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홍나영 한국의류학회 2000 한국의류학회지 Vol.24 No.4
This study aims to investigate the changes in the Wedding costume for Paebak(Hyunkugorye) in Westernizing Korean society of the twentieth century. For this study, I analyzed the related literature for the first half of the twentieth century due to the lack of relevant photographs, while I used the method of content analysis of 116 photographs for the second half of the twentieth century. It is obvious that bridegroom and bride wore the same clothes for Hyunkugorye and the formal wedding ceremony in the early twentieth century. According to the analysis of photographs, wonsam was rather more widely used than hwalot as the bride's wedding costume in the late twentieth century. But there were many changes starting from the early 1970s. The changes were deviated from the traditional style and became more decorative and somewhat crude: that is, people began to embroider wonsam and the piping was added to the collar of danryung. All these changes resulted from the pursuit of commercial interests with the misunderstanding of and the indifference to traditional beauty, while Korean society had experienced the Japanese rule of Korea, the Korean War and the industrialization during the 1960s and 1970s. Therefore, to establish appropriate wedding culture and costume in Korea, it is important to educate people who get involved in wedding business for traditional wedding culture and clothes, because nowadays most of bridegrooms and brides borrow ceremonial costume for Hyunkugorye.
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홍나영 대한가정학회 2003 Human Ecology Research(HER) Vol.41 No.5
Magoja is a jacket for men and wornen. Magoja was worn between the facke, jogori and the coat, durumali; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua(腰 褂), was in china and he came back to Korea. So, it was beliveved that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard to origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket con be found from many old plctures. The collar of thosejacket, whose style was wanonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely during the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northem provinces which had existed for a long peried of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.
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조선후기 감로탱화 하단화를 통해 본 예인복식 연구(제1보) - 사당패 남자복식을 중심으로 -
홍나영,민보라,Hong, Na-Young,Min, Bo-Ra 한국의류학회 2006 한국의류학회지 Vol.30 No.1
This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.
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홍나영,김지연 이화여자대학교 생활환경대학 인간생활환경연구소 2005 인간생활환경연구소 논집 Vol.- No.3
The purpose of this study is to research the everyday costumes of the upper class in the late Joseon period. The 18th century was the main period that the tradition of the Korean costumes was established. The results of the study were as the following. First, men's coats, which were called po, had many varieties, such as dopo, changui and joongchimak. Hats were also developed along with coats. Men wore gat when they went outside, and wore tanggeon, jeongiagwan, chungieonggwan, or dongpagwan when they were at home. Second, women's clothes were a combination of a short and tight jacket called jeogori, and a logn, voluminous skirt called chima. Women tended to have their hairstyles done with wigs. Also, they had to werar veils to cover their faces due to the influences of Confucianism. During the early times of the Joseon Dynasty, women used to werar jang-ot as a coat. However, curing the late times of the Joseon Dynasty, jang-ot changed as a type of a veil. During that time, the custom of covering the women's heds with a veil was more emphasized than the early Joseon period. Third, th war between Korea and Japan(Imjinwaeran, 1952~1598) brought many changes in the styles of the Korean costumes. Due to the changes of social statuses and of the society, some farmers or merchants tried to initate costumes of the upper class. They wore the dress items of the upper class, or used high quality silk for their clothing. As a result, the fashion of the upper class began to affect the lower class, and was simultaneously influenced by the style of the lower class. The fashion of the 18th century emphasized on showing the tight upper bodylines. Also, people began to expose parts of their underwear through the slits of their clothing.
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洪那英 服飾文化學會 1999 服飾文化硏究 Vol.7 No.2
This study aimed to provide basic data for designing adaptive dresses for the disabled elderly. The procedure of this stydy consisted of 3 parts ; 1. the survey of 205 nursing-care providers who take care of the disabled elderly, 2. the market survey of dadptive dresses for the disabled elderly, 3. wearing-tests of those adaptive which are in the market. The results are as follows; 1. The most popular style for the disabled elderly in nursing facilities was non-collar, regular pajamas. And the most favorite design was a pajama's style which has no collar but has a round neckline, front opening and 7/10 length shirt's sleeves, with pants of an elastic band waist. And the most desirable fabric was a physiologically comfortable one. 2. The system of adaptive dress sizes for the Korean elderly consisted of 85, 95, 105㎝, while that for the Japanese elderly was divided into F/S/M/L/LL according to gender. 3. In the case of a pajama's style, it is necessary for the elderly women in the nursing facilities to have a more choice in smaller sizes, while the elderly men in the facilities need bigger sizes for their jump suits. When we tested the adaptive dresses for the elderly in the nursing facilities, in the case of a pajama's style, it was most difficult for us to pull pants over around the buttocks. In the case of jump suits, it was most difficult for us to dress and undress the adaptive dresses around the chest.
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서민복식문화에 관한 연구 (Ⅱ) : 경북 금오산 주변지역의 민속조사 결과를 중심으로 Field Research Around the Mt . Kumo Area
홍나영,이은주,임재영 한국의류학회 1995 한국의류학회지 Vol.19 No.1
The authors study on the traditional textile production and the formal dress throuth 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 deeprooted 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.
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