• 복식문화연구
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• 제29권2호
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• pp.222-239
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• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

• 한국의상디자인학회지
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• 제18권4호
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• pp.117-124
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• 2016

This study considered about freaky design of men's wear in Edo period, and also compared and analyzed it to modern men's wear. The purpose for this study is to contribute to the development of modern men's wear by this analysis. Edo period was a male dominated period, so culture of showing off their powers appeared in their fashion as symbols of skulls, monsters or tattoos. Kabuki culture used this kind of social background and it incited the actors roles and clothes to become more famous. 2016-17 F/W, 2017 S/S modern men's wear expressed more various freaky design, so it was able to be classed as shapes, pattern, materials and total coordination. Edo period just expressed freaky design by symbols however, freaky design in modern men's wear is showing more various expressions. This study can conclude that freaky design usually shows weird, peculiar, scary and dampish images. Also freaky design showed in the persuit of various choices including parade of power in modern men's wear.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 춘계학술대회
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• pp.46-46
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• 2003

본 연구에서는 20∼50대의 남녀를 대상으로 중년 남성의 의복디자인에 따른 시각효과를 연상디자인적인 면에서 고찰하여 중년남성의 체형에 가장 적합한 의복디자인을 규명하는 것에 그 목적을 두었다. 중년남성의 체형을 균형화 시키는 연상디자인 시각효과를 유발시킬 수 있는 신사복 정장의 형태를 파악하기 위해 일반적으로 중년남성이 외출복으로 착용하는 정장스타일의 수트를 선정하여 의복디자인의 형태구성요인이 다르게 조합된 연상디자인 시각효과를 분석한다. 그리하여 체형결점을 보완할 수 있는 의복의 형태구성요인을 파악하여 사회적 상황에서 중년남성들이 표출하고 싶은 시각적 느낌을 효과적으로 드러낼 수 있는 체형에 대해서 적절하며 또한 효과적인 의복디자인을 제시하고자한다. 또한, 이와 관련된 소재에 따른 시각적 평가가 다르게 이루어질 것으로 판단되어 소재별 시각효과, 여밈 및 단추 수의 변화, 체형에 따른 시각효과의 차이에 관해서 알아보고자 하였다.

• 복식문화연구
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• 제23권6호
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• pp.987-1003
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• 2015

The purpose of this study is to supply available data for men's fashion design planning by analyzing the trend and design tendency of the preppy look in the domestic men's collection. In the men's collection of Seoul fashion week from 2011 S/S to 2015 S/S, 494 photos judged to be the preppy look by three design specialists were chosen in Seoul fashion week and style.com's web-site. Design analyses were compiled based on year, season, brands, item, color, material, and silhouette. The preppy look was found often in S/S season, three piece combinations were the most common, and "H", "I" silhouettes were also popular. Refined black and refreshing orange were used with traditional preppy colors like navy, beige, gray, and white. Contrast color arrangement and neutral, moderate tones were seen repeatedly. Two-thirds of fabrics were pattern-less with clean, bulky, and soft textures. Coordinating accessories like hats, backpacks, books, headsets were used frequently. Among the various preppy fashion types, there were 'traditional preppy' faithful to tradition, 'sophisticated preppy' with refined semi-formal look, 'sportive preppy' with active sports sense, and 'natural preppy' with natural and comfortable senses. In a contemporary preppy look, traditional and practical senses are combined with casual and sportive pieces. This study can provide the data for design planning, interpreting, and applying the fashion themes along with contemporary sensibilities since the preppy look is based on cultural history.

• 패션비즈니스
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• 제25권4호
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• 한국의상디자인학회지
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• 제23권1호
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• pp.47-59
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• 2021

This study aims to provide inspiration and methods for menswear design by analyzing elements for men's fashion using flower images. The results are as follows: Men's fashion types with flower images were categorized as classic tailored, casual tailored, casual wear, sports-outdoor. The order of frquency was casual tailored, casual, classic tailored, and sports outdoor. For the classic tailored type, the flower images are related with an X-line silhouette, and the arrangement methods, such as a scattered patterns, one-point patterns, and surface techniques, such as printing and embroidery were used, and similar color or monochromatic schemes appeared sequentially. For the casual tailored type, the flower images are related to an H-line silhouette, arrangement methods such as a scattered pattern, panel pattern, and surface techniques, such as print, embroidery, and jacquard were used, similar color and accent color schemes appeared sequentially. For the casual type, the flower images are related to H-line and Y-line silhouettes, and arrangement methods, such as a scattered pattern, all-round continuous pattern, and panel pattern, and surface techniques, such as print, jacquard, embroidery, and patchwork were used, similar color and contrast color schemes appeared sequentially. For the sports outdoor type, the flower image were related to A-line and H-line silhouettes, arrangement methods, such as a scattered pattern and all-round continuous pattern, and surface techniques, such as print and jacquard were used, monochromatic scheme and contrast color schemes appeared sequentially. Therefore, the flower images in men's fashion were applied to various design elements, and displayed an interesting result, different from conventional design approach.

