• Journal of the Korean Home Economics Association
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• v.43 no.2
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• pp.105-114
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• 2005

The purpose of this study wasisto investigate the influence of attitude toward sex and body satisfaction in the on interest, preference, and buying intention of body exposed clothing among female university students. The Susubject were 397 female students from 3 different universities in Seoul. The instruments of this study wereconsisted of response scale and stimuli. Thirty-four four items on a of 5-point Likert scale were used to measure the attitude towards sex and body satisfaction The stimuli were 6 types of different body exposed clothing style on line drawing. The results were as follow; 1. Most female students were liberal in sexual attitude and had a high level of body satisfaction. Especially, younger students were more liberal than older students. 2. Designs with the greatest interest, preference and that were most interested in, prefer and had buying intention were Camisole, V-neckline and low-neckline designed clothes. 3. Attitude toward sexual value has a strong effect on interest, preference, and buying intention of body exposed clothing. And also ilneterest of body exposed clothing has more effect on buying intention than preference.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.99-111
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• 2005

The research analyzed the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference. The result which tries to observe the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference, it was visible a difference little by little. When comparison it tries the design which it prefers but consequently most in type of performance musical instrument, the big difference is not born and not to be putting the difference of the preference design which it follows in type of musical instrument specific your neck line, color, and silhouette of the vocal musician or wind music performer. When seeing whole, the clothing attitude regarding a performance luck compared to considered seriously an aesthetic pursuit and a convenient characteristic and harmonious, there design preference is the clothes which have no sleeve, neckline like camisole, black and pastel color, design with lots of decorations, princess silhouette, and they prefer the fabrics which have softness to it. Now, I want to introduce restriction of this research and proposal. First, the fundamental research of performance's clothes is insufficient with restricted point and the literature investigation is difficult, second, it was difficult to stretch the whole market for performers because of limitation for research volunteers. Only few volunteers are from college who are majoring in music.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• Fashion & Textile Research Journal
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• v.14 no.3
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• pp.347-362
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• 2012

The analysis results of the characteristics of children's clothes for school girls from the 2006S/S-2010S/S collections reveal that the most frequent type of item composition was 2'PS & 3'PS. T-shirts were the popular kind of item for upper garments and pants for lower garments. The major silhouettes were H and A line. The predominant neckline was U, which was followed by camisole and V. The major collar styles were stand-up and flat. Chromatic colors were used more than achromatic ones and after white the most popular colors were blue, pink, red, black, navy, and green. The dominant color scheme was a two-color or three-color scheme. The percentage of solid and patterned material garments was the highest and the most popular pattern was flowers. The most popular style of garment had no decorative detail that was followed by one-item, two-item, and three-item decoration. The major kinds of decorative detail were frills, pleats, and prints.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.766-775
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• 2014

This study is aimed to research the actual wearing condition of ballet dancewear of girls aged between 2 and 6 years on its design, size and fit. Survey data were collected from 171 mothers who have a girl learning ballet dance. The questionnaire was composed with ballet education, ballet dancewear purchasing, preference on design, size selection, and fitting. The collected data were analyzed with frequencies statistics, ${\chi}^2$-test, ANOVA using the SPSS WIN 20.0. The results are as follows; High rate of respondents said that the purpose of ballet education was for good body balance, leisure activity, and height growth. The main method of purchase was online shopping. The design, price, size and fit were identified as important ballet dancewear attributes for girls. The most preferred style of ballet dancewear were 'short sleeve skirted leotard' and 'camisole skirted leotard' which look like dress. The respondents reported slight satisfaction with size and fit, price, convenience in action, sewing and durability. The most preferred sizing system was code by height but any ballet dancewear makers don't use code by height. Therefore it is difficult for consumers to select size. Retailers and manufacturers could potentially use the results of this study to improve the sizing system and fit for children's ballet dancewear.

• Journal of the Korean Society of Costume
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• v.50
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• pp.129-144
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• 2000

In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.

• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.635-644
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• 2014

This study provides basic reference data for brassiere wearing conditions, design preferences of new silver women (50s-60s) and development of brassiere products. We compiled and compared 163 pieces of brassiere (considering of 105 domestic general brassieres and 58 foreign silver brassieres) analyzed using SPSS Statistics 21 program. A survey was then conducted on the actual wearing, purchasing conditions, design preferences for 176 females (50s-60s). The result of this study are as follows: First, comparing actual product conditions (domestic general products and foreign silver products), the ratio of full cup in cup height, V-shape type in neckline shape, long type in front-end length, wide type in wing width, U-shape type in shoulder strap form, wide type in shoulder strap width, no-wire brassieres in breast wire type, all-in-one type in shoulder strap separation, back type in closure type appeared higher than other types of brassiere in domestic general product. Second, a study also showed that 60s women's wearing time is lower than 50s women's; however, 60s women expressed a higher figure and preference for the purchasing ratio in the department store, full cup in cup height, short type in length of brassieres, wide type in wing width, U-shape in shoulder strap form, small type in shoulder strap width, back type in closure type and no-wire brassieres than those in their 50s. It was found they prefer fabric with a high natural content, nude tone color without decoration & pattern and camisole brassieres.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.429-439
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• 2015

