두곡(杜谷) 고응척(高應陟, 1531~1605) 묘 출토 복식 고찰

송미경,김희선 단국대학교 석주선기념박물관 2025 한국 복식 Vol.- No.53

The study is about the clothing excavated from the tomb of Go Eung-cheok (1531~1605) in Gumi, Gyeongsangbuk-do, in January 2019. The purpose of this study is to examine the characteristics of men’s clothing in the early 17th century through the excavation of Go Eung-cheok tomb. The significance of the study was that men’s clothing in the early 17th century in the Joseon Dynasty were a time when the type and shape of the clothing changed compared to the late 16th century. As a result, it was possible to know the salinity process of men’s clothing in the early 17th century and the purpose of the clothing used. The clothes worn by the body were closed to the left, and the coat was worn over Hansam without a Jogori. The early 17th century is a time when the shape of men’s trousers changes. From the excavated clothing of the tomb of Go Eung-cheok, it was found that it was a period when various men’s trousers were worn. If clothing is excavated from an unidentified 17th-century man’s tomb, the clothing excavated from Go Eung-cheok’s tomb could serve as a criterion for judging the times. 출토이 연구는 2019년 1월 경북 구미에서 이장 중 미라 상태로 수습된 고응척(1531~1605) 묘의 출토복식에관한 것이다. 고응척의 묘에서 출토된 복식은 한삼 1점, 목판깃 저고리 1점, 두루마기 2점, 바지 5점(개당고1점, 합당고 3점, 사폭바지 1점), 소창의 2점, 직령 2점, 도포 1점, 허리띠 1점, 소모자 1점, 버선 4쌍, 악수1쌍, 소낭 3점, 대렴금 1점, 대렴종교 1점, 대렴횡교 5점, 소렴금 1점, 소렴종교 5점, 소렴용 끈 1점, 멱목 1점, 습신 1쌍, 베개 1점, 지요[地褥] 1점, 돗자리 1점, 구의(柩衣) 1점이 수습되었다. 고응척 묘 출토복식을 살펴본 결과 17세기 초 조선시대 남성복식은 16세기 후반과 비교하여, 복식의 종류와 형태가 변화하는 시기임을 알 수 있었다. 고응척의 습(襲)은 좌임으로 하였고, 한삼 위에 포를 입어 남자저고리는 사용되지 않았고, 상복(上服)으로 직령 2벌을 사용했다. 고응척 묘에서 수습된 남자 포는 두루마기와소창의, 도포와 직령이다. 고응척 묘에서는 개당고, 합당고, 사폭바지가 수습되어, 1605년에는 3가지 종류의남자바지가 공존하는 시기임을 알 수 있었다. 복식의 소재는 대부분 면포를 사용하였다. 앞으로 17세기 초남성의 무연고 묘에서 복식이 출토된다면, 고응척의 묘 출토복식은 시대를 알려 줄 수 있는 기준이 될 수있을 것이다.복식, 17세기 초, 남성복식, 고응척

