• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.87-100
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• 2007

In the Joseon Dynasty, a Court Ladies' full dress was Slanted by the Ming Dynasty. Since the Ming Dynasty had declined, a Court Ladies' full dress, Jeok-ui began to be made by the Joseon Dynasty. It was based on the Chinese Court Ladies' full dress, Desam, but it became Joseon's own style, which was different from the Chinese one. The formula of Jeok-ui was completed in the time of King Yongjo. Since then, Jeok-ui for big ceremonies was called Bub-bok. It was recorded on the Regular rule of Sang-uiwon. The color of Jeok-ui was departmentalized for the wearer; red one for the Queen, bluish black one for the Crown Princess, and purple one for the Queen mother. There were some differences between Jeok-ui for feasts and for big ceremonies. In the case of Jeok-ui for big ceremonies, the pattern of Hyung-bae for the Queen was a dragon with five claws, and for the Crown Princess, a dragon with four claws. On the other hand, in the case of Jeok-ui for feasts, the pattern of Hyung-bae was phoenixes for the Queen, Crown Princess and the Queen mother. The number of embroidered round badges, which were attached to Jeok-ui, was 51 for big ceremonies, and 36 for feasts. The skirt for big ceremonies was a Jeonang-ut-chima with dragons pattern for the Queen, and phoenixes for the Crown Princess. The Queen's skirt for feasts was a Jeonang-ut-chima with phoenixes pattern, and the Queen mother's also. The Crown Princess' was a double skirt with phoenixes pattern. The pearls were not decorated on the shoes for big ceremonies, but shoes for feasts had six big pearls fer decoration. When the royal woman wore Jeok-ui for big ceremonies, it was prepared for Kyu, Pe-ok and belt with jade. But those were not necessary for Jeok-ui for feasts.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.13-25
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• 2008

This study is on the various style and characteristics of mask, and was performed empirically by reviewing the related materials such as the literature, precedent studies, fashion works, and home and foreign fashion magazines. As a result of the study, the style of mask in the modern fashion is roughly categorized by full-covered style, half-covered style, and over-half-covered style which is covered over 50% of a face. And, mask is utilized on a hat or a dress all over, or is produced by a elaborate makeup. Mask with lots of variation has three big characteristics, which are sense of disguise, sense of ornamentation, sense of grotesquery. First, sense of disguise means deviation or tool of affectation instead of cultural standard norm through transforming or masquerading as an imagery person or animal in ancient myths, famous artistes, etc. It could be developed to express a designer's identity. Second, mask decorated with various styles and materials has sense of ornamentation, which means natural human desire of expression for beauty, and at the same time human mind longing for experience a fantastic and ideal inner world being deviated from the present world even indirectly. Third, ignoring the original format of eyes, nose, and mouth, using extraordinarily various techniques such as distortion, extreme, exaggeration, concealment, or combining with animal images, mask has sense of grotesquery inducing humor and horror simultaneously.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.56-75
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• 2010

Jeju island is located in far from main land and has very harsh environment that has formed an unique clothing style as well. In addition, the popular belief has been developed with originality even their clothing. Therefore, this study is concerned with costumes worn for various ritual events and to analyze their features in Jeju. The shamanism served 18,000 gods are composed to 12 different types of the events for wealth, safety, heath, sadness or thanks. The costumes worn by officiating priests or 'Simbang(shaman)' depend on the occasion of an event, and they are different for male and female performers. The styles of costumes for religious service can be divided into 7 types: Regulation dress(Jebok), Korean full-dress attire(Dopo), Official uniform(Danryung), Military uniform(Gunbok), Formal dress (Durumagi), Casual wears and Special costumes. The costumes for religion events are not various and splendid as compare with another province in Jeju. Because, when simbang expired, their clothings had been burned according to custom. However, It is important materials for us to know the clothing of time. We should keep studing that costume more as a valuable culture.

