• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 한국의류학회지
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• 제1권1호
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• pp.15-23
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• 1977

This article is to study Dopo, man's traditional robe, which was worn by courtiers and scholars in Yi dynasty (AD 1392-1910). This article deals with its history and transition according to relative documents available, and presents its construction method with reference to relics. It is recorded that Dopo was first worn about the middle of the time of Yi dynasty. Dopo, however, seems to have its origin in the robe of Koguryo dynasty (BC 37-AD 668). Dopo was an ordinary robe to court officials, whereas Confucian scholars wore it as an official uniform or a ritual robe. ft was a long over-coat with V-neck line, and, round and wide sleeves. Dopo was so long that its edge reached wearer's ankels. One of the widest sleeves of relics was 58cm in size. Another unique characteristics Dopo had, were that its back cloth splited in two on center line, which was fully covered and added with-another cloth called 'Jeonsam'. Accordingly, a cloth-30cm in width and 30 yards in length-was needed to make Dopo. Since the reform of 1894 it was prohibited to wear, and then was replaced with Durumagi, a strait collar and narrow-sleeved robe.

• 복식
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• 제24권
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• 복식문화연구
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• 제8권3호
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• pp.493-511
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• 2000

The objective of this study was to trace and to examine costume terminologies recorded in Pak Tong Sa Eun Hae. Names of costumes and costume related terms were collected from P마 Tong Sa Eun Hae. Books and various references from China and Korea were used for this study. Costume terms were examined from the Chinese and Korean. Classifications of costume terminologies from the data were made for the analysis : man and woman's costume, accessories, names of fabrics, colors, and decorative motifs used, professional costume, special occasion dresses and so on. Conclusions and summary of results and findings can be summerized as follows : It revealed that manes of man's costume and other costume related words were a large in number compared with those of woman. Only one name of woman's costume appeared in the text : It was kind of long vests. However, names of accessories such as a hat, a hat decorated with jewels and phoenix design, a hair pin, earings, bracelets, finger rings, a soft belt were shown in the text. While many costume names of man included in the text were of garments such as a kind of long vest, a short vest, an outer robe, a kind of long coat with pleated skirt, leg coverings, outer jacket and so on. Also names of undergarments such as an under skirt, a belly covering, and drawers were found in the text. Fabric names were mostly silks such as brocade, twill, sarcenet, damasks and plain silks. Blue was the most widely appeared fabric color in the text and red was the second. Design motifs of fabric design were of dragon, flowers, eight precious things, clouds which were characteristic design motifs of the Chinese. It was found that some of the Chinese costume terminologies were translated into the Korean although many Chinese costume terms were used as the original Chinese.

• 한국의류학회지
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• 제30권1호
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• pp.94-105
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• 2006

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

• 복식
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• 제57권7호
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• pp.98-107
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• 2007

This study examines the men's coats in the early $17^{th}$ century through the excavated costumes of Kim, Hwak($1572{\sim}1633$)'s tomb. Kim, Hwak was a literary man with a high government position. After the Japanese Invasion of Korea in 1592, in the early $17^{th}$ century, there were many changes with the kinds and form of men's coats. From Kim, Hwak's tomb, there excavated 8 kinds of coats; Sim-ui, Dan-ryung, Jik-ryung, Cheol-rik, Do-po, Chang-ui, Joong-chi-mack, So-chang-ui, and they are 27 items. The characteristics of $17^{th}$ century costumes are well seen from these coats. Up to that period, Cheol-rik was worn as ordinary clothes, but from Kim, Hwak's tomb, there are 5 pieces of Do-po, and 15 pieces of Joong-chi-mack. This tells us that these items were widely worn after the $mid-17^{th}$ century.

• 복식
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• 제25권
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• 복식
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• 제23권
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• pp.211-223
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the one hundred and ten pictures of the writtened Budist scripture. The costume to study were made about 400 years during the King Mok-jong(1006) to the first year of the king Kong-yang based upon the Avatamaka Sutra and the Sutra of the Lotus. 가) Men's wear : 1. Hair style and hair dress : 1) Man bored a hair and put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots, and tied up with a hair ribbon. A kinds of hats were Tung-t'ien-kuan(Yuan-yu-kuan) and Chin-hien-kuan and as a court dress. The man wore pok-여 as an official uniform and wore a pok-du , kun-mo as an everyday dress and wore a helmet as a solidier's uniform. 2. Clothes : 1) They wore Yuan-yu-kuan and Chin-hien -kuan as a court dress, and wore belt, boots, pleated decorated ling skirt also. They wore round shape collor big sleeve jacket, small sleeve long coat, belt , boots as an official dress. 2) the soldiers wore helmet, scarf, yangdang-kap , hung-kap, bak-kap, we-yo-kap, kun-kap and jok-kap and carries arms. 3) The young boys bind his hair up one, two and three angle shape an tied up a hair ribbons. 나) Women's wear : 1. Hair Style and hair dress : high rank ladies made their hair top knot (one, two, or more knots) and tied with hair ribbons , and decorated with precious stone, pan shape head dress , wheel shape head dress. 2. Clothes ; 1) high rank ladie's wore kun -kyun attached jacket , and jacket sleeves decorated pleats and pleats decorated on skirt, apron, back apron, knot belt, scarf.

• International Journal of Human Ecology
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• 제2권1호
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• pp.57-75
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• 2001

Since the Korean economic crisis in 1997, consumers are selecting goods that are more economical and more reasonably priced. Markets for wealthy people, however, have seldom been influenced by economic conditions. Consequently, 'noble marketing' is a new term that marketers should become acquainted with (Kim, 1998). The continuously expanding 'noble market' that generates high profit for marketers needs to be explored, especially the men's wear market. This study adopted a qualitative method (i.e., in-depth interview) with 16 male consumers each. These men who spent more than 3,600,000 won on apparel goods in 2000 and each man had purchased at least one item-suit, jacket, trousers, or coat-from a list of high-priced brands that were selected by the researcher. Findings imply that material or functional benefit of the high-priced apparel were not a critical determinant for choosing the brand. Rather, a socially well-established image for the brand name, especially in terms of psychological/symbolic appeal, played a more important role. This finding supported previous studies. Therefore, for high-priced men s wear, the role of promotion, including advertising or word of mouth, is critical; the image that advertisers should promote is one that characterizes the clothing, and ultimately the wearers, as dignified, legitimate, traditional, and upper class.

• 복식
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• 제26권
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.