• International Journal of Costume and Fashion
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• 제9권1호
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• pp.1-14
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• 2009

This study is intended to examine the modernization of Chinese costumes through historical events, and to analyze the characteristics of the costume modernization process. The modernization of Chinese costumes appears to have begun with the Opium Wars, and the Nanjing Treaty(1842), the Beijing Treaty(1860) and the official residence of western people in Chinese territory. Afterwards, in order to initiate change, the Chinese people themselves implemented the Westernization movement(1861-94), placing an emphasis on the westernization of external elements such as technology and form, but aspects such as costume, deeply saturated in their traditions, do not appear to have changed significantly. Despite self-empowering movements such as these, as western forces diffused deeper into the Chinese mainland, neo-intellectuals formed the axis of a revolutionary movement. A major example can be found in the Xinhai Revolution(1911) revolution, which forbade the binding of feet and shaving of frontal hair and partially implemented western formal dress. Through these factors, the modernization process of Chinese costume demonstrates characteristics of an adherence to traditional dress and partial acceptance of western attire. Through this, we may understand the modern costumes of China, which adhered more to tradition than Japan, which pursued western costumes actively within a similar period, and Korea, which rushed modernization due to Japanese authority.

• 복식문화연구
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• 제7권4호
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• pp.111-126
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• 1999

Apparel purchase behaviors were investigated for the high school girls grouped by attitude toward fashion. Differences in attitudes toward fashion were also investigated among the groups determined by demographic characteristics. Data were collected by a self-administered questionnaire survey to 600 high school girls living in Seoul, and 480 were used for the data analysis. Cluster analysis, Chi-sguare analysis, ANOVA, and Duncan\`s multiple range test were used for data analysis. Technical school students and those who spending higher amount of monthly allowances showed favorable attitudes toward fashion. Based on the attitudes toward fashion, respondents were classified into 3 groups : fashion-oriented(32.3%), fashion-conformed(47.3%), and unconcerned(20.4%). Among the 3 groups, the Fashion-oriented tended to make purchase decision for clothing based on there own, or peer\`s opinions, to use personal sources for information search, to spend more money for clothing, and to consider design and brand names as the most important criteria when purchasing apparel products than the less fashion-oriented did. Among clothing styles popular to students, the most appropriately perceived for student wear were semi-formal style, and the least appropriate ones were wearing bold colored and patterned underwear for the purpose of showing out. Most of the popular styles among high school girls were perceived less than appropriate student\`s attire.

• 복식
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• 제60권1호
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• pp.56-75
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• 2010

Jeju island is located in far from main land and has very harsh environment that has formed an unique clothing style as well. In addition, the popular belief has been developed with originality even their clothing. Therefore, this study is concerned with costumes worn for various ritual events and to analyze their features in Jeju. The shamanism served 18,000 gods are composed to 12 different types of the events for wealth, safety, heath, sadness or thanks. The costumes worn by officiating priests or 'Simbang(shaman)' depend on the occasion of an event, and they are different for male and female performers. The styles of costumes for religious service can be divided into 7 types: Regulation dress(Jebok), Korean full-dress attire(Dopo), Official uniform(Danryung), Military uniform(Gunbok), Formal dress (Durumagi), Casual wears and Special costumes. The costumes for religion events are not various and splendid as compare with another province in Jeju. Because, when simbang expired, their clothings had been burned according to custom. However, It is important materials for us to know the clothing of time. We should keep studing that costume more as a valuable culture.

• 한국의류산업학회지
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• 제17권1호
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• pp.42-52
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• 2015

This study considers the expressive types of 'Glocalism' trends and its inherent aesthetic characteristics through the analysis of flight attendants' uniform design. The following is the conclusions regarding the glocalism trend according to the analysis of airline uniform design that reflect it. First, the design approach was developed appropriating the whole or parts of traditional attire and applying decorative items in terms of a formal aspect. Secondly, the colors of the airline's homeland symbols or natural environment were used while, thirdly, the fabrics represent glocalism by employing folk elements of the region and patterns of nature for a uniform design. Induced from these design analyses, the aesthetic characteristics of airline uniforms reflecting glocalism are traditionality, naturality, and compromisability. To begin with, traditionality is what is realized in interpreting the historical aesthetics in a contemporary perspective, contributing in inspiring the historical value of the homeland and contributing to the establishment of identity by applying forms and colors of traditional garments with folk patterns on a uniform design. In addition, naturality means the reorganization of unprocessed pure nature, expressing the image of nature through colors taken from the natural environment or motifs of the regional plants. Finally, combining general sensibilities with diverse cultural features, compromisability is realized as a modern design which combines a standardized uniform with the aesthetic components of the local environment and traditional garments.

