• 대한가정학회지
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• 제24권2호
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• pp.13-23
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• 1986

We investigate several theories on how the cravate came into being and eventually evoved into the modern day necktie. Among the different possibilities, the most plausible case is the introduction of the neckwear by croatioan soldiers into France near the beginning of the seventeenth century. During seventeenth and eighteenth centuries, the beautiful costumes and extravagant embroideries using the expensive laces, were common oractices among the high society of the royal court, and the cravate evolved into a favorite ornament. While it was emerging as a beautiful part of man's dress in France and the continent, Charles II brought the cravate to England where it became the central part of the dandy's dress. The cravate became not only a part of dress but a subject for a solemn ceremony. George brummell was the most famous English dandy associated with this ritual and he is also credited as the father of modern men's dress. In england, Brummell became famous for his clean cravate was used as the expressionis of political opinions. They were san cravate, muscadins and incroyables, for example. The classic style of male dress in the nineteenth century was due to Brummell and the severe unadorned silhouette he started has changed very little to became the present day male dress.

• 복식문화연구
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• 제8권2호
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• pp.261-271
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• 2000

In order to investigate the function and feature of western men's underclothes in the second half of the 19C, in this study, the historical changes of western men's underclothes are compared the first half of the 19C with the second half of the 19C. In the second half of the 19C, the useful function to ease for body was important. In the 1860's, for day-shirt, the tucked panels was disappeared and the front was pain. But the evening dress-shirt continued to show an expansive front tucked. Coloured shirts was used for country and sporting occasions. Ready-made underwear was used. In the 1870's, the plain breast was introduced and the Gladstone collar was used. Paper collars and dickeys were unfashionable. The drawers was composed a gusset at the back of the waistband. The dress of one generation was became the livery of the next. In the 1880's, a new feature was one stud and the use of pique for the breast. Coloured shirt was composed of stripes across the breast. In the 1890's, height of the collar steadily increased. The coat-shirt and regatta shirt became popular. The nice choice of shirt, collar and tie was a matter of supreme importance .The social status of the white shirt was further threatened by fancy coloured shirts. The mode of relaxation affected sports shirts. By the close of this period, both sexes accepted the hygienic rule of wool next the skin.

• 패션비즈니스
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• 제2권3호
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• 패션비즈니스
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• 제10권2호
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• pp.40-59
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• 2006

The purpose of this study was to investigate the shirt market, to find out the shirt trend in 2005 A/W, to analysis shirt style Preference, and to investigate the shirts purchase attitude according to the income, age, and occupation of the 321 respondents, for developing the possibility & strategy of the dress shirts market in men's wear for the apparel marketers and manufactures. For this study, the data obtained from 321 respondents were analyzed by descriptive statistics. The results from the study were as follows ; In 2005 A/W, Countessmara, Daks, Dupont, Renoma, and Yesac were commomly distributed in 5 department stores in Daejon and Seoul. There were seen trends that were pursuing a various fabric, colors, details, and high-touch design in shirt. Men workers prefered the Basic and Modern casual style to Soft, Sophisticated, Modern mannish, and Trendy style shirt. The 133(41.4%)respondents estimated that the important viewpoint in purchasing dress shirts was 'Design. The 212(66%) respondents estimated that they prefered the different shirt brand from their suits. And results revealed that Daks ranked best brand (13.7%), and Renoma ranked best two brand (6,5%). The 103 (32.1%) respondents estimated that they possessed the three shirts per one suits. The 201(62.6%) respondents estimated that they prefered the department store for purchasing shirt. And, the 114(35.5%) respondents estimated that the first important information source which influenced on purchasing dress shirts was the store display, next was internet(15.9%).

• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• 한국의류학회지
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• 제40권6호
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• pp.1116-1133
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• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• 한국의류학회지
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• 제20권1호
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• pp.87-97
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• 1996

Journal of the Korean Society of Clothing and Textiles Vol. 20, No. 1 (1996) p. 87∼9'F The purpose of this study was to identify the change and chracteristics of 20th men's fashion under the influences of America. The result of the study as follows: 1. England had led men's fashion and introduced new styles of men's fashion such as oxford bags, plus fours, drape cut etc. in the early of 20th century. But America, which had the strongest Political and financial power after World War I, II, proposed Americans cut, soot sit, bold look. 2. In the first half of 20th century men's fashion was no longer created by imitation royalty and students of private school. American movies exerted tremendous influences on the clothing styles. Genereal public adopted the dress of movie stars and American men's fashion magazines inspired the new fashion and generated sales. So America made a contribution towards democratization of men's fashion. 3. Automobile industry and leisure living of America changed American life styles and clothing styles. The wealthy made fashionable tours to foreign country and European beach resorts. So their casual styles, summer business suits and dinner jackets effected 20th men's fashion. Therefore America played an important role in casualization of men's fashion.

• 복식
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• 제56권5호
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• pp.89-104
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• 2006

The purpose of this study is to explain how a power group in a society forms features of sexuality in dress. As for the research methodology, first, historical research was undertaken to study in socioeconomic context in which sexuality has been formed and transformed. Second, demonstrative studies on sexual-image styles were undertaken through the analysis of pictures and photos. Third, analysis of the relationship between the power and sexuality in dress was done by literature research. Masculinity in dress, such as simplicity and concealment, corresponds to the attributes of the viewer, and femininity in dress, such as decoration and exposure, corresponds to the attributes of the viewee. Power struggle is the complex process of forming of the viewer-viewee relationship. The one who grasps the power becomes the viewer. In the shift from the Industrial Society to the Information and Technology Society, powers are horizontally spread over the society and the stereotype of sexuality in both women's and men's dress is fading out. In the field of design, standards and certainty described by absolute power are losing their importance. The 'chaotic' view of a world filled with mutual exchange of masculinity and femininity and uncertainty of sexuality will be sure to be a dominant trend in fashion.

• 한국의류산업학회지
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• 제5권4호
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• 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.