• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.26-42
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• 2009

The purpose of this study is to examine how to sew the hem of men's coat which were excavated from the Yeosan Song Clan's tombs that are thought to be formed between the late 15th and the late 16th centuries, findings of the study can be summarized as follows. 1. Andan, or inside facing was used to prevent the hem from being worn or swollen or to make the hem properly arranged. It was generally used for single-layered and cotton-quilted coat for men. Deotdan was used mainly for men's coat having oblique cutting lines and jemuldan for those having straight cutting lines. In single-layed coat for men, the width of andan was widened a little as the times moved from the late 15th to the late 16th century, but in cotton-quilted ones, the width was not significantly changed. 2. Fixing the lining and the upper was used as a method to prevent the lining of men's coat from being pushed out or the hem of the clothes from being swollen. The method was generally used for double-layered, cotton and cotton-quilted coat for men. The double back-stitching was usually used for double-layered and cotton coat for men and the broad-stitching for Cotton-quilted ones. 3. Among men's coat, those whose siding was partially opened were less spare in the lower end than those whose siding was wholly opened. For this reason, the former clothes were more likely to have the tip of the siding easily torn. To solve this problem, overhand knotting 1, overhand knotting 2 and lotus-flower knotting strings were used for men's coat whose siding was partially opened. Among the three types, lotus-flower knotting was most elaborate in form. For men's coat, overhand knotting became gradually replaced by lotus-flower knotting as the times moved from the late 15th to the late 16th century.

• 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 Korean Society of Costume
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• v.58 no.9
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• pp.51-67
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• 2008

The purpose of this study is to investigate men's coat of Jikryeongkoim style that were excavated from the tombs of the Yeosan Song family. Findings of the study can be summarized as follows. Except Dapho, all of the above mentioned coat were usually worn in the late 15th and late 16th centuries. Jikryeong and Cheolik were often worn in both of the centuries. But Aekjureum was often worn in the late 15th century and Jikryeong with no side hem and Jikryeong of Dopo style, in the late 16th century. Generally, the men's coat of Jikryeongkoim style had a short fore part and a long rear part, doubled kalgit of banmokpan style and a narrow sleeve in the late 15th century, while fore and rear parts of the same length, kalgit of ordinary style and the sleeve of bean chaff shape in the late 16th century. In both of the centuries, the coat had the outer Seop that was doubled and used short, narrow coat strings to be adjusted. Samgakmu was used to Jikryeong with no side hem and Aekjureum. Out of the coat, those which were lined or padded or quilted with cotten used Samgakmu, but those which were unlined didn't. To adjust the coat, usually, a pair of short, narrow coat strings was used. The coat had the coat strings directly stitched on them or indirectly connected to them by means of the coat string hanger.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.27-40
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• 2004

The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.28-46
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• 2010

Variety and individuality are characteristic of consumer in modern society. For the necessity of new designed men's formal suit is on the rise with advance of party culture and change of wedding style. In addition to growing numbers of Korean grooms are getting more interested in make themselves well-groomed on the wedding ceremony. The purpose of this study is to develop the men's formal suit pattern for right fit and better style for Korean grooms. In order to find out how to modify their fit, comparison among the existing patterns was necessary. In this study we proposed new patterns of men's formal suit, a morning coat, a tail coat, tuxedoes, director's suit, three-peaces suit, navy blazer. Considering the results of this study, developed patterns were altered to fit better and to smarter. They were well graded in waistline position, shoulder shape, back princess line shape. Also they were best to move around sleeve and bodice. And the developed patterns were altered to make armhole narrower to make bodice length shorter, to make bodice slimmer. The researcher's pattern's were made up into garments using wool 100%, silk 100%. According to verify the improvements and grade better in both appearance and comport, it will be to take the lead men's formal dress culture and expand the base of popular consume for men's formal wear.

