• 한국의상디자인학회지
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• 제18권3호
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• pp.197-211
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• 2016

Loulan was an ancient kingdom located on the northeast of the Taklamakan Desert, a diverging point between the north and south of Silk Road, on the east of the current Turpan, from the 2nd century BC and the 7th century A.D, absorbing and propagating culture of both sides through active trade. Meanwhile, as many previous research investigations suggest the early trade between Korea and the countries bordering on Western China, characteristics of Loulan costume have been found to have similarity to those of ancient Korean costume. Also, it can be compared to costume in other surrounding regions. Therefore, it is a highly valuable region in researching ancient costume. This study examined the historical background of Loulan and its relationship with ancient Korea, analyzed the clothes found in historic sites of Louland and Niya, and compared costume elements of Loulan and those of Korea. The result of the study shows that first, the Loulan Jeogori was based on the Jikryeonggyoim, with Chaksu, narrow sleeves and the length coming between below the chest and above the bottom, and the line decoration and waist belt were very similar to Korean costumes, as well as the Banryeong, curved collar and Bansu, short sleeves. Second, the types of pants included Gunggo, characterized by closed bottom and many creases, and Daegugo, wide-leg trousers, which are very similar in shape to the Korean Shilla lay sculpture, Stele To Martyr Yi Ch'a-don, Yangjikgongdo and Wangheedo. Third, in accessories as well, the Jowu stuck on the Gwanmo is similar in the shapes to Korean costume.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 패션비즈니스
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• 제5권2호
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• 복식문화연구
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• 제24권1호
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• 복식
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• 제21권
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• pp.177-192
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• 1993

The purpose of this study is to present de-sign development and constructive method on man's Hanbok which can be put on daily-life clothing through supplementing the incon-venience of HanBok and to make men put on daily-life-HanBok through making the HanBok ready-made clothing which has lower-price. The concrete test and its process on devel-oped design are below. (1) In present there are five uncomfortable point waist closing baji's slitting and daenim (2) Developed the first design concentrating on uncomfortable parts with Korean costume-pattern (3) to supplement sleeve armhole and waist closing which are pointed out as the incon-venience at first design development did the second design development. The results through research and process are below. (1) In the functional test of testing clothing a testee is satisfied with jegory's closing at 87. 5% with pocket at 100% and with baji's front closing and daenim (2) The opinion of an observer on daily-life Hanbok is an affirmative response as following turns: traditional aspect practical use and aesthetic aspect. (3) Analyzing the relations between the characters of daily-life hanbok and the popu-lation density variables results are the popu-lation density variable results are followed below. Man has highe points than woman on asthetic and economical aspect. In preferences as educational levels more-educated person has an affirmative response on keeping traditions. In jobs students and white-collar people have affirmative responses on traditions. (4) What one wants to wear the most is the fourth Hanbok(mixing western and Korean costume style with Korean costume fabrics) and daily-life Hanbok with western costume fabrics has 51.8% preferences of responsers. With those results man's daily-life HanBok made through the first and the second design development lessens the inconvenience of Hanbok with some degrees. Also if daily-life Hanbok design continue to be developed through using Korean costume fabrics and western costume fabrics people can easily by functional and practical daily-life Hanbok because it can be massproduced.

• 한국의류산업학회지
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• 제3권1호
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• pp.53-60
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• 2001

The Miao nationality is one of China's major ethnic group. The Miao traditional costume, as an ideographic symbol of the Miao people, have preserved its unique characteristics up to the present time. Historically there were many old names given only for ciothings, still they have reflected the complexities of the ciothings of the Miao people. The southeast Guizhou (Qiandongnan) modal of dress and ornament are fashionable in countries in the valley of Qingshui River such as Taijiang, Kaili, Leishan, Jianhe, Huangping, Shibing, which are densely populated with the Miao nationality. Women's traditional wear for the most part consists of a short coat with straight sleeves and the left lapel of the collar overlaps the right one (In some areas, the right lapel overlaps the left one). For lower garments, they wear long or medium sized pleated skirts, broad waistbands and leggings. Their attire may be of the same style, but there exist marked regional differences and distinctive features in dress materials, workmanship, contents and variety of designs and colour matching, as evolved from tradition. Merely from the embroidering skill and the materials used, one can judge where the dress is made.