This study develops a new brassiere for new silver women. A new brassiere design was developed for the silver generation based on apreliminary survey; subsequently, a wire and no-wire type of brassier were developed after a second fitting evaluation. The results were as follows. First, in terms of brassiere design, the cup shape was designed as mold type full cup, shoulder straps were designed as camisole type with cups, bias tape was designed for body correction in the side line and mash tape was designed for easy movement below the cups. On the other side ofthe cup shape was a pocketdesigned on a support pad forthe wire type and a support panel to serve as a wire in the no-wire type brassiere. Second, brassiere patterns were designed by referencing the educational H pattern. Thetotal length was elongated by 5cmto reduce pressure when wearing a brassiere and the height of the front center increased by 8cm for the stability of the front center of the brassiere. In addition, the side line was moved back by 3cm and the width of the brassiere wings was designed widely at 10.5cm. Third, a wearing test was conducted for the wire type and the no-wire type brassiere with comparison products, using a 7-point Likert scale. Appearance results and movement tests for the wire and no-wire type showed a higher score than comparison products.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.146-155
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• 2011

This study examines the design characteristics of figure skating costumes by a content analysis of their design elements. The content analysis method for the study was used based on 185 photos of female figure skaters. A total of 218 coding units in 15 categories were used. In the category of color, unicolor costumes were the mainstay and represented 48.11% of the total costumes. Black costumes showed the highest rate (13.51%), followed by red (7.57%) and blue (7.03%). In the dual-color costumes, combinations of red and black and white and black, represented 4.32% of all costumes. A camisole was the most popular type of neckline (20.54%). Stand collars with neck decorations were found in 5.95% of the costumes. In addition, 98.2% of all figure skating costumes had decorations (crystal beads 21.86% were the most frequently used decoration type), 65.41% exposed all the shoulders and arms, 70.81% of the costumes did not have sleeves, 5.41% of the costumes had arm decorations, and 3.78% had wrist decorations. In the analysis of the hem of skirts, 32.40% had a curved line, 30.73% had a straight line, and 15.08% had an unrecognizable form. In general, the figure skating costumes have stand collars with neck decorations, arm and wrist decorations, and irregular skirt hems that are not found in everyday dresses. To emphasize and intensify a theatrical effect, the costumes were fabulously decorated with spangles, crystal beads, feathers, and lace; black, red, and blue were frequently used. The skirts had frills, fringe, flared lines, and beads on them to reflect the stage lights and emphasize movements.

• The International Journal of Costume Culture
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• v.2 no.2
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• pp.45-59
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• 1999

The objectives of this study were to identify fashion trend in the late 1990's by using content analysis of the design elements of wedding dresses in wedding magazine photographs. The data were selected among the wedding dress photographs in 1997 issues of two wedding's magazines, 'My wedding'and 'She's Bride'. The identified 455 photographs were classified into 15 major-categories of silhouettes, necklines, sleeves, materials, and trimmings, etc. 15 major-categories were consisted of 232 sub-categories. In the late 1990's, fashion trends of wedding dresses have mixed mainly dome silhouettes(56.0%), bell silhouettes, and tubular silhouettes. One-piece forms(90.8%) were familar more than two-piece forms. Necklines were used mainly such as square neckline(14.0%), high necklines(13.0) blended with other off-shoulder necklines, heart-shape necklines, and sweet-heart necklines, etc. Also camisole and strapless were added in neckline. Long-tight sleeves dominated at the late 1990's because that were used most (21.1%) among 22 sleeves sub-categories. And short sleeve, ruffled below-elbow length sleeves, and french sleeves were also used with the other sleeves. Long length in skirts(98.4%) were common but mini length were used rarely. Satin, lace, and solid cloth were the main materials in wedding dresses, however, spandex and velvet were also used. Various trimmings such as flowers(corsages), ribbons blended with embroidery, small flowers, buttons, frills, strings, and fur trimming are used. Especially, flowers used most(11.8%) among 61 trimmings sub-categories. But simplicity was shown in trimmings because there were dresses not having any decorations(14.3%). The wedding dress of the late 1990's has become more varied in design due to the reflection of changes in society and fashion of everyday garments while the traditional design of the wedding dress has been preserved.