• 복식
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• 제60권8호
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• pp.51-66
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• 2010

This study aimed to analyze the changing characteristics between Men's Gender Role and Men's wear Design in 20th century. To analyze the representative Men' Gender roles, the related studies and literatures reviewed. Literature reviews and quantitative studies were performed to analyze the changing differences of Korean Men's wear Deign as a symbolic factors of gender role. The results of study are as follows. 1) The representative men's gender roles in 1900's~1920's were 'Patriarchal/ Stern Man'. The narrow V-zone of jacket and shoulder, high shirt collars and well fitted suits expressed the stern images of that times. 2) In 1930's~50's, 'Enervated/ Escapist Man' were the representative images. They were expressed with wide lapels and shoulders, emphasized V-zone and abundant trousers. Especially 40's style was under the influence of American 'Zoot Style'. 3) The representative gender roles were the men of 'Producer/Provider' in 60's~70's. Shortened jacket, wide lapels & neckties, slim trousers were used to express the strong & young images of Producer/ Provider during the industrialization era. 4) The representative gender roles were 'Attentive/ Intellectual/ Beautiful Men' in 80's~90's. The exaggerated round shoulders which were influenced by 'Big Look', and easy silhouette were related with the attentive images.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2012년도 춘계 종합학술대회 논문집
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• pp.71-72
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• 2012

본 연구에서는 패션 브랜드 선호도 향상에 미치는 어플리케이션 특성요인들을 파악하기 위해, 패션 브랜드 어플리케이션 사용자들을 대상으로 어플리케이션 디자인, 콘텐츠, 사용용이성, 커뮤니티의 특성이 브랜드 선호도에 미치는 영향을 분석했고, 그 결과 각 특성별 세부요인에 따라 유의도에 차이가 있는 것으로 나타났다.

• 한국의상디자인학회지
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• 제12권3호
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• pp.33-42
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• 2010

The purpose of this study was to investigate the effect of hue, tone, and necktie width on men's wear image. The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 12 color pictures, in which the hue(red, blue), tone(lt-shirt/dk-tie, dk-shirt/lt-tie), and necktie width(narrow, medium, width) were manipulated. The 7-point scale was used for evaluation of men's wear image. The subjects of this research were 120 female college students living in Seoul, Gwangju, Jinju, and Masan. The investigation was carried out at April-May 2009. The data were analyzed by using SPSS program. Analysis methods were ANOVA and Duncan-test. The results of this study were as follows.; The analyses of men's wear image according to hue, tone, and necktie width revealed that the concerned factors are four characteristic dimensions of ability-elegance, attractiveness, appeal-activity, and warmness. Hue showed an independent effect on ability-elegance, appeal-activity, and warmness. Tone showed an independent effect on warmness. Necktie width showed an independent effect on appeal-activity. In addition, interaction effects of hue and tone on ability-elegance were found. Interaction effects of hue and necktie width on ability-elegance and attractiveness were found.

• 한국의상디자인학회지
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• 제13권4호
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• pp.69-77
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• 2011

The purpose of this study was to identify the analysis of men's wear color preference between Korean and Chinese college women. The experimental materials developed for this study were a set of stimulus and response scales. The 24 color pictures and 5-point scales were used for evaluation of preference. Data were obtained from 120 Korean college women living in Kyeongnam, Korea and 120 Chinese college women living in Shandog, China on October and November 2010. For data analysis, ANOVA and Duncan-test were used by using SPSS program. Results of this study were as follows. Korean and Chinese college women, shirts hue, tie hue, and shirts/tie tone showed an independent effect on men's wear color preference. Interaction effects of Korean and Chinese college women and shirts hue, Korean and Chinese college women and tie hue, suit hue and shirts hue, shirts hue and shirts/tie tone, and tie hue and shirts/tie tone were found. These results suggested that men's wear color preference can be affected by Korean and Chinese college women, suit hue, shirts hue, tie hue, and shirts/tie tone.