• 한국생활과학회지
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• 제24권6호
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• pp.875-887
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• 2015

The analysis in this work is about costumes among the rhythmic gymnasts in competition, which is intended to develop designs about rhythmic gymnastics costume and provide the basic material from the results. In its research method and range, the general information on rhythmic gymnastics was reviewed in literature and the case analysis was followed about costumes of world high rankers in competition during 2012~2015 seasons. Research showed the following results. First, leotard took a shape of skirt-added one-piece type, where a combination with long tight sleeve, round neck line, and stand-up collar had a relatively higher percentage in design. With regard to a bottom line of skirt, an amorphous type was most common that highlights rhythmical beauty without any particular form. This design exposed shoulders and waists on both sides, expressing the feminine beauty. Second, in color used mainly, white appeared most frequently. In its combination, more than three were employed. Third, transparent mesh was applied as basic, where lace and chiffon were used. Abstract pattern took the highest portion in pattern. Particularly, crystal bead or gradation coloring was used to maximize the visually splendid image, giving an effect of optical illusion as if neckless clothing, choker, bracelet, or glove were worn. Fourth, it appeared that the costume for each event was changed in every season, when only music was substituted but the same earlier costume was put on for the different event.

• 복식
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• 제22권
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• pp.97-118
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• 1994

This stud is my second trial to examine the costume of Balhae Dyansty. The subject of this study is the costume of a bronze statue excavated in the Maritime Provinces of Russia. The bronze statue is in the custody of Vladivostok Museum E.V. Shavkunov a Russian archelogist reported it a statue of-ficial of balhae dynasty in the 7-8th century. Judged his report lack of basis I suggest new opinion on sex, age, married or unmarried. social position manufactured time of the statue by comparative study on the costume hair-style and appearance of the statue with around nations' antiquities. hair-style of the statue is basically included in Ssangge and complexed style of Sage Ssangsuhuange, and Guange, Generally, Ssangge is a hair style of children, unmarried women, court ladies, dancing girls, and instrument player (lady)s'. The statue wears round-necked blouse long skirt broad fabric belt at high waist broad sleeve and confront collar coat cloud shaped shawl and risen tip shoes. The figure of statue is de-scribed plump. The statue shows straight sil-houette and high waist typical style of Tang, Uddai, The most characteristic facto is cloud shaped shawl Cloud shaped shawl was originally one of the northern race's shoulder ornaments. From the view of Comparative study the antiquities of NamDang and JunChock are simi-lar to this statue. Besides Tsukanovka river where the statue was excavated is Kraskino ruins of a castle formed single cultural layer of Balhae Dynasty and are relics of the layer of Balhae Dynasty and are relics of the latter period of Balhae Dynasty. Therefore this statue is assumed to have been manufactured at the last years of Balhae Dynasty and to be a figure of unmarried woman not official.

• 복식
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• 제66권7호
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• pp.171-191
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• 2016

Lady Han, Gongshin-buin(恭愼夫人韓氏: 1410~1483) was Gongnyeo of Ming emperor and sister of Han Hwak(韓確:1400~1456). The aim of this study is to analyze the characteristic of costume presents for Lady Han, and to investigate a part of Joseon women's attire in the 15th century. Most of the presents for Lady Han were native products of Joseon to help alleviate her homsickness, but surviving relics are very rare. The costume-related presents included daily accessories and fabrics such as natural ornaments, embroidered pouch, needle case, wig, wooden comb, portable knife with multi-blades, various colored plain silk [綿紬] and ramie. Also, preceding research analysis of costume relic were combined with study of presents for Lady Han's. The most salient costume of Joseon women in the 15th century was the symmetric collared jacket. In addition, ornamented jeogori, pouch with pine nut stitch, chima, jangot, jangsam, black veil[羅兀] made with ra or jeung, glass beads, paintings of Ming and Joseon can be references. Illustrations show 6 representative type of Joseon women's full attires in the 15th century are as follows. First, is a combination of 'symmetric collared jacket with peacock rank badge, jeoksam, chima, underwear' and 'hoa-a, janga-a, embroidered pouch, needle case, knife with multi-blades: presents for Lady Han'. Second, formal wear focusing on symmetric collared Jacket of cloud pattern. Third, formal wear focusing on multicolor ornamented jeogori. Fourth, town wear with jangot and neoul. Fifth, formal wear with jangsam. Sixth, daily wear focusing on banbi with symmetric squre collar. Accessories and underwear shown in another illustration were same as the first illustration. Results of this study can be used as content for making historically accutate costumes as well as costume education.

• 복식
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• 제62권8호
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• pp.55-70
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• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.