• Fashion & Textile Research Journal
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• v.6 no.5
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• pp.565-574
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• 2004

The purpose of this study is to investigate the historical background and basic composition of costume of the Baekje period. Main official hats of Baekje include the transformed hat, jougwan and daeryun-style ipsikgwan. Daeryun-style ipsikgwan employed chowha shape in most cases, symbolizing good auspice under the harmony of the male and female principles. Main types of costume of the Baekje period are po, yu, go and sang. The king, governmental officials and the common people all put on po of jikryeong gyoim style. Yu' is classified into two styles, chaksu with the narrow sleeve and daesu with the broad one. 'Go' has two styles, gunggo and gwango. The former is narrow in the breadth of the trouser and the latter, wide. 'Sang' is classified into various style according to whether it contains stripes of many colors, thin wrinkles or thick wrinkles. For the decoration of official hat used in the period of the Three Kingdoms, Baekje employed chowha in shape, Kokuryo, chowha and joik and Shilla, joik. In Baekje, rhythmic patterns of flame were applied to official hats, presenting brilliance. In Shilla, shaking geumyeongrak was used for official hats to show movement. In Kokuryo, such hats used flapping feathers, symbolizing dynamic power. Most necklaces and bracelets of the Baekje period were simple and plain.

• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.246-251
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• 1999

Headdress which adorns the head has been used not only as a type of dress but also as a vehicle to express the human's mentality and a tool to convey ideas. This study first examines the type of headdress observed in the world folk costumes and investigates their geographical distribution and aims to examine how the types of headdress are inter-related to the peoples' natural environments, way of life and cultural background such as religion and aesthetic, ethical standards. Headdress used as important elements of many peoples' folk costumes can be categorized into scarf-type, hat-type and adornment-type. Veil-type, the one of scarf-types, was developed in Southwestern Asia and Arabic Africa influenced by natural and religious factors. This type is more simplified in Turkey and Eastern Europe and only covers head and neck in the former and only head in the latter while also being called 'headkerchief-type'. Hat-type is observed in many different parts of the world. Adornment-type has been used to symbolized one's noble social status and authority in societies dominated by shamanistic cultural background; it was also used in Far East out of the motivation to fulfil one's aesthetic desire. Headdress though it was originally made from the idential purpose of wearing, has developed into the various types affected by each people's natural environments, emotion and ways of life.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.164-175
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• 2013

This study examined the Yemou(a hat for a dead woman) from the ladies' clothes excavated from the Lady Lee's tomb in order to trace the significance of the clothing composition and its social origin in the Chosun dynasty. The compositional characteristic of Yemou covers the body of the hat which is not connected with the cover, Wonsal which has a round shape that covers the face of the dead body, and two Gae(a ribbon on the backside of a hat). Seongho Lee-ik(one of representative Confucian scholars in the Chosun dynasty) stated in his book entitled "Seongho Notes", that the structural elements of Yemou originated in Yum(wrapping cloth for the head of a dead body). According to Seongho, Yemou's body part came from the scarf used to cover the head. Wonsal(the cloth of round shape for covering the face) and Gae were derived from Yum made of two ends of long cloth for covering and binding the head of a dead body. Yongjae Kim-kunhang(one of Confucian scholars in the late-Chosun dynasty) demonstrated in his "Yongjae Collection" the social background of the emergence of Yemou. Yemou was the hat produced from the process of nationalizing the Chinese courtesy of clothing. In other words, Bokgun(a man's hat) in the Chosun dynasty replaced the Chinese Yum. Unlike the Chinese custom, man and woman in the Chosun dynasty wore different clothes respectively. According to the clothing custom of the Chosun dynasty a woman wore a female hat, Yemou instead of men's Bokgun.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.28-45
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• 2005