일본의 영향을 받은 개화기 남성 복식의 서양화

이행화 동의대학교 인문과학연구소 2012 인간과 문화 연구 Vol.20 No.-

개화기는 유럽의 복식제도를 모방한 일본의 근대복식이 조선에까지 영향을 끼치게 되는 시기이다. 특히 갑오경장(1894)과 단발령(1895)은 근대 복식사에 있어 큰 변화를 마련했던 계기가 되었다. 이후 단발과 양복, 모자와 구두 등의 신문물이 외국인이나 유학생을 통해 유입되기 시작하였고, 신문이나 잡지, 소설 속에 등장하면서 생활속에 자리 잡게 되었다. 1882년 박영효 등을 수신사로 찾아간 일본은 명치유신 15년을 맞이하여 개화된 모습을 보여주었으며 벌써 10년 전에 복장개정령을 공포하여 군경제복과 문무관복을 모두 양복으로 바꾸어 입고 있었다. 이를 통해 서양의 양복제도의 영향을 받은 일본의 남성복식은 개항 이후 조선의 남성복식의 서양화에 영향을 주었다고 볼 수 있고, 이러한 남성복식의 형태는 일본과는 다른 조선의 사회문화적 배경에 따라 유사점과 차이점이 나타난다고 할 수 있다. The era of the Korean Empire (gu-han-mal: 舊韓末/1897~1910) shows how the modern Japanese clothing convention, which has at first adopted and imitated the then European clothing convention, could influence Chosun accordingly. In particular, it were the Political Reform(gap-o-kyung-jang: 甲午更張) declared in 1894 and the Ordinance of Prohibiting Topknots (dan-bal-ryung: 斷髮令) in the year that followed that played pivotal roles as two vital turning points through which to ignite a sea change in the overall history of the modern Korean clothing. Lateron, new/western civilisation, like short-cut hairstyle and western suits matched up with hats and shoes, started entering into Chosun via foreigners and overseas studentswho had already experienced this new fashion trend. And then these new cultures eventually became substantially immersed into the then everyday lifestyles, as they embarked on being gradually shown in and exposed to newspapers, magazines, and novels. In 1883, Park Young-Hyo and others as foreign envoys visited Japan, where not only could they experience this country as a highly civilized / enlightened society entering its 15th year of the Meiji Restoration (meiji-ishin: 明治維新,), but they could also confirm that all the traditional outfits of high-ranking public servants and the traditional uniforms of military-police forces have already been replaced by western suits since the Ordinance of Modifying Public Outfits (bok-jang-gaejung-ryung: 麗水改正令) declared 10 years ago. Judging from the aforementioned historical analysis of how Chousn was influenced by the late-1800s modernized Japan, therefore, I come to the conclusion that Japanese men’s clothing initially influenced by the then western clothing convention / culture (i.e. suit-wearing) also affected to a greater extent the westernization of men’s clothing in Chousn since its opening of harbour to the outside world. This also shows that the men’s clothing in Japan can be both differentiated from and comparable to that in Chousn due to the latter’s socio-cultural backgrounds different from the former or vice versa.

20세기 이전 서양복식사에 나타난 주름의 조형성

김주경(Joo Kyung Kim),금기숙(Key Sook Geum) 한국복식학회 2012 服飾(복식) Vol.62 No.2

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women`s costume, by focusing on the aesthetic value of plea in men`s costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men`s costumes shall help to attempt to set up a basis for the new mode of men`s costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

패션과 미적 자율성에 대한 페미니즘 시각에서의 고찰

연희원(Hee-Weon Yeon) 한국현상학회 2005 철학과 현상학 연구 Vol.24 No.-

이 글은 조선시대 쓰개치마와 이를 벗고 찍은 1900년경 이화학당 학생들의 사진을 중심으로 변화된 패션의 움직임에 대한 미학적, 철학적 고찰을 통해 미적 자율성에 대한 신화를 비판하면서, 여성의 신체와 외양에 대한 저항과 자율적 주제구성을 살펴보고자 한다. 먼저 패션에 대해 다시금 이해할 필요가 있다. 패션에 대한 철학적 적의는 남성/여성, 이성/감정에서 오는 위계질서 속에서 패션을 여성과 동일시하면서 온 경멸로서, 이는 사실상 남성 역시 사소한 차이들을 통해 패션을 입고 있음을 간과한 것이다. 또한 이는 옷을 입는다는 것이 몸을 공적으로 만들며, 개인의 정체성을 형성하고 표출하는 일임을 간과한 것이다. 페미니즘 미학은 미적 자율성이라는 개념을 거부한다. 왜냐하면 무관심성 자체가 특권화된 입장의 관심이며, 따라서 모든 미적 범주들이 관심적 이기 때문이다. 따라서 페미니즘 미학의 패션분석은 젠더분석과 함께 사회경제적 함의들을 함께 고찰하고자 할 것이다. 그리하여 이러한 미학원리에 근거해 쓰개치마를 보면, 사회신분을 상징하거나 신체보호를 위한 실용적 기능을 갖고 있는 남성들의 갓(관모)과 달리, 쓰개치마는 실용적인 기능보다는 여성을 사적 영역에로만 머무르게 하는 이데올로기일 뿐 아니라 여성의 자신의 몸을 부정적으로 인식하게 하고(성적 유혹의 대상으로서) 여성의 자연적 몸을 은폐시키려하는 남성중심주의의 발로이다. 따라서 쓰개치마의 미학이 고움이나 우아가 아니라 종속과 구속의 미리면, 1900년 경 쓰개치마를 벗은 패션은 이러한 남성중심적 인습과 구속으로부터의 해방이자 여성 자신이 선택한 자신의 정제성구성인 것이다. The goal of this essay is bring to light the male-centralism with respect to ssgaechima, compared with the fashion in the photograph of students of Ewha women's school in the year 1900. Fashion is inherently associated with change, and the instability of fashionable choice may seem to some a proof of the emptiness. There is, to all appearances, a philosophic hostility to fashion. This hostility has it's roots in the Cartesian opposition of mind and matter, male/female, reason/ emotion, culture/nature, public/private, invention/reproduction, and in the still more ancient antagonism of body and soul. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. So Feminism implies the abandonment of the doctrine that a disinterested state of contemplative attention characterizes aesthetic appreciation and appropriate apprehension of art. According to this feminist aesthetics, ssgaechima(korean chador) was not a clothes for the protect women's body from nature but a dress of ideology which made women remain in domestic, private area as a sexual object, while men's hat(got, official hat)was for the protect men's body from nature and for the symbol of social, public state. Therefore the aesthetics of ssgaechima is not elegance or the beauty of Goum but a beauty of subordination. And the fashion of putting off the ssgaechima in the early 20th century is the symbol of women's emancipation from the male-centered social custom, which means the creation of her own identity.

