• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.49-65
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• 2009

As basic materials in this research, 874 pieces of engraving that recorded the garment produced by diverse authors in the 17-18th century were collected among the collections of male and female garment in the engraving kept by National Library of France and 216 pieces of engraving were classified among them to observe justaucorps as stated in the materials. Since type of justaucorps in the 18th century can be classified by difference in shape and change through the above engraving materials in large quantity and the shape and composition can be compared and analyzed with other materials such as picture, stored garment, written materials without difficulty, the chronology can be composed by single type of justaucorps. Intending to understand the change in composition caused by type classification and pattern making as per analysis of type property of justaucorps, the men's upper garment in France in the 18th century. Checking change in design per from and materials, justaucorps of 1680-1700s was in silhouette where waist in the length above knee was adhered and slightly spread to lower part. In the type of 1710-1750s, waist adhered remarkably and many pleats were made under waist to produce volume of form that spread to lower part like skirt. In the type of 1760-1780s, straight silhouette was attached to whole body and end of front adjustment in slant line turns to rear part. The developmental aspect of construction can be checked by making pattern. Changing the cutting line of body plate to smoothly connect section and to try to adhere to the body, the development of simpler and delicate pattern production technique was confirmed.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.145-157
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• 2006

The purpose of this study is to suggest new designs and patterns for men's coat by deconstructing and restructuring 18th and 19th century men's coat. In the postmodern society, the reinterpretation of the past fashion trends or items through extensive historical investigation has been frequently used as new design motifs and the new source of creative fashion design. Especially in the contemporary society, as multifarious forms and presentations are emphasized even in the men's fashion, it is urgently required more than ever to do thorough and extensive research for the design and structure of men's fashion. Therefore, through historical research on men's fashion, the 18th and 19th century men's coat, which is generally considered to be the most developed one in the concept and shape of 'coat,' has been reinterpreted and deconstructed to make new design for men's coat which corresponds to the trends and sensibility of contemporary fashion. In addition to this, to facilitate practical use of this new design by fashion public, the plane patterns for the actual production of these coat designs were presented.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.105-115
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• 2008

Men's outer wear, such as jackets and coats appeared since the 16th century. They have been changed from doublets, coats, justaucorps, tail-coats, frock coats and morning coats to contemporary men's suits. Since the early 17th century, sleeve patterns of men's outer jackets had been mostly two-pieces close fitted patterns. The purpose of this article is to compare sleeve patterns of various jackets, which appear in various historic costume books. Armhole measurements, sleeve head measurements, amounts of ease, armhole depths, armhole widths, crown heights, sleeve width and sleeve angle had been compared to find out the differences among patterns of different times and styles. Coming to the present, the difference between top sleeve and under sleeve became more obvious, and the sleeve angle became less curvy. Another interesting point is that there had been considerable amounts of ease, which is the difference between sleeve head measurements and corresponding armhole measurements. It is because the sleeve has been attached to the armhole not by seam but by string. It is believed that the present sleeves have more natural curve and shape compared to the past.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.933-945
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• 1995

The purpose of this study is to examine the current foreign languages of clothing terms which have been misused, clarify the meanings and suggest the unified teams. The results are as follows. First, English and Japanese are great parts of the origins of the clothing terms in foreign languges which have been misused. And next, there were French, German, Portuguese and Spanish via English and Japanese. Especially, the misused foreign languages in styles, materials of clothing are also via English and Japanese. The compound words in Japanese are many parts of them and misused Japanese, Japanese via English, French, German, Dutch, Spanish, Poltuguese, and some terms can not be found their origin. (ex: 색채, 컬러, 카라) In case of the colors of clothing, the terms have the English marking rules and the Japanese pronounciation. And some unified terms are Korean, English, and Chinese letters. (ex: 빨강, 레드, 적색) There are lots of the misused foreign lagusges in sewing terms. On each case, the corresponding words in English and Japanese were suggested to understand easily. The most of the unified words were suggested in Korean. (ex: 하찌사시 $\rightarrow$ 하자시; padding stitch, 팔자뜨기) In clothing construction, there were lots of the misused terms in Japanese and the corrupted terms of Japanese. And so the explains and the unified terms were suggested. (ex: 구세토리, 몸새맞춤, 나찌, 가위집 (내기)) Finally, the origins of terms in western history of costume were clarified and analyzed the meanings : $\circled1$robe, $\circled2$ jacket, gipon, pourpoint, doublet, justaucorps, habit, flock(coat), cutaway, swallow tail coat, 배광, lounge suit, $\circled3$ coat Robe is the gown style garment which was used by men and women from the Middle ages, the jacket is a short, coat-like garment and coat is a long outer garment. Each origin is different, however the 'jacket' and the 'coat' were used confusely in the middle of 19th century.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.723-739
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• 2011

This research seeks to analyze western men's costume in the Baroque era in relation to men's physical beauty from its most detailed and interesting perspective to fomulate a plausible reasoning related to the aesthetic sense of body as expressed in men's costume. This research used national and international books, theses and internet data upon which to base a literature review for a correct understanding of Baroque style and at the same time empirical research to analyze the body image expressed in men's costume. The Baroque style expressed in the 17th century costume offered a dynamic feeling through wavy curves, and its brilliant and colorful decorations created a passionate and charming mood resembling a flame. Accordingly, this research studied the body image as it appeared in the form of 17th century western men's costume by dividing it into the contact beauty of the human body and the manner of hiding the architectural beauty of the human body. First, the exposed silhouette by clothing coming into contact with the human body could be found mainly in upper-class men's costume in the first half of the 17th century. The shorter and tighter doublets and knee breeches could be analyzed in terms of erotic imagery that emphasized masculinity, aristocratic imagery that stressed a distinctive status, and geometric imagery that expressed a triangular pattern. Second, the constructive expression by hiding the human body could be found in upper-class men's costume starting in the mid-17 century. The wearing of the justaucorps could be studied in terms of how it came into contact with the beauty of the human body but also how this clothing style the hid the architectural beauty of human body.