• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.1028-1033
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• 2014

The paper focuses on the clothing codes described in the Analects of Confucius, and explores the reasons for the rules setting up, including the rules of color, the design, the pattern, and even the material of the clothes whose distinct features reflect the ceremony and etiquette of the time in