• 한국의상디자인학회지
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• 제21권2호
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• pp.123-138
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• 2019

The hat on the back of the upper jacket in Scythian, in of northern region surrounding the Black Sea, is described as a typical woolen hood, but until now has been overlooked in Korean costume studies. The purpose of this study is to analyze the hat on the upper jacket in Scythians and to recognize the meaning of the hat. A further purpose is to complete the basic framework of research concerning the Scythian costume by adding the part that was overlooked previously As for the research method, we collected literature, previous research results, the exhibition catalog, and the related artifacts for analysis. The literature was collected at the German Archaeological Research Institute. The analysis of artifacts was based on data collected by the researchers at the Heremitage Museum in Russia and data was taken by the staff of the Heremitage Museum. The conclusions of this study are as follows: Among the artifacts in the northern region of the Black Sea, it was perviously believed that Scythians status was signified by the wearing of hat-tops. Regardless of age, warriors and knights all wore upper jackets with hats, so it appears that the people who are active wore upper jackets with hats. On the other hand, it was assumed that the royal family, who wore ornamented, colorful, and decorative hats were not observed to have worn upper jackets with hats, and therefore did not require a hat. Therefore, it is considered that the hat in the Scythian society was a costume element emphasizing practicality, not necessarily a class symbol.

• 복식
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• 제62권6호
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

• 복식문화연구
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• 제7권5호
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• pp.56-67
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• 1999

At the turn of the 19C, the first development, spreading to the all classes that peculiar attitude of mind associated with the term prudery. The second changes of habit which affected both sexes and their undergarments were the novel idea of personal cleanliness. Drawers appear to have been of two lengths, short, when worn under breeches, and long when worn under pantaloons and trousers. The dandy wore corsets for beauty. In the early part of the 19C, the differences between day and evening style came to be accentuated. Not only the beau, but the soldier and hunting man were addicted to stays. The high standing collars of the early 1800s became fairly low in the middle of the century. in mid of the 19C, a woolen under-vest was worn next to the skin and studs were an usual fashion. At about 1850 the bottom of the shirt was cut in a curve. For evening dress the elliptic collar was introduced.

• Fibers and Polymers
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• 제3권4호
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• pp.169-173
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• 2002

Fabric touch was evaluated psychophysically in order to determine the relationship between mechanical properties and subjective sensation. For subjective touch sensation, eight aspects such as hardness, smoothness, coarseness, coolness, pliability, crispness, heaviness and thickness were evaluated using free modulus magnitude estimation (FEME) technique. KES-FB was used to measure the mechanical properties of fabrics. Woolen fabric with the highest values of WC and weight was evaluated as the coarsest, heaviest and thickest. While silk crepe do chine with the lowest LT, G, 2HG, thickness and weight was rated as smoother and more pliable than any other fabrics. And flax with the highest values of LT and SMD was evaluated as hard, cool and crisp. Fabric touch and satisfaction were predicted well from the mechanical properties, especially from SMD, by regression analysis. Satisfaction for touch increased as smoothness increased.

• 복식
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• 제62권5호
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• 한국의류산업학회지
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• 제8권5호
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• pp.585-590
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• 2006

In the variation of physical properties of adhesive fabrics, the objective of this study is to analyze fitness of fusible interlining to four sorts of fabrics for men's suit with various structural parameters. Four fusible interlinings are used for adhering to fabrics for men's suit. Mechanical properties of these 16 adhesive fabrics fused with these interlinings are measured by KES-FB system for analysing appearance and wearing properties of garments and for examining the fitness of fusible interlining to the fabrics for men's suit. The variation of bending property for adhesive fabrics are found to be higher in the order of interlining 1(Cotton30/Rayon70, plain), interlining 2(Polyester30/Rayon70, warp knit), interlining 4(Polyester, shingosen fabrics with drawing textured yarn) and interlining 3(Polyester, double dot coating interlining). The variation of adhesive effect shows the same results with bending property and shows negative relation with extensibility in weft direction per extensibility in warp direction(EM2/EM1). The variation of peel strength of adhesive fabrics, woolen fabrics in the case of face fabrics and interlining 3 in the case of interlining shows the largest value respectively.