• Journal of the Korean Society of Costume
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• v.23
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• pp.5-23
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• 1994

This research has been made through analyzing clothes of human dresses and ornaments appeared in the Buddhist pictures which were drawn at the times of the koryo Dynasty. Clothes of the Korea Dynasty could be analyzed as below : First, as for Turban (Doogun), common people used Ogun, Doogun, Byunsangmo and Chaek. For clothes, the style of the era of the ear of the Three-Dynasty. That is , they wore long shirts with narrow sleeves and narrow trousers and skirts. However, around the years of 1320, shirts had no more belt but became to show a kind of ribbon which is called as Gorum , and length of shirts was a bit shortened between hip and waist lines. Second, as for officials clothes, a kind of Rhangkan was used through the Dynasty but after the years of 1300, Wonryukwan was also used. In the clothes, Bangshimkikryung was used and the royals wore full-dress attire which looks like a long gown. Under the full-dress , we can see two different which seems to be a kind of present under-water. Third, in public clothes, same type of Danryung. Holl, belt and shoes were used throughout the Korea Dynasty. In addition Line (Yeon) was remarkably used skirt was dressed under Danryung by middle of the Dynasty the skirt was replaced with trousers. For Bokdoo, Jeonkak bokdoo was mostly used at the beginning of the Dynasty , but in the end of the Dynaty a lowr-flap bokdoo was in the main current. Meanwhile , we can see that the Korea Dynasty had its own in dependence in the clothes although the Dynasty was much affected by the Chines Song Dynasty System. We can hardly find a Mogrian cloethes style in the Korea-Dynasty clothes. Fourth, in Queen's clothes, banbi and pyo were used and sleeves were decorated with birds feather throughout the Dynasty. Lastly , famer's clothes are quite similar to those of the Chinese Song and won Dynasties and a decorative line was used in official clothes. These facts make us have a presumption of our Dongii culture might be conveyed to the Chinese in the ancient times but much more research is needed to clarify.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.1
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.455-467
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• 2004

The purpose of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in classical novel 'Shimchungjun' focusing on the woman's costume through the antique records and tombs bequests. Titled ladies for royal family put on 'Wooimkyoryong' and 'Sungun' as a petticoat when the ladies of Song period rode on horses. The underskirt played a part to swell a skirt for ladies. 'Bakjueui' and 'Hwangsangi' were ordinary clothes ranging from ladies of loyal family to women. The red color was limited to royal family. The ordinary clothes of women were white ramie clothes commonly and floral patterned clothes were prohibited to the ordinary clothes for women. 'Ko', a breast-tie (breast ribbon) of a Korean coat, was made of silk and women wear as an outer garment. The common people will wear 'Ko' of white ramie clothes which was very active items. The ladies of royal family and women put on shoes made of white ramie clothes, but the full dress of queen wore blue boots made of leather. The noble women wore 'Suk'(boots) made of deer skin and common people wore straw shoes regardless of gender and age. Sometimes they wore 'Woopihye' made of cowhide. In the first of Koryo era, the styles of dress were consisted of 'Monso', 'Eui', 'Po', 'Dae', 'Koh', 'Sang', 'Sungkun' and 'Kangnang'. The structure of costume for women made little difference and there was a great difference with decoration.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.51-70
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• 2010

The ritual to change the hairstyle holds the same meaning as the coming of age ceremony. The ceremony was performed throughout three times including choga, jaega, and samga. The garment and hairstyle attuned to the ceremony formalities. Women in the royal family had 'su-siK when they were fully grown up during choga, 'gwang-sik' during Jaega, and 'keun-meo-ri (big hairstyle)' during samga. 'su-sik' is the noblest hairstyle according to social status, which is allowed to be worn only by spouse of king and prince, regardless of adult or not. During jaega, 'gwang-sik' which was 'u-yeo-meo-ri', is made by winding 'darae (wig)' around a jjok-jin-muri (bun) [Jo-jim-meo-ri]? which distinguished the hairstyle of unmarried women, who did not go through a coming of age ceremony yet. Unmarried women maintained a hairstyle which is mostly twisted into one string, but they had 'saeang-meo-ri' when they were prepared for ceremonial costumes. Also, they had 'ga-raemeo-ri' when growing further. keun-meo-ri during samga is an addition of keun-meo-ri chaebal(wig) onto u-yeo-meo-ri. Women in the royal family made geo-du-mi by adding keun-meo-ri, which is formed by twisting wig, and oimyeongbu (noble ladies) and sanggung (court ladies) added a wooden wig called u-yeo-mi. Also, yeoryeong wore ga-ri-ma. In this way, the types of hairstyles were distinguished according to hierarchy. As the coming of age ceremonial dress. Wonsam was worn. During choga. wonsam was worn as a formal dress and during jaega and samga wonsam was worn as a full dress.

