as military uniforms. It was made of silk and summer cloth. As mentioned above, 1 examined its history carefully through Chinese documents and photographic materials on relics. In addition, with the authentic records of Korea and the excavated relics of the Byun-su Tomb, 1 analyzed its components. However, the analysis was very restricted because the relics to be compared with were few.

• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.47-58
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• 2005

Mokpan-dangkogit was one pattern of collars normally attached to female clothing in Lee Dynasty and it was very rare that a collar of Mokpan-dangkogit was found in male clothing particularly under the Confucianism-dominated society. The detailed procedures of the study are as follows: To summarize a systematic classification on collar of Lee Dynasty along with characteristics of each collar in literature review; To exam various types of Mokpan-dangkogit found in male clothing in the era of Lee Dynasty through relics of the past; and To analyze a period of time which Mokpan-dangkogit first appeared in the process of clothing history of Lee Dynasty and those who wore it. In conclusion, a relationship between female Mokpan-dangkogit and male counterpart was discussed.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.640-650
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• 2023

This study aimed to suggest a suitable collar pattern by visually evaluating the appearance of the amount of collar drape by the starting position of the lapel line of a double-breasted tailored jacket using a 3d virtual fitting program. It created an avatar based on the mean size of women in their 20s (the 8th Size Korea) using clo network (double fastening: 10cm, collar width: 4.5cm, collar stand: 3cm, and lapel width: 8.5cm). The starting of the lapel twist line was waistline level, the 1/2 level of bustline and waistline, or bustline level, and collar laying amount was 4.5, 5.5, 6.5, or 7.5cm. It was evaluated by garment construction experts using 5, 6, and 4 items on the front, sides, and back, respectively. Descriptive statistics, F-test, Duncan-test, and reliability analysis were conducted using SPSS 22. When collar laying amount was 6.5cm, it was best rated regardless of the starting point. Under waist line, when collar laying amount was 6.5cm, it was best rated regardless of the starting point. When collar laying amount was large, the collar's outline length increased, resulting in unnecessary wrinkles from the neckline to the lapel, affecting the overall collar appearance. When collar laying amount was the smallest, the collar was lifted and the width was narrowed, exposing the seam connecting the collar and neckline. The length of the collar's outline varied depending on collar laying amount, which was important to make the outline sit comfortably on the body.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.