• 한국의류학회지
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• 제14권2호
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• pp.85-97
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• 1990

This study investigates, through the Ka-rae-ban-cha-do(가예반차도) in the Ka-rae-do-gam­eui-gue (가예도감의궤), how the system of costume used in ceremony exchanged during the middle, late the Yi dynasty and in the period of introducing Wastern civilization. The procedure of the royal marriage is also studied here. The procedures of Ka-rae were divided into the six traditional etiguettes(륙예) : Nap-che (납채) , Nap-gyng(납징), Go-gi(고기), Chaik-bi(책비), Chin-young(친영), and Dong-roe(동뢰). The change of the general structure and characteristic of the costume used in the ceremony in Ka-rae-ban-cha-do are as follows: The costume in Ka-rae-ban-cha-do can be divided into the Guard costume (호위복식) and the Ceremonial arms costume (의장복식). The most formal attire of the Guard costume, Yangkwan-Chobok (양관-조복) and Samo -Danryeong(사모-단령) with Huygpai(흉배) can be seem only in the Ka-rae of late king's. Of the Ceremonial arms costume, the most outstanding was Hongkun- Hongeui (홍건-홍의), which showed up in almost all Ka-rae-ban-cha-do. Heukkun-Changos$\cdot$Deogrei (흑건-창옷$\cdot$더그레) were worn as well. In the style of costume emphasis convenience and practicality rather than on beauty, because they had to carry the arms used in ceremony with them nevertheless by using primary colors it was very colorful. This costume in Ka-rae-ban-cha-do has little difference, but great changes are shown in Sunjongsunjongbi Ka-rae-ban-cha-do (순종순종비가례반차도). Most costume of the past was replaced with western hat and suit, so the duplicate state of our costume and western costume came into existence during the period of introducing western civilization.

• 복식
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• 제60권10호
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• pp.16-27
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• 2010

Business Casual has been launched because of 'Friday Wear' in the 1990s and in Korea, the business casual has been settled under the influence of the five-day work week. The idea of business casual is that 'Business' and 'Casual wear' are combined. It is the attire that people should wear the jacket for formality and people can wear both on or off duty. As a result of the analysis, based on this, of the characteristics of men's business casual appeared in Seoul collections from 2009 till now, they can be classified in 'Classic & Traditional business casual', 'Modern business casual', 'Natural business casual', 'Feminine business casual' and 'Sporty business casual'. As a result of the analysis of the design characteristics of the Korean men's business casual and the trend, based on the content of the analysis of Seoul Collection, 'Classical Classic & the Traditional', 'Modern of the Contemporary design', 'Natural of the Natural design' and 'the Sporty business casual of the Separate Coordination' including jeans, have presented themselves. Also, as a result of the analysis of Korean business men's business casual according to the classification of the design characteristics in Chapter III, 'Classic & Traditional business casual' account for the majority and then 'Sporty', 'Modern' and 'Natural business casual' account for the rest in order. 'Feminine business casual' hasn't presented itself. As a result of the comparative analysis of the design characteristics in Chapter III & IV, Korean business men's business casual has been concentrated on 'Classical & Traditional' and the design characteristics have not appeared in variety. There has been no such audacious attempt, and items, the characteristics of coordination, colors and materials are not in variety compared to the collection. Meanwhile, as a result of the subsistent characteristics of Koran business men's business casual, the characteristics of business men's business casual can be said to represent themselves in "Separate Coordination with the previous items of formal suits".

