• 대한가정학회지
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• 제50권6호
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• 복식
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• 제62권4호
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• pp.15-31
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• 2012

This study is intended to understand the styles, colors and color arrangements of costumes expressed on Kisan Kim Jun-geun's genre paintings of Joseon in the late 19th century. The paintings vary according to the status and gender of the person wearing the costume as well as the time period and different situations the person belongs to. Also, this study aims to examine the meaning and value of Kisan's paintings in terms of the history of Korean costumes. The result of this study are as follows: The basic and common attire for people of all status and class is the jeogori(jacket), baji(pants) for men and Banhoijang jeogori, chima(skirt) for women. Men wear Po(coat) that represents their status and age, and they put on various hats according to different weather conditions or work-skill even when in the same status and class. However, women wear the Baeja(vest), Durumagi(coat) and head-dresses when they are cold. Overall, the costume patterns and shapes that appear on Kisan's paintings show the same patterns and structures when compared to different data during the same time period. Thus, they provide useful information to help not only understand the changes of patterns and structures of costumes, but also the situations and emotions of the people of that time period. Moreover, it can be understood that various colors and color arrangements that reflect the situations and emotions of the late 19th century were used. This study that analyses the colors and color arrangements used in Kisan's genre paintings can provide the very basic and systematically arranged data to help understand the unique colors in Korea. These data can also provide important information to understand the use of dyes and pigments during that time. Therefore, Kisan's genre paintings are meaningful and valuable in terms of the history of Korean costumes for these are the data, from which we can review the costumes, colors and color arrangements in the years from 1890 to 1910.

• 복식
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• 제56권3호
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• pp.116-128
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• 2006

The purpose of this study is to investigate Seon expressed in the costume of Chinese Song. For the purpose, this researcher classified types of Seon, found in the Chinese costume, in terms of composition method, decorative technique and used materials. In addition, the researcher attempted to analyze formative characteristics of Sean in accordance with the range and post of use, pattern and color combination. Seon expressed in the costume of Chinese Song can be classified into standard, decoration, application and Buseon in type. When the typical distribution of Seon expressed in the costume of Chinese Song, standard type was highest in percentage, especially different color type. Looking at the range of use, Seon was mainly used for outfits, especially Jikcheol(直?) and Hakchangeui for men and Baeja(背子) for women. Looking at the post of use, Seon was mainly used to edges of costume and sometimes also to seams. In regard to materials of Seon, they were selectively used depending on the existence or non-existence, size and brilliance or non-brilliance of pattern employed in the texture of Seon. The most commonly used pattern of Seon was single-type pattern, especially the pattern of plant. Pattern arrangement was most often filling in type. Concerning the color combination of Seon, men's dress most often used black-white combination, followed by different color combination while, women's dress most often employed complementary color combination, followed by different color combination.

• 대한가정학회지
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• 제41권5호
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.