Chogori the basic upper garment of korea costume occupies an important role in tra-ditional dressing and continues to be in use to the present days. Of course there has been changes in the length and line of Chogori with the flow of time based on the Ancient Yoo. This is a study of the 14 parts of Chgori based on statistical analysis by computing the practical measuements. Here the statistical analysis is a objective and quantitative of the stylistic changes in Chogori with time. In this study from the data the Mean and Standard deviation has been evaluated and periodic change is shown by graph to test the periodic change T-test Regressional analysis Index analysis has been used. The results are as follows: 1. The length of clothing has changed with time except the sleeve length. Here the length of clothing means all the other measurements ex-cept the sleeve Thus while the measurements of sleeve length has been uniquely unchanged the other measurements have influenced each other. 2. Generally the form of Chogori had the tendency towards smallness in the 19th cen-tury. But it tended to get larger in the 20th century. 3. Compared to other periods the mode of 19th and 20th century Chogori was widely ac-cepted as the Standard deviation of that period was very narrow. 4. The results seen from the regressional analysis of the Cho-sun period woman's Chogori satisfy the t-value and R-squared and thus support the regression formula presump-tion. 5. From the index analysis it is revealed that with decrease in the armhole measurement sleeve measurement and neckband; relatively same decrease in the wrist measurement; and very marked decrease in the sideline measurement.

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

The purpose of this study was to investigate the relationship between Chanel design and her Costume jewelry in 1920's-1930's through documentary studies. According to the study the result was as follows: 1. Chanel's esthetic in the field of Fashion Design bore the double stamp of "elegance" and 'simplicity' 2. Chanel changed the concept of costume jewelry. Chanel's great innovation was that she let 'fake' jewels always keep the intrinsic value of 'real' ones. 3. The simplicity of her perfectly tailored suit was Paradoxically overwhelmed by a fan-tastic array of jewels. The relationhship be-tween Chanel design and her costume jewelry was not able to be seperated. Chanel was a fashion leader fifty years ago and the name "Chanel" will be at the forefornt of fashon fifty years from now. The image of quality will always remain the same in the futures.

The purpose of this study was to understand the effects of religion on Amish costumes. For this study I twice visited Amish village in Lancaster Pennsylvania U.S,A in July 1993 and August 1996. The methods of study directed direct observation and literature re-search. The results of this study were as follows: The Amish was livid practically by strict princi- ples of simplicity diligence piety and mutual cooperation. The Amish behavioral code of laws known as ordnung dictated appropriate dress agricultual methods and a routine for daily life. The Amish costumes originated with the 17th century Puritans traditional apparel the European farmer and the clothing style of 19th century Americal,. Amish costumes was fastened with hooks and eyes instead of decorative buttons a diret influence of Puritanism does and did non con-tain ornamental outer pockets. This distinctively simple costumes served as a boundary outsiders to and as a direct ex-pression of their faith. An Amish doll had neither facial features nor fingers and toes as described in scripture "You do not become corrupt and make for yourselves an idol an image of any shape whether formed like a man or a women or like any animal on earth or any bird that flies in the air or like any creature that moves along the ground or any fish in the waters below" In this way Amish costumes was affected by their religion and faith.

The purpose of this study was to investgate the social meaning and consumption values expressed on apparel advertisements In Teena-ger's magazines from 1976 to 1996. The results of this study were as follows. 1. As the number of the model in apparel advertisements was more than two people it was closely related to conformity and peer ac-ceptance of adolecent's developmental task. Also There were increasing number of foreign models and attractive and famous signers and talents. 2. The trend of appeals showed changing time and society. Since 1990 post-modern ap-proach has increased whereas rational and emotional approach were dominated in 1970s and 1980s. 3, The major consumption values in apparel advertisements were social value emotional value. From 1990 there were variety in consumption values related to adolescent's ap-parel advertisements. This results represented the possibility that apparel advertisements in adolescent's maga-zines not only mirror but mold change of con-sumption values and life style in adolescent. Especially to understand and predict the new generation in Korea educators and practi-tioners in Junior Fashion Market must try to study the current adolescent's life style and consumption values systematically.