• 복식
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• 제57권6호
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• pp.112-121
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• 2007

Gamtu was a name recorded in Korean in respect of 'Mo(帽), Moja(帽子), Somoja(小帽子), Jeongmoja(頂帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾)' from the beginning to the end of Joseon dynasty which includes various shapes and uses according to wordbook. Also, Gamtu has various phonetic transcriptions, however Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtoo' in $\ulcorner$Dongmunyuhae(同文類解)$\lrcorner$ so the origin of the word Gamtu should be discussed. Accordingly, I want to clearly define the concept of Gamtu in this research by studying the history and shape of Gamtu, and Chinese entries annotated in Korean as Gamtu. Even though we can assume that the etymology of Gamtu is Manchu language as Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtu' in $\ulcorner$Dongmunyuhae(同文類解)$\lrcorner$, I think the Korean pronunciation of Gamtu already existed because there already was a Chinese transcription of 'Gamtu' in the Goryeosa(高麗史). So, we can conjecture that Gamtu could be originated from Yeojin language which is the same lineage of Manchu. As a conclusion, Somoja(小帽子), Jeongmoja(頂帽子), Moja(帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾) had a common feature that they were produced to fit head without visor, and were annotated as Gamtu per woolen cloth was used as Jeonmo(氈帽), Yangmomo(羊毛帽), and Gamtu was just a Korean transcription that includes these names.

• 복식문화연구
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• 제4권2호
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• pp.187-206
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• 1996

The Purpose of this study is to analyze the clothing excavated in Xinjinag, concerned with the study of clothing culture in Central Asia. The results are as follows : A headwear is a corn hat or round hat, the material is field, fur or woolen textiles. For hair accessories, feathers or wooden pins were used. The corn hats of the Scythians and the Huns also had same design and did not change even after being influenced from the culture of Han Dynasty. A woman's hair styles was many strips of braid, a man's hair style was a braid or a topknot. Regarding the clothing, a woman wore pull-over type and a man wore caftan for a jacket. Both a man and a woman wore widened coat and trousers as well as felt socks and leather boots, and longer socks than boots are the characteristics of the clothing of nomadic horsemen. The textiles was mainly wool, but silk was used for coats, socks and gloves in high society imported from China through the Silk Road after the 2nd century B.C. Compared with Korea clothing, a corn hat, widened coat, trousers and leather boots are similar with those of Koguryo. The influence of western culture is shown in a man's short hair, animal design, W1-Kum, a woman's pull-over type and a round neckline.

• 복식
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• 제58권10호
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• 복식문화연구
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• 제5권4호
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• pp.12-31
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• 1997

This is a study on the changes of the ancient underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Functions of underclothes are follow ; to protect the body from cold, to support the shape of the costume, to cleanliness, to erotic use of underclothes and as a method of class distinction. Linen is the oldest as materials and cotton came into general use after the Restoration of 1660. We must suppose that woolen petticoat was at least as old as the Middle Ages and silk was rarely used until late in Victorian times. Until the middle of the last century underclothes were necessarily hand-made, and the absence of fit was noticeable until the introduction of man\`s drawers, fitting the leg, at the close of the eighteen century. Strings and ribbons were the fastenings for underclothes until the middle of the seventeenth century, when they were replaced by buttons. One outstanding example of the first type of figures is a Babylonian girl of about 3000 BC from Sumeria who wears that today would immediately be described as briefs. Female statues show no trace of anything being worn under the chiton, but there is literary evidenced that the Greeks. A band of linen of kid was bound round the waist and lower torso to shape and control it. It was known as the Zone or girdle. The apodesmos, meaning a band, breast band, occurs in a fragment of Aristophanes. A Roman mosaic shows female athletes wearing a bikini-briefs and bra in the fourth century AD. A similar band, called the mastodeton, or breast band, was also worn round the bust, apparently to flatten or minimise it, as in the 1920s, and not, to stress its curves. In Rome, too, women sometimes wore bands of material round the hips and bust-a cestus or girdle is referred to by the poet Martial and seems to have been similar to the zone, but wider, and the strophium, or breast band, is mentioned by Cicero.