• 박물관보존과학
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• 제25권
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• pp.51-62
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• 2021

국립한글박물관 소장 덕온공주 집안 서대는 2019년 국립한글박물관 특별전시를 위해 소장처의 의뢰로 응급처리를 실시하게 되었다. 처리의 목적은 전시를 위한 원형유지가 우선이었으며, 서대는 훼손이 심하여 형태복원 및 탈락된 띠돈의 고정이 필요했다. 처리 전 서대의 이론적 연구를 통해 구조의 명칭, 시대에 따른 형태의 변화 등을 살펴보아, 보존처리의 방향 및 계획을 수립하는데 기초로 삼았다. 품대 중 서대는 1품의 품계를 가진 사람이 사용하는 품대로 왕의 옥대 다음으로 귀하게 여겨졌던 품대이다. 서대를 장식하는 무소뿔[서각]은 품질에 따라 3가지 양식의 무늬로 구분되는데, 그 중 주변으로 작은 원형의 흑갈색 무늬가 중앙에 밀집한 모습으로 포도문과 유사한 양식으로 고급품에 속하는 질 좋은 서대임을 추정할 수 있다. 또한 버클이 없는 일체형 구조이며, 각이 진 방형의 품대로 19세기 이후 주로 착용되는 품대의 형태와 동일한 것으로 확인 하였다. 이후 보존처리를 시행하는 과정에서 서대의 구조를 확인하여 제작방식을 파악하였으며, 유물과 초상화 자료와의 비교를 통해 시대에 따라 변화되는 서대의 형태적 특징, 그리고 세부 구조 등을 살펴서 보존처리 대상 유물이 19~20세기 제작된 서대의 특징이 나타나고 있음을 한번 더 확인할 수 있었다.

• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 미술이론과 현장
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• 제8호
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• 헤리티지:역사와 과학
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• 제54권3호
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• pp.68-89
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• 2021

헌종 3년(1837) 순원왕후(純元王后, 1789~1857)는 막내딸 덕온공주(德溫公主, 1822~1844)의 8월 가례를 맞아 부마 남녕위(南寧尉) 윤의선(尹宜善, 1823~1887)에게 혼수품을 내렸다. 그 물목을 적은 「혼수발기」가 국립한글박물관에 소장되어 있는데 「혼수발기」를 통해 19세기 전기의 부마 편복에 관해 살펴본 결과는 다음과 같다. 첫째, 「발기」 속 편복 품목을 대략 36종으로 정리하고 용도별로 ① 상의류 9종, ② 하의류 8종, ③ 관모와 수식 10종, ④ 허리띠와 주머니 4종, ⑤ 부채 3종과 신발 2종으로 분류하였다. 둘째, 남녕위의 편복 중 가장 중요한 의복은 남광사 도포와 남광초 창의(대창의)로 구성된 통상예복이었다. 그 외에 창의 2점(남광수사·청저포), 중치막 1점(남생경광주), 쟁친 상침긴옷 1점(옥색 쌍문초), 모시 홑창옷 1점(소창의), 겹저고리 2점(보라색 설사, 저포), 당포적삼에 생경광주한삼과 저포한삼이 있었고 하의류로는 겹바지와 고의(홑바지), 당포 행전과 버선 2켤레, 초록사 요대, 옥색사 대님이 있었다. 셋째, 관모와 부속품으로 밀화영과 사영을 갖춘 흑립, 정자관·동파관, 받침모 탕건과 복건이 있었으며 수발(修髮)에 필요한 상투관과 세 종류의 동곳(산호·밀화·순금), 옥관자를 갖춘 망건이 있었다. 특히 정자관과 동파관은 18세기 이후 신분별 구분이 있던 관모인데 남녕위에게는 정자관과 동파관을 함께 보냈다. 넷째, 홍색 계통의 세조대와 부싯돌을 담을 쌈지와 사낭, 그리고 옥선추를 장식한 선자, 사직물로 만든 모선, 소접(小摺) 등의 부채류, 운혜와 당혜 신발도 포함되어 있었다. 마지막으로, 『덕온공주가례등록』의 복식 기록과는 달리 「혼수발기」의 복식 기록이 당시의 실제적인 복식 명칭임을 확인하였으며 19세기 전기 부마 편복의 구체적인 구성을 확인할 수 있었다.