The purpose of this study was to identify the change and characteristics of 20th Korean women's make-up the result of the study as follows: In the period 1920's 1. The drastic social changes such as civilzation and revolution together with the in troduction of western culture affected make-up and clothes. New women and high school girls wore the modified costume make-up hair style But general public women keep to traditional skin care style and white skin colour was popular. 2. In recent year after 1960's economic de-velopment the women's social status were pormoted after 1970's various colour em-phasize lip eye there by resulting in remark-able modification in the Korean women's apperance. In those days there was the large cosmetic producst of vavious colour 3. The result of this study indicated that the value of recognize the importance of total fashion is the harmonization of clothes and make-up 4. It was also suggested Korean beauty in the future should be achieved in accordance with tradition and modern sense.

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

The purpose of this study were to identify the design elements and the changing flow of advertisement from 1970's to 1990's by using content analysis of men's magazines. Finding were as followed; First through the analysis of men's wear advertisement in magazine it was found that the closer to 1990's the more various men's wear styles and backgrounds were advertized. These were more image oriented than product oriented. Since 1980 the advertisement about the licenced and the imported brands have been increased and the serial advertisement has shown more fre-quently than the 1-page advertisement since 1990's ; Second two piece suit was dominated in men's wear during 1970's and 1980's From 1990's this style was decresed in stead combi suit was increased. In 1970's the X silhouette was infashion and the y and the X silhouette was in fashion and the y and X sillhouette were increased during 1980's . The H silhouette was dominated in 1990's The brighter and the more various colors appeared in 1990's than in 1970's. The brighter and the more various colors appeared in 1990's than in 1970's The solid pattern was the main flow in men's wear however the stripes and the the check patterns were added in 1990's Third single breasted jacket style with two buttons and tailored collar was in fashion during 1970's . The length of the v-zone was shorter than half at this time however it was lengthened in 1980's . Also the the length of the jacket was lengthened. In 1990's the double breasted jacket style and two buttons were increased. The length of the v-zone and jacket were also lengthened.

The works of the Futurism were developed along with manifestos and statement in publishing " The Foundation and Manifestos of Futurism" Futurist aesthetic and ideological agenda on futurist fashion displayed in mani-festos on clothes. It was propagated in con-summate Futurist style through the written manifestos. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men's Cloth-ing in 1914 they believed continual renual of our today's clothes. Today's clothes is much our today's clothes. Today's clothes is much more simple than yesterday's clothes. The oppositions of the type between yesterday's clothes and today's clothes are mournful=play-ful melancolic-cheerful grey-colorful tradi-tional-emphemeral. Futurist men's clothing is aggressive agile dynamic simple and confor-table hygienic gay luminous volatile asym-metric ephemeral and variable. In general the Futurist argued for clothes that promoted simple and functionality. They made dynamic patterns in textile design and asymmetric geometric cuts in pattern making. They suggested an unconventional matetials and strong bright colors and modificanti. These elements pointed the way to a shim-mering exuberant future.

In this paper it was observed that the influences of social environment that had been saturated by the modern awareness and west-ern culture effected largely on clothing. Also it was studied how and by what en-vironmental factors the costume during the enlightening period was accepted and devel-oped in Korea relative to social cultural en-vironment. In this research the emphasis was placed on the process of changing to western clothing especially the influence of Group Clothing on the general women's clothing. Therefore the types of group clothing and its influences were studied. in this study the types of group clothing recalled were modern women's clothing mission-ary women's clothing professional women's such as nurse uniforms school girls' uniforms and the invention of women's sports wear. And lastly it was searched for the direction of developent in apparels. From the above mentioned we can conclude that the clothing is inseparable from social and cultural Invironments and foreign affairs of politics at the time. Also it is considered that the types of group styles were the necessary happenings in the early stage of modern so-ciety. Because of historical situation in Korea the western clothing style had taken place in a short period of time. however Korean women's clothing which had been centerred around group clothing was considered to have changed from Korean traditional costume to western clothing by rational decisions of modern awareness in-stead of sudden change from traditional clothing to western clothing by indiscrete acceptance of western culture.

