喪服之規畫設計，旨在透過綿密的親屬組織網路，區分人倫之間的親疏遠近關係，以凸顯我固有文化之異彩。而人倫之至親，莫過於父母與子女之關係，因此為父母服喪，即為喪服制度中之核心所在，而《儀禮．喪服》中具有「父」外、「母」名者種類繁複、關係微妙，所以本文直接歸納整理其服喪條例，然後深入其內涵，分別自以下三大向度，呈顯當時之文化現象：（一）以男性為社會中心的文化結構--男性的性別優越地位、男性掌控婚姻、男女社會地位有別；（二）以男性為封建、宗法制度的繼承人--崇揚己施抑制外親、大宗不可絕；（三）孝道文化的表現--多繁衍子孫是為孝、重父母輕妻妾、貴嫡母賤庶母。文末，則自男女有別，而非男尊女卑之角度，以明瞭聖人為具有「父」名、「母」名者制服之用意。

　　　　　The funeral costumes are symbols that represent the degree of relationship among family and relatives. Among of all relationship, the most important and intimate relationship are between parents and children. Therefore, this paper discusses the funeral costume for the children to those who have the name of "Father" and "Mother". This paper intends to discuss this issue from three different perspevtives: (1) Male-dominated culture structure--the superiority of male、man holds the authority of marriage the differentiation between male and female. (2) The tradition of family inheritance--the responsibility to pass the torch into next generation. (3) The representation of obedience-civilization--have more children、love parents rather than wife and mistress、focus on formal wife rather than mistress. Finally, the conclusion is on the issue of differences between male and female rather than on dominant and dominated relationship between male and female.