La $d{\acute{e}}marche$ et l'objet de cette recherche sont d'analyser, psychiquement, biologiquement, les marques de $l'intersexualit{\acute{e}}$ $pr{\acute{e}}sentent$ en Occident et les elements intersexuels, binaires dans le $v{\hat{e}}tement$, et ${\acute{e}}galement$ de comprendre $l'ambigu{\ddot{i}}t{\acute{e}}$ ou encore la fusion des $identit{\acute{e}}s$ $sexu{\acute{e}}es$. qui $pr{\acute{e}}sente$ symboliquement ${\grave{a}}$ travers le $v{\hat{e}}tement$, dans la $soci{\acute{e}}t{\acute{e}}$ moderne. $Malgr{\acute{e}}$ tous les points communs et $diff{\acute{e}}rents$, la base fondamentale dans les $th{\acute{e}}ories$ de I'Occident est que tout individu est psychiquement, biologiquement en quelque sorte un intersexuel qui s'ignore, avec des variations selon l'individu. En $d{\acute{e}}finitive$, les compositions doubles des ${\acute{e}}l{\acute{e}}ments$ dans le $v{\hat{e}}tement$ occidental montraient $embl{\acute{e}}matiquement$ nos $qualit{\acute{e}}s$ doubles, masculins et $f{\acute{e}}minins$, et les trois ${\acute{e}}l{\acute{e}}ments$ semblent primordiaux pour $l'{\acute{e}}lucidation$ de la $pr{\acute{e}}disposition$ du porteur : la couleur du tissu, sa texture et la forme du $v{\hat{e}}tement$. La mode d'aujourd'hui bascule entre masculin et $f{\acute{e}}minin$. Cette fusion de la mode semble le reflet d'une tendance intersexuelle et d'une fusion du genre.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.1-16
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• 2018

This study focuses on the correlation between Kotgal and paper-folding. This paper first examines the meaning and history of Korean ancient Kotgal and then investigates relationship between Kotgal and Korean paper-folding culture which has been inherited in various ways. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, it has been told that Kotgal was used a as a trident hat symbolizing the sky, land, and man, whereas Korean paper-folding is known as closely related to the folk beliefs which had existed since ancient times. From ancient times, the Korean ancestors expressed the Three Gods representing beauties of the nature, 'sky(Chun), land(Ji) and man(In)' on the conical hat and prayed for their wish to the heaven. Second, Kotgal has been evolved in various ways from ancient times through Goryeo and Joseon Dynasty to present. The form of Kotgal has begun with folding and this is closely related to the origin of Korean paper-folding, which is the Korean traditional craft. Third, the paper-folding tradition of Korea has been variously applied in the Korean culture such as rituals, life crafts and plays and expresses the unconventional philosophical concepts unique of Korea. In conclusion, this study evidently shows that the Korean philosophical ideas behind Kotgal which originated from ancient paper-folding are scientific and systematic.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Journal of the Korean Home Economics Association
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• v.31 no.4
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• pp.215-229
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• 1993

As a result of making an inquiry into the ethnic look of each region appearing in present-day fashion by Asia. America and Oceania. Africa and Europe as mentioned above, its characteristics could be summarized as follows: Firstly the Asian ethnic look consists of Indian, Chinese and Japanese looks as mainstream. In terms of form, the draped form constituted its mainstream, and both the draped form and the tunic form are appearing Simultaneously in the Chinese look. And in respect to color the Indian look is using luxurious primary colors red, blue, yellow and green and other regions are making overall use of natural colors. With respect to ornament various kinds of ornaments is utilized in Indian's Sari and turban. Chines's Coolie hat, straw hat and embroidery, knotted button, and bead ornament, and Japan's Obi and Obijime, etc. Secondly in America and Oceania, costurme representing the Indian look in North America and the picture of Western pioneer, and the Peruvian, Mexican and chilean ethnic looks in South America were expressing much. Here, the form consistied a draped form as its main strem, such colors as yellow, purple, grey, etc were much utilized, and the material of costume comprised knits, cotton and the like. And the ornament consisted of hats, tassel ornaments, bead ornaments, metal chain belt, long braided hair, etc. Thirdly, the African ethnic look had an exposing form and a draped form, and such colors as black, white, yellow, brown, etc were used as the fashion color. Ornaments such as precious stone, bead ornaments, animal bones, straw metal ornament, etc were used as fashion decorations. Fourthly, Russia's Cossack look, Bulgaria's Bavshika look, spain's ethnic look cane to the fore as the European look Both the draped form and the tunic form were used simultaneously as fashion form. And grey, brown, purple, etc were much used as fashion color in the European look. Such ornaments as Cossack. Bavshka, boots, tassel ornaments were much used and paisley pattern also was used.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.107-119
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• 2003