The purpose of this study was intended to analyze artistic formativeness represented in the modern fashion design materials. Nowadays the modern fashion design materials is characterized by variety. The fashion materials the most important of fashion is called a softwear in textile industry and emerged as a new field. Fashion design also escaped from the tra-ditional restraint and extended to pursue lib-eral clothes and the designer's creative inten-tion has resulted in conceptual and conven-tional alteration as a new mode of plastic ex-preseeion. As a results of analysis of the formative fea-ture of Art style represented in the modern fashion design materials. First Surrealism had been searching for a new way of confronting a social and rtistic environment that was stifling and repugnant to them. Accordingly the wide applicaytion of the various object due to the thought of Sur-realism through the modern fashion materials brought the diversification and individua-lization of the modern fashion design. Second Pop Art that is made modern mech-anic culture and commercialism brought the great transformation in the history of Art out of the existing style and the sense of ex-pression. And the plastic characteristics of Pop Art that has a gravity as modern fashion materials on a them of the elements of popular consumer's society. That is the common and cheap objects were introduced into fashion materials itself or pat-tern. Third Minimalism is a trend in art att-empting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means. The features of external form are simplicity clarity unrelated composition and symmetrical structure. Mini-malism was a quest for basic elements repre-senting the fundamental esthetic values of art. The minimal expression in modern fashion materials mean fabrics with simple surface and is contained using simple geometric pattern or utilizing textiles without any patterns. Fourth Eroticism is a kind of psychological revolution in the development of human civilization and is deeply rooted in the cultural tradition of myth religion customs and art. So Eroticism must be distinguished from a mere animal reproduction. These erotic char-acteristics were holded the meanings of sexu-ality through the modern fashion materials. Especially it was expressed the sexual part of body was nakedly showed through trans-parent materials or semitransparent like metalic and opaque materials. Recently the various kinds of new materials such as paper vinyle plastic metal as well as human body were applied to new fashion de-sign. First of all the new materials will give modern fashion designers stimuli and inspi-ration. It can also express values of moderners to despise materialism and uniformed modern society and to recover humanity and self-actualization.

The purpose of this study was to find out the mutual relations of self-efficacy proximity of cosmetic to self and proximity of clothing to self. The researcher used the scale of Sherer Mercadante Maddux Rrentice-Dunn Jacobs and Rogers(1982) for a general and social self-efficacy. The scale of Ryckman Roddins Thorton and Cantrell(1982) for a physical self-efficacy. The researcher corrected and supplemented the tools on the basis of Sontag(1987)'s scale for proximity of clothing to self. The researcher developed proximity of cos-metic to self. The subjects of this study were 172 girl students in the university. The research was analyzed by MANOVA Scheff post hoc test and Cronback a. The Results of this study were as follows: 1. The person who had a higher self-efficacy was higher in the hoy and skin-carve in the sub-causes of proximity of cosmetic to self. There was no difference in social-confidence self-satisfaction and disguise. 2. The person who had a higher self-efficacy was high in the self-expression and the physi-cal satisfaction in the sub-causes of proximity of clothing to self. There was no difference in the joy self-consciousness the consciousness of others and the novelity. 3. The person who had a higher proximity of cosmetic to self was higher in the joy, self-ex-pression and self-consciousness of others and the novelity. There was no difference in the physical satisfaction.

