The origin and structural development of Do-po have been studied with a consideration of the back piece of Do-po in this paper. This study found that Do-po was in this paper. This study found that Do-po was originally imported from China. This paper reports that an earlier record on Do-po is found in an epitaph(1564) than the record found in S njoSilnok(1607) which is conventionally known as the earliest record on Do-po. The structure of Do-po has been widely known as an“attachment of J n-sam”on slitted back piece of the outwear. However, this study shows that Do-po has been formed by inserting the gusset of the front piece into the back piece of the outwear Jik-nyung. This change can be considered as the economical and practical needs to save the cloth or by the aethetical need of simpler clothing. This study also classifies the shape of gussets largely into nine classes according to the temporal development in the shape of gussets.

The purpose of this research was to study four impulse buying dimensions and planned buying, marketing stimulus factors in store, buying im-pulse and impulse buying of female consumer. The female consumers were divided into three groups, i.e., college students, housewives and workingwomen. 408 women living in Kyung Nam were selected as respondents by convenience sampling methods. The results of this research can be summarized as follows. 1. The overall impulses were stronger for college students and workingwomen than house-wives. The impulse buying dimensions were different according to the status of women. 2. Buying impulse and impulse buying of clothing were more likely to be for college students and working women than housewives. 3. The display in the store gave the information to the three groups equally. These infor-mations helped to make the impulse buying. 4. The marketing stimulus factors were different according to the status of respondents. Sensitive and aesthetic factors were important for college students and workingwomen, and the utility of clothing were important for house-wives. The color of clothing, the discount of regular price and the low price had the same meanings to the three groups. 5. Impulse buying dimensions were effected by the marketing stimulus factors. 6. The fashionable products, the use of credit card, famous brand, gracious display of clothing and the kind services of salesman were the common factors that stimulate the consumer to buy the clothings. But the color and design of products had more effect on the college students, and the discount of regular price and the utility of clothing were more important for the workingwomen. The color and the utility of clothing were stimulus factors for the housewives.

This study was to analyze properties of the foot form through a development figure of the surface area by factor analysis, cluster analysis, and reglation analysis. This study was performed 71 college women between 19 adn 23 years old residing in Pusan urban area. The result was as follows; 1. There are four factors selected by factor analysis. The 1st factor signifies the surface area of the toe. The 2nd factor signifies the surface area between Metatarsal circumfer-ence and Tarsal circumference. The 3rd factor signifies the surface area between Toe circumference and Metatarsal circumference. The 4th factor signifies the surface area between Heel-ankle circumference. 2. There are three clusters selected by fast cluster. Cluster 1 : The foot size, most parts of foot surface area and total foot surface area are relatively small to other clusters, but the surface area between Metatarsal circumference and Tarsal circumference is relatively large to other clusters. Cluster 2 : The foot size, all parts of foot surface area and total foot surface area are relatively large to other clusters as Cluster 1, but the surface area of the sole of the heel and the ankle is relatively large to other clusters. 3. Total surface area of the foot=-274.94+24.01* Foot lengh+9.28*Metatarsal circumference.

The kind, the structure, and the motif of the Chosun dynasty's fabrics found mainfy within the Buddhist statues were studied. The total of 62 pieces of fabrice can be classified chronologically as follows ; 27 pieces in the year of 1431, 20 pieces of 1550, 9 pieces of 1664, and 6 pieces of 1735. These 62 fabrics also categorized by the weaving method as follows; 27 plain weaved, 17 twill weaved, 10 pieces of satine weaved, 7 pieces of Leno weaved, and 1 piece of double weaved fabrics. Most of the studied fabrics were silk, the rest were 2 pieces of yam and 1 piece of cotton, Kyun, Chu, and Cho were the plain weaved silk as Nung and Ki were the twill weaved silk, Satine weaved silk was called as Dan and double weaved silk was called Chikum in the Chosun dynasty. 1. The antique fabrics were composed of mainly silk. This is believed due to the utmost devotion to the buddhist statue as an object of worship. 2. In the fabric's structural point of view, th ecrossed 4-ply threads of warp yarn which is one of Leno weaved can be observed fre-quently in the period of Korea dynasty's fabrics. But it started to disappear in the beginning of Chosun dynasty, since only one piece of Ra could be found in the 1431's fabrics. Keum, one of the double weaved structure is assumed to be extinct from the Korea dynasty. Satin weaved fabrics started to be woven from the latter period of Korea dynasty and was very popular in Chosun dynasty. 3. The widths of fabrics in the Chosun dynasty gradually decreased compared with those of Korea dynasty.