19세기 프랑스 패턴북에 나타난 남성복식체계 및 유형변화

김양희(Yang-Hee Kim),류경화(Kyung-Hwa Ryu) 한국복식학회 2016 服飾(복식) Vol.66 No.8

This study aims to present findings of historical design trends of men’s fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men’s fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men’s overcoats and top-exterior-and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men’s fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men’s fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

레이 카와쿠보의 패션에 나타난 일본 전통복식 미학 특성 연구

이애진(Ai Zhen Li),최수아(Soo Ah Choi) 한국복식학회 2015 服飾(복식) Vol.65 No.8

This study is a theoretical research based on previous domestic and international researches. The case study proceeded by collecting images from periodicals such as International Men``s magazine GQ, First of all website(www.style.com) and Vogue website(www.vogue.com) were viewed. The images were selected had shapes, colors, and motives with Japanese aesthetic traits from Comme des Garcons’ men``s Collections of 2011 F/W to 2016 S/S. The purpose of this study is to find out the possible sources of forms and expressive methods of future fashion through Japanese traditional aesthetics of Rai Kawakubo’s fashion world. Designers are expected to continue on using traditional aesthetic beauties of other countries as sources of modern fashion.

조선시대 남성복식에 발현된 성리학적 몸 인식

고윤정,임은혁 복식문화학회 2023 복식문화연구 Vol.31 No.5

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men’s dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men’s dress was deliberately designed to demarcate stylistic distinctions in women’s dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon’s Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men’s dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men’s dress during the Joseon Dynasty.

헝가리 남성복식 변천에 대한 연구

조현진 복식문화학회 2016 복식문화연구 Vol.24 No.1

This paper examines the transition of the Hungarian men’s costume. Transition of the Hungarian men’s costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men’s costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men’s costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men’s costumes. Since the nineteenth century, Hungarian men’s costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men’s dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

바로크 시대 남성복의 미적 특성에 관한 연구 - 17세기 후반을 중심으로 -

정현숙(Chung, Hyun Sook) 한국생활과학회 2019 한국생활과학회지 Vol.28 No.4

대한민국 임시정부 요인(要人)들의 복식 연구

이호정 한국복식학회 2022 服飾(복식) Vol.72 No.6

This study divided the entire provisional government era into three periods and identified dress trends in each period. The type, characteristics, and wearing styles of costumes for each period were analyzed and the role of the outfits was reviewed. Unlike the general government, the Korean Provisional Government was a form of government with a unique characteristic. The era of the provisional government can be divided into three periods (the Shanghai period(1919-1932), the Wandering period(1932-1940), and the Chongqing period( 1940-1945)), with the overall circumstances and main activities of the government varying between each period. The men were leading figures and staff of the provisional government, most of whom wore western clothing. Notably, the leaders of the March 1 Movement in 1919 wore western suits, helping to spread western styles among the general public. Photos show that members of the provisional government wore different styles of suits that were popular in each period. Some of them wore Chinese clothing such as Jangsam and Magua. Jangsam and Magua were often worn during the Wandering period when Japanese suppression was at its peak. Later, during the Chongqing period, some wore the Zhongshan suit (Mao suit). The women captured in photos were either warriors of the independence movement or family members and staff of the provisional government. They dressed in western costumes, Qipao, Jangsam, or Hanbok. Women wore Hanbok more often than men, and women residing in North America and Russia donned western clothings that were popular at the time. The costumes worn by leading figures and members of the Korean Provisional Government reflected the struggle for independence. They provide clues to the challenges that were facing the country during those periods.