In light of the problem of imported apparel that tends to increase rapidly this study was intended to inquire into the assessment of male and female college students about the brands of imported apparel relative to dom-estic apparel based on quality perception price pirceptionand social psychological perception. And it is concerned with making a compara-tive study of the difference in consumer's con-sciousness of clothing between subjects by dividing them into the group of preference for imported apparel the group of non-preference for it on the basis of their ratings. As a consequence the following study results were obtained. 1) As a result of comparing college students' ratings for quality perception price perception and social psychological perception of impor-ted apparel all three factors were shown to have the high average value in care of the group of preference for imported apparel and to have a significant difference between groups. 2) As a consequence of making a compara-tive study of the difference in the clothing at-titude between groups the group of prefer-ence for imported apparel showed the high av-erage value about brand preference and identi-fication clothing involvement and interper-sonal perception through clothing and to hjave a significant difference with the group of pref-erence for imported apparel in terms of the peripheral environment and the place of pur-chase. 3) As a result of making a comparison of the difference in demographic factors between groups it was analyzed that female clollege students especially college women in the departments of art and physical education had the higher preference for imported apparel. And it was shown that they had the higher preference for imported apparel the greater amount of pocket money they had. Broader and deeper studies are required to be made about imported apparel in a multifaceted way. Therefore follow-on studies will have to be actively conducted such as a study of con-sumer's evaluation about imported apparel and domestic apparel charged at th same range of prices and a study of the difference on con-sumer's consciousness of imported apparel found over age span of consumers.

This paper is the result of research what im-ply the shaman's costume in Korea "Kut" The implications can be summarized as follows: 1) Shaman's costumes in "Kut" are divided into two parts. Namely the one is the position as a priest and the other is the one as God it-self 2) Also shaman's costume were used to ex-press God's character in the ritual "Jae-Cha" These were based on the costume system by one's social position in the times of the Cho-Sun. 3) The reasons why shaman worn the tra-ditional costume are discussed variously. Among those reasons firstly shaman stands for the symbolic significance of each "Kut" as the agent of God. And secondly shaman wore to symbolize the miraculous virtue of God. symbolize the miraculous virtue of God.

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

The object of this research is to inform readers of the chronikal change of Military Uniform in wars how the features and colors of uniforms have been changed along with the innovations of firearms. Military uniforms can be put into two differ-ent categories which are 'Battle wear' and 'Rank wear' A battle wear features of protec-tion and user fiendliness, These features of a battle wear can possibly minimize injuries and help increase the level of battling perform-ance. On the other hand a rank wear help dis-tinguish soldiers from their ranks and posi-tions. A rank wear symbolizs the pride that soldiers take n their unit and by wearing a rank wear soldiers feel more attached to their collegues and unit. Concrete process of military uniforms is as follows. 1. As firearms were innovated corres-pondant innovation of military uniforms were also needed this innovation were in the formstructure design color etc. 2. In the beginning features of military uniforms changed toward protection and then after social status of solders rised features changed forward show-off Finally as firearms became more fortal camouflage became the most significant feature of the military uniforms. 3. During war colors of military uniforms tended to be a means of show -off and camou- flage and while not in war they functioned as symbol which represent froops and the unit is tradition. 4. Other accessaries support the perforance and the symbolical function of uniforms.

The country-of-origin may be used as surro-gate indicator when the consumers do not have confidence on quality evaluation. Since the global sourcing is getting popular in inter-national textile and apparel production the ef-fect of country-of-origin should be examined. The purpose of this study was to determine the effect of country-of-origin on product evaluation and its relation to the consumer characteristics. A questionnaire was distribu-ted to 524 respondents aged 18 through 35. The results indicated that the country-of-ori-gin had significant influence on quality evalu-ation. Furthermore product components such as design price fabric and workmanship were also influenced by the country-of-origin. Price was perceived as more affected variable by country-of-origin than design fabric and work-manship. The interest in country-of-origin was different according to the consumer charac-teristics. Among demographics age and in-come turned out to be significant variables to determine the interest in country-of-origin. Shopping habits of respondents such as pur-chasing price of polo-style knit shirt the place to purchase that shirt the number of shirts they have were significantly different accord-ing to the interest in country=-of-origin. The re-spondent had higher interest in country-of-ori-gin were more fashion-conscious more confi-dent on clothing purchase more brand loyal and more sensitive to price of clothin.