• Journal of the Korean Society of Costume
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• v.41
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• pp.95-105
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• 1998

SOO-BAL(Hair Style) is a method Which match hair style to face and clothes with using hair covering and protecting the head. Also SOO-BAL includes personal ornaments using to avoid one's hair be disheveled. In a standpoint of beauty and spirit, etiquette SOO-BAL is a very important thing as one being dressed up. Until now, since just a form of hair style have been studied, hair styling process is nothing to be known and studied. Time after time, our unique traditional SOO-BAL is forgotten with clothes and then this th-esis will be classified hair styling form follow-ing a form of hair style in royal palace of the C-hosun dynasty. According to the record of HAE DONG HISTORY, it shows the same of attire between Ko-rean and chinese style in ae of the chosun. The reason in that there were no any certain boundary border and the interaction of culture between two countries was happened spontaneously at ancient time like the GOCHO-SUN age. Until the period of the three states, the korean attire be changed had gone with chinese one s-imilarly. The chinese form gave to influence on the EONJIN MEURI·POON-GI-MYEONG MEURI·JJO-CJIN MEURI·MOOK-EUN GOONG-BAL MEURI·OL-LIN MEURI·SSANGSANG-TU ME-URI be drawn wall painting in the KOKUR-YU. And a gold chignon accesso-ry unearthed in a MOO-RYOUNG royal mausoleum is proof of the korean attrire be changed with chinese. In the shilla dynasty at three years after Cjin-Deuk(A.D. 649) reign. It was recorded that the dynasty let women wear the form of chinese attire. Also in the koryo dyn-asty, a rod-like hairpin (BIN-YEU) and DANG-GI employing EON-JIN MEURI was used. The SOO-BAL based on the Confucianism had lots of regulations which limited to use ornaments with classes of society in the CHOSUN dynasty. Until YOUNG CHO and CHUNG CHO period. EONJIN MEURI be decorated GACHAE was announced by dynasty as ind-ulging in luxury. Women of yangban used a rod-like hairpin and a chignon accessory made by jewerly. And 1-owly women weared a rod-like hairpin made of born and wood to perfom EONJIN MEURI with PUNCHAE. Most unmarried women decorated with DDA-AH-NEULIN MEURI, GUI-MIT MEURI, specially in palace with SAE-ANG MEURI. At palace, one put on a full dress with KEUN MEURI, and a simple dress with ER-YEO MEURI be decorated DDERL-JAM The CHOP-JI MEURI manifested social rank, class. Kids at CHO-SUN age had BA-DUK-PANMEURI and JONG-JONG MEURI. The ornament things are GACHE, DDERL JAM with EON-JIN M-EURI, and all kinds of rod-like hairpin and chignon accessory used in JJOK MEURI. IN DANGGE, JE-BI-BURI DANGGI used by ummarried women. DO-TOO-RAK DANGGI and AP DANGGI on a dress suit, and BE-SSI DANGGI used by 3∼4 years ungrown kids etc. were used. And at palace, kinds of CHUPJI used with JJOK MEURI showed social rank. In CHOSUN age, women want to keep shiny hair washed at TA-NO festival day, a treatment of bald hair used a forked remedy. In CHOSUN age, woman Soo-Bal hair style has DAE-SOO·DDEU-KOO-JI MEURI·CHO-P-GI MEURI·EON-JIN MEURI·SAE-ANG MEURI· and so on. We could find out Soo-Bal was developed very well by these variety hair styles. I attatched all of the hair style pictures step by step, and also explained detail my research foll owing these pictures.

• Journal of Fashion Business
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• v.17 no.6
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.