• 한국의류학회지
• /
• 제38권1호
• /
• pp.1-18
• /
• 2014

This study analyzes the styles of Baekje costumes by examining costume types and styles based on the research of old books and a comparative study of archaeological and historical Baekje art relics in Central Asia. The results of the study are as follows. 1. Through the comparative study of the records of old books, relic materials (Yangjikgongdo, Mural paintings of Takamatsuzuka Tumulus, Cheonsuguk Mandarasujang, Shosoin relics, and Haniwas), we can see that ancient Japanese costumes were influenced by the culture of Baekje costumes. 2. A comparative study of the records of relic materials of Baekje and Central Asia show that there were vigorous interchanges between the East and West. 3. Baekje costumes showed a great diversity in styles because they were based on Buyeo costumes developed in conjunction with vigorous overseas trade. 4. Baekje's upper garments are summarized as Boksam and Po for men and Yu, Banbi and Euisapo for women. Boksam and Yu styles varied as tunics and overlapped jackets with straight and round collars. Two types of sleeves coexisted. The sleeves of Hansung Baekje period were a diagonal lined style that was wide on the armhole and narrow on the wrist. The sleeves of Sabi Baekje period were a reversed diagonal lined style that is narrow on the armhole and wide on the wrist. Pants styles were summarized as Gon, Gunggo and Daegugo. There were not enough relics and references for the Baekje costumes; however, this study widens the possibility of the existence of various styles of Baekje costumes through inferences from available data.

• 한국의류산업학회지
• /
• 제4권1호
• /
• pp.19-30
• /
• 2002

The word 'lace' comes from the Latin, lacium, meaning a knot. There are two broad categories of lace: needlepoint lace and bobbin lace. Lace has enjoyed a multitude of uses, embellishing both liturgical and domestic objects. It has also played a major role in the history of western fashion, adorning the apparel of men as well as women. Lace lappets and cap crowns, cravat ends and veils were made for those who could afford them. Before the end of the sixteen century, more complex techniques were employed. The baroque period, needlepoint lace evolved from the early simple geometric patterns of punto in aria Which enhanced ruffs, to deeply scalloped designs, often referred to as collar lace, and thence to the bold and magnificent relief effects of Venetian gros point. Through the seventeenth century is noted for the infinite variety of its cravat, collar and kerchief, most of them lace trimmed and all artfully contrived for the wearer. The type of sleeve in women's dress reaching just below the elbow, ending in ruffles of lace which was called engageantes. Sometimes the ends of a fichu or headdress decorated of lace. In the nineteenth century, empress Eugenie's love of lace resulted in a marked increase in the use of that lovely, delicate fabrication. It was lavished upon sleeves, hats, capes, and handkerchieves. Entire flounces, parasols, jackets, and shawls of lace were created by skilled lace makers of Europe. By the time this magnificent piece was created, most lace was being produced by machine. Today, the tradition of handmade lace continues, but glorious examples are no longer made. However, the techniques have been taken up and revitalized within the fiber art movement.

• 한국의류학회지
• /
• 제28권12호
• /
• pp.1605-1616
• /
• 2004

본 연구는 개개인에게 최적 맞음새를 제공하는 남자 맞춤 재킷 소비자들을 대상으로 신체 부위별 치수 및 재킷 치수를 측정하여 여유량을 산출하였고, 또한 여유량 특성을 파악하기 위해 각 여유량을 신체 특성, 연령, 신체 인식정도 및 선호하는 재킷 실루엣별로 비교 분석하였으며 동시에 소비자들이 재킷 전체 맞음새를 고려할 때 중요하게 여기는 부위를 연령 및 체격별로 분석하였다. 신체 치수에 따라 가장 민감하게 여유량이 변화한 부위는 가슴둘레였으며 허리둘레와 엉덩이둘레의 여유량은 신체 치수보다는 재킷 실루엣을 위해 조정되는 부위였다. 신체 치수 다음으로 맞음새와 여유량에 가장 큰 영향을 미치는 요인은 연령이었다. 또한 재킷의 전체 맞음새를 위해 소비자들이 가장 중요하게 여기는 부위는 어깨의 맞음새였으며 특히, 피트되는(fit)스타일을 선호하는 소비자들은 전체적으로 각 부위별, 특히 허리 맞음새에 특별한 관심을 보였다. 자신의 신체에 대한 인식 중 엉덩이에 대한 인식에 따라 가슴둘레, 허리둘레, 엉덩이둘레에서의 선호 맞음새가 달랐다. 또한 뚱뚱하다고 생각하는 소비자들이 오히려 여유가 적은 허리둘레 맞음새를 선호하였으며 이는 허리둘레 여유량을 조정함으로써 전통적인 재킷 실루엣을 유지하기 위한 것으로 해석 할 수 있다. 이상과 같이 각 체격별로, 연령별로 그리고 선호 스타일별로 중요하게 여기는 맞음새 부위와 실제 재킷 부위별 여유량이 달랐으므로 기성 재킷 생산 업체에서는 타겟 체형 및 타겟 연령에 따라 재킷 부위별 여유량과 맞음새 중요 순위 및 그 정도를 달리하여야 소비자 만족도를 높일 수 있을 것이다.

• 복식
• /
• 제5권
• /
• pp.41-63
• /
• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 복식
• /
• 제26권
• /
• pp.221-232
• /
• 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.

• 패션비즈니스
• /
• 제10권2호
• /
• pp.83-98
• /
• 2006

With the subjects of male consumers in their 20s to 40s living in the Ningbo area in Zhejiang Province, this study aims to investigate into the reality of their purchase attitude and size fitness of ready-made suits. The results are as follows; Looking into their demographic characteristics, 70.6% of the subjects were twenties, 60.6% were single, and educational career stood in the order of college, middle school, and high school graduation. They were largely absorbed in free trade, followed by teaching, commerce and service industry. 59.6% of them were Zhejiang Province belongs. One to two thousand yuan was the greatest portion of their monthly income. As for their purchase attitude of ready-made suits, they thought higher of material, quality, activity, and solidity than of design. They preferred to buy clothes at a department store. There was significant difference between purchase frequency and purchase price according to monthly income and jobs. Concerning brand recognition, the Chinese subjects favored "Youngor." Though Korea's brands were very lowly recognized, Korean products received really high recognition. Compared with China's brands, they found foreign brands excellent in design, followed by material/matter, wear, and sewing. As to their physical satisfaction and the size fitness of clothes, most subjects felt happy with their sizes. Trousers and jackets were among the unfitting suit items, while the girth of waist was the least satisfactory size. Therefore, in order to raise the market occupation rate of Korean suit goods in China, more aggressive marketing strategies are required to utilize the current Korean-style entertainment and maximize concerning brand images. In particular, outstanding products in consideration of prices should be made through the proper patternmaking to reflect the body types of the Chinese.