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.

Nineteen stimulus photograghs varied in hue and color scheme of one clothing style of Korean dress worn by a female were used to investigate the effect of color color scheme and structure on impression formation for Korean dress. Subjects were 77 male and 86 female undergraduate and graduate students. The stimuli c9onsisted of two sets(cool and warm) of four similar color schemes two sets (cool and warm in Chima color) of five contrasting color schemes and one extra stimulus triad 3 hue base. Structures were de-fined by color schemes of Kit.Korum toward the color schemes of Jokori and Chima. Stimu-lus photogragh selected from Korean dress fashion magazines was managed and varied in hues and color schemes to Kit Korum Jokori and Chima according to Korean Standard Color through scanning and Adobe photoshop 3.0 program and then pictured through slide printer(HR-6000). Each subject assessed 19 stimulus color photographs with incorporated 7 point semantic differential response scale. The data were analyzed by frequency mean factor analysis t-test ANOVA and Scheffe test. Results indicate impression ofrmations are af-fected by clothing cues. 1) Four factors emerged to account for dimensional structure of impressions of female features on Korean dress. These four factors were titled as(1) preference.evaluation (2) individuality.attention (3) youth and (4) friendshio. The preference.evaluation factor was the largest including eleven adjectives and accounting for 29.62% of the variances. 2) Almost every clothing cue(color, color scheme, structure) had some effects on im-pressions formed But the color of Chima did not form the effects on impression of prefer-ence.evaluation factor. The effect of related color scheme was the most influential clothing cue on impressions of preference.evalation factor and friendship factor whereas the ef-fect of contrasting color scheme was the most influential clothing cue on impressions of indi-viduality.attention factor and youth factor. The effect of cool color of Chima was the most influential clothing cue on impression of indi-viduality.attention factor whereas the effect of warm color of Chima was the most influen-tial clothing cue on impressions of youth factor and friendship factor. The effect of Jokori/Chima.Kit.Korum structure was the most influential clothing cue on impressions of pref-erence.evaluation factor and youth factor whereas the effect of Kit.Korum/Jokori.Chima structure was the most influential clothing cue on impressions of individuality.attention factor and friendship factor. 3) The interaction effects were appeared among clothing cues. Significant interaction effects between color schemes(similar and contrasting) and colors of Chima(cool and warm were appeared on impressions of prefer-ence.evaluation factor imdividuality.atten-tion factor and friendship factor, Significant interaction effects between color schemes (similar and contrasting) and structures (Jokori.Chima.Kit.Korum; Jokori.Kit.Koru-m/Chima;Jokori/Chima.Kit.Korum;Kit.Korum/Jokori.Chima) were appeared on impressions of preference.evaluation factor youth factor and friendship factor. Signifi-cant interaction effects between colors(cool and warm) and structures were appeared on impressions of individuality.attention factor youth factor and friendship factor. Sighifi-cant interaction effects between colors(cool and warm) and structures were appeared on impressions of individuality.attention factor youth factor and friendship factor. Significant interaction effects among clothing cues(color color schemes and structures) were appeared on all impression factors. The friendship factor was the most friquently affected impression factor by interaction effects among clothing cues. In summary the clothing was used as nonverbal cues in the effect on impression for-mation of female dressed in Korean dress. it concluded that color schemes worked as cen-tral traits and colors of Chima and structures worked as peripheral traits in the formation of impression of the female clothed in Korean dress. hence organizing our impressions with respect to the parts of the Korean dress in re-lation to the whole holistic perceptual pro-cess Gestalt approach was used and supported.