The purpose of this study is to explore ways toward the hat design development by looking into the formative and aesthetic characteristics of the works of Philip Treacy, the designer who raised hats to one of the important fashion accessories. This study concretely investigates the formative characteristics of Treacy's hats in terms of shapes, materials, colours and decorations. According to this study, the shape of his hats shows the natural and specific objects in three dimensions, not in basic shape of hats. He uses combination of a variety of materials, adding unique materials to existing ones, so that they not only create a specific atmosphere but also extend the limitation which used to be thought as materials for hats. In the field of colour, he mainly used black and white until 1999, but since 2000 he has been using vivid and splendid colors. And he uses feathers or nets for decorations of the hats. As the result of the comprehensive analysis of Treacy's works, this study characterizes his works by surrealistic, three-dimensional, rhythmic and future-oriented. Therefore, Philip Treacy's hat design can be defined three dimensional considering the formative beauty, and can be characterized by use of unique materials, vivid & bold colours, moderate decorations, f variety of lines, and asymmetrical structures. These characteristics show surrealistic, three-dimensional and futuristic message which rhythm can be felt. He presents unlimited capability in hat designs as a representative of human being's basic will for creating new ones beyond this real world. It is considered that this study can help broaden the limitation of the hat design which used to repeat simple forms in the Past and help explore ways for developmental direction of hat design in the future.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.30-47
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• 2006

La $d\'{e}marche$ et l'objet de cette recherche sont d'analyser, psychiquement, $th\'{e}oriquement$, les marques de $l'intersexualit\'{e}$ $pr\'{e}sentent$ en Orient et les $\'{e}l\'{e}ments$ intersexuels, binaires dans le $v\hat{e}tement$, et $\'{e}galement$ de comprendre $l'ambiguit\'{e}$ ou encore la fusion des $identit\'{e}s$ $sexu\'{e}es$, qui $pr\'{e}sente$ symboliquement a travers le $v\hat{e}tement$, dans la $soci\'{e}t\'{e}$ moderne. La base fondamentale dans la $th\'{e}orie$ de l'Orient est que l'univers se divise en Yin ($caract\`{e}re\;f\'{e}minin$) et Yang ($caract\`{e}re$ masculin) et que tout individu $poss\`{e}de$ $\'{e}galement$ ce couple, en quelque sorte un intersexuel qui s'ignore, avec des variations selon l'individu. En $d\'{e}finitive$, les compositions doubles des $\'{e}l\'{e}ments$ dans le $v\hat{e}tement$ oriental montraient $embl\'{e}matiquement$ nos $qualit\'{e}s$ doubles, masculins et $f\'{e}minins$, et les trois $\'{e}l\'{e}ments$ semblent primordiaux pour $l'\'{e}lucidation$ de la $pr\'{e}disposition$ du porteur : la couleur du tissu, sa forme et la texture du $v\hat{e}tement$. La mode d'auiourd'hui oscille entre masculin et $f\hat{e}minin$. Cette fusion de la mode semble le reflet d'une tendance intersexuelle et d'une fusion du genre. Ainsi, cette recherche est, $\grave{a}$ travers $l'\'{e}l\'{e}ment$ masculin ou $f\'{e}minin$ des $v\hat{e}tements$, pour tenter de discerner lesprit, l'intention et le $caract\`{e}re$ sexuel dominant du porteur.