The culture of a country is formed by the sense of value of a nation being a creator as well as on operator of the culture. So, the Chinese culture and fruthermore, the sense of value the Chinese people can be understood through the study of the costume of China. Above all, the culture of China, including the costume, have been formed through the his-tory of exchange between the central Chinese people and its surrounding minority races, and it should not be overlooked that its own culture of each race is existing with each other in the great Chinese culture sphere. In the paper, the concept of costume as relections of a culture is confirmed through the examination of the characteristics of the costume of the Miao tribe with such history and culture as a background and on effort is made to take those as resources modern fashion designs while inferring from them the characteristics of costume with universal and original values sthat can be sublimated into the modernistic beauty. The results of the study are as follows. First, the basic composition consists of a simple jacket made in a way of straight-cut-ting and a close pleated skirt and it tended to put emphasis on diversified and splendid decorations compared with the simple basis composition. Second, the costume of the Miao tribe are characteristic of hair done in a knot with head-dress around head. Third, the kinds of dress are multifarious by race and region due to a long period of mobile and disperse life. In the course of studying the universal value of the Miao tribe is confirmed which is by no means inferior to the standard of the medernistic beauty which keeping its originality. The study is made to be helpful for activating the design going with the trend that the basic harmony between the nature and man, that is a climate and the local cul-ture hearing formed a splendid culture in the past, are being found again.

This is a studying on Chinese round neckline. Chinese round neckline is originate from Kucha and Bei-Wei. After round neckling was flown into Chinese, it had been worn in all classes including Emperor as well as common people. Women-talents and court ladis-likes to wear it too, especially Tang Dynasty. This study is describe processes of changes and characters of Chinese. The first inflow time of round neckline into China was assumed in Bei-Wei. In Bei-Chi, it changed right lapel and it fastened by a button. In Chinese each dynasty, Round neckline had been worn in Emperor, common people talents and a part of court ladies.

For the purpose of standardization and practicability of natural dyeing, the mordanting and dyeing properties of Caseaslpinia Sappan, L. and Brazilin were studied. Appropriate extraction, dyeing and mordanting condition of Caeaslpinia Sappan, L. were determined, and the effect of mordanting method on dye up-take adn color fastness of dyed fabric was investigated. The most absorbance of Caeaslpinia Sappan, L. solution was 445nm, Brazilin was 448nm. The color of bazilin solution was affected by pH 7~9. The optimum temperature to extract Caesalpinia Sappan, L. was 10$0^{\circ}C$ adn dyeing solution for 1 hour. In case mordants concentration, the most absorbance was 0.3%. In case mordanting test, the best and proper temperature to quantities of absorbed mordants in silk was 8$0^{\circ}C$ and the most quantities of absorbed mordants in silk was mordant treatment by Cu. Effective dyeing time to silk was 60min. Effective mordanting temperature was 8$0^{\circ}C$, and its time was 30min. K/S value of dyeing fabrics was recoginazed by mordanting treat-ment, specially Fe, Sn, Al, Cu. K/S value of pre-mordanting was higher than post-mordanting. After soaping treatment K/S value of pre- and post-mordanting silk was decreased and 0.1%(W/V) quantity of mordant was sufficient for treatment. In the case of Caeaslpinia Sappan, L. fastness was increased by mordanting treatment. Mordants and mordanting treatment method affected the amount of absorption and color change of dyed silk.

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

In order to know what sorts of features of neck form may be required to make plans for tight collars, the neck form of young japanese women were measured three demension-ally using GRASP(Grating Projection System for Profiling) and plaster torso. By the BASIC language in NEC computer and EXCEL program in MACINTOSHI computer, it became possible to draft a number of neck surface auomatically, therefore, we got analysis of a mass of subjects. Thed following results were obtained: 1. There was a large individual difference in the shape of neck, in particular, on the front and side curves of the neck base line, where the undulation of clavicular part of neck and inclination of shoulder are refracted. 2. When designing a stand collar, from the viewpoint of clothing strcture, it is important to grasp exactly the shapes of the neck, such as the line of the neck base, the neck gradient, back neck length, back neck width & girth. 3. According to the somatotypes(turing-over, standard, bending type), there were different the method of the basic collar pattern making.

This paper is the result of research about what imply the symbolic significance of the shamna's costume in Siberia and Central Asia by using plates, medias and exhibitions in JNME. The reselts of the present study are summarized as follows; 1) The researcher define the shamanism as incantation, religious phenomenon centering arround shaman who communicate with the existence of preternatualness by possession or trance. 2) Siberia and Central Asia's shamans are comunicated with the existence of preter naturalness by trance. 3) In Siberia and Central Asia, the shaman's costumes is presented in a shaman ritual are caps, jakets, ornaments, stick and shoes. They symbolize spiritual world, stupendous shaman and powerful animal. 4) A significant symbolic meaning of shaman's costumes is that they change shaman to the existence of preternatualness.

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

Several aspects of conscious about somato-type were analysed for high school girls among Seoul, Kwangju, Wando. Questionnares was comprised of 24 item of the conscious about somatotype. Questionnaress were sent to sample of students of high school. The data from 593 respondantss were analysed in using Freequency, Crosstab, and T-test. The results were as follows: 1. High school students in Wando tend to have shorter and fatter than Seoul and Kwangju. 2. Respon-dents were conscioused of , , . 3. Of the trouble of somatotype, respondents of all region have troubled about , , , , It was founded that Respon-dents in Seoul have much the trouble about , than other regions. 4. Mean of Agreement of somatotype were scored 3.49 in Seoul 3.37 in Kwangju, 3.39 in Wando. It was founded that respondents in Seoul were not satisfied more than Kwangju, Wando. And then Respondents in Seoul have strong aspiration to be slim about somatotype although they are a stansard somatotype.

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.