• Journal of the Korean Home Economics Association
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• v.49 no.9
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• pp.25-33
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• 2011

The number of Ryu Ji Kyung's costumes that have been discovered is small but includes various kinds of coat. These coats have become important clues when trying to determine styles of coat that were present in the mid-17he composition of the costumes found were various, including unlined, lined, padded and quilted variations. Unlined clothes were sewed using broad-stitching, hemming, half backstitching, and backstitching. The unique sewing style of the 17th century was shown in Ryu Ji Kyung's costumes. Seams on the back of one coat were not connected but rather sewed as a whole because of the width of the cloth. There was a more elaborate sewing style on lined clothes than on unlined clothes, alongside the use of selvage on the reverse of the costumes, marking the face not by using other clothes, but by the sewing line. Because of their to kit types, the width of the sleeves, the presence of a Cheolrik string, the ratio of the upper jacket to the bottom skirt, and the width between the armpits and bottom hems in Jungchimak, Ryu Ji Kyung's clothes can be used as exemplary models of mid-17th century clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.1
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• pp.126-140
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• 2020

This study analyzed the self-identified cold tolerance and wearing behavior of teenagers inside and outside the classroom during winter, considering recent climate changes. A questionnaire was divided into four parts-general information, thermal and comfort sensation inside and outside classroom, self-identified cold tolerance, and wearing behavior to collect data from 322 students. Over several years, changes were noted in respondents' wearing behavior during winter outings, with the biggest being the purchase of a "long padded jacket" for warmth while outside. Most respondents showed similar wearing behavior, such as no difference between the number of clothes worn in a classroom maintained at 20℃ (girls: 8.0±3.1 layer, boys: 6.5±2.1 layer) and outside (girls: 8.8±3.4 layer, boys: 7.1±3.0 layer), despite feeling differently about the thermal sensation inside and outside the classroom. This difference may due to a teenager's lack of knowledge about temperature and their tendency to follow clothing trends. Female students were more sensitive to the cold and wore more garments inside and outside the classroom. Gender-related differences should be considered when educating teenagers about safe and healthy clothing.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.218-230
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• 2012

The 25 pieces of women's jogori worn by ChangRyung Jo's family(1721~1742) that are preserved in Yeoju Museum, Gyeounggi Province, Korea were examined in this study. The aim of this study is to analyze women's jogori that were excavated from the grave of Changryung Jo's family, and to characterize women's costumes around the middle $18^{th}$ Century. The size of the jogori was divided into two groups. The garment length of the first group ranged from 31cm to 34cm and the bigger size ranged from 36.5cm to 40cm. The number of jogori in the group with the smaller size was twenty-five pieces and five pieces for the group with the bigger size. Changryung Jo's jogori was composed of two pieces of padded jogori, four pieces of quilted jogori and nineteen pieces of double layer jogori. Even though the direction of the margin located on back seemed point toward the right hand side, the gorum, the string for the tie, and the Sup, the outer gore of the jogori located on the other side of the margin had no pattern of direction. The line of jogori from the armhole gets narrower toward the edge of sleeves which could be recognized as a typical pattern of the middle $18^{th}$ Century jugori. The bigger group of jogori seemed to be worn by people other than ChangRyung Jo's relatives and used to be a gifts to aid in funerals. Major characteristics of jogori is could be categorized into the Dangko Mokpan collar jogori and Samhaejang jogori. The results of this study helps set the relative dating for the women's jogori of middle $18^{th}$ Century where not much excavations have been made.