• Journal of the Korean Society of Costume
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• v.30
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• pp.239-259
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• 1996

This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.149-162
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• 2016

This study examines the costume artifacts discovered in the burial site of Choi Kyung Sun(1561~1622), which was moved from Gangwon in Gangrung Province. About 30 artifacts, including costumes, were recovered from Choi Kyung Sun's grave. The collection of men's coats discovered in the grave consisted of a Dallyeong (Official's robe), Jing-nyeong(Man's coat), Jungchi-mak(Man's coat), Cheolrik(Man's coat), Chang-ui(Man's coat), Gwang-su-ju-ui(Man's coat), and Do-po(Man's coat). Han-sam(Undershirts), Jeo-go-ri(Jacket), and trousers were also recovered, along with several items made of textiles, such as the cloth used to shroud and wrap the body. The costume artifacts recovered from Choi Kyung Sun's grave have several characteristics that distinguish them from other early 17th-century costume artifacts. Firstly, the body had a hairband made from horsehair. Secondly, the men's trousers were of the type worn before the Japanese Invasion(1592~1597). Thirdly, the style of the coats' sleeves, when compared with artifacts from other regions, was from an earlier era. Through these costume artifacts, it can be inferred that people who lived in the Gangwon Province, which was far away from Seoul, continuously wore outfits from before the Japanese Invasion, and trends spread slowly.

• Journal of the Korean Society of Costume
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• v.65 no.1
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• pp.136-149
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• 2015

This research aimed to study the making of western men's coats in the early 19th century. First of all, the study figured out the concepts and forms of western men's tops in the early 19th century by collecting and categorizing pictures including engravings, paintings and pattern books, and literature data. Second, this research identified the patterns, sewing, and design techniques by examining the pattern books on men's clothing in the early 19th century, and analyzed the preserved costumes to restore the selected models. Third, this research presented historical evidences and patterns after designing a men's tailcoat of the early $19^{th}$ century and checking the fit based on the analyzed forms and design techniques. The research discovered that the analyzed results between the tailcoat forms depicted in literature, pictures and pattern books and preserved costumes were almost identical. From this, it can be assumed that the tailors followed a manual when designing garments during that time given the similarity between historical records and remaining items. In addition, it can be seen that the forms and designing methods of men's clothing in the 19th century were almost similar to that of the modern menswear, despite the differences in producing process.

• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.11-24
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• 2020

This research examines pattern production of 3 men's costumes in the second half of 19th century by 3D reconstruction to reveal technical aspects of mail costumes. The steps are as follows. First, an examination of selective type according to research study. Second, a pattern analysis of 3 historical male tops of 19th century referred to 9 pattern books of the France National Library collection. Third, a categorized type analysis that referred to paintings of the Musée d'Orsay collection. Fourth, a measurement and structure research of 3 historical garments of Fashion and Textile Museum collection. Fifth, the pattern making and fitting by 3D simulation. Research discussed the following subjects and results. First, main type of men's coat can be categorized by frac, redingote, jaquette, and veston. Second, the male costume pattern contained in pattern books was researched along with distinguished silhouettes and structures; X silhouette for frac and redingote, H silhouette for jaquette, and straight box silhouette for veston. Third, based on the analysis of representative type of men's costume per period conducted previous studies, 2 redingotes and a jaquette in the museum were selected and compared to other data such as image materials. Last, the following process was conducted for reconstruction; 'Drawing diagram-Primary pattern drafting by measurement value-3D virtual fitting-Checking the fit-Modification and complement'. We also obtained a 3D virtual reconstruction and a 2D research pattern that suggested a costume pattern by each type along with 3D reconstruction that included insights for male coat techniques of 19th century France.

• Journal of the Korean Home Economics Association
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• v.20 no.4
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• pp.13-22
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• 1982

While the women of the Korea Dynasty wore hat(笠子) and Mongsu(蒙首) on top of it when going out, the Yi Dynasty, due to more strict Contucian ethics and isolated way of life, had seen the development of the covering clothes, rather veil, for avoiding the opposite sex with diversity and both men and women began wearing PHO(coat), a Korean topcoat over the head and thurs called Changots, but originally PHO for men was named Changyi a men's outer coat. Neuwul(羅兀), like Mongsu(蒙首) of Korea Dynasty was a thin black hood worn on top of the Wowllip or a kind of skirt draped over the head and the latter was called Changots, very similar to Sgaechima, a kind of long hood formally worn by women. Meanwhile, local women wore a long veil with no arm sleeves dubbed Cheunyi(薦衣) But since western civilization and culture landed on Korea around the end of the 19th century, the women's social status has been raised to almost the same level with men and the way of life has changed towards openness, in which men and women have almost daily contact with one another, so these days we can hardly find such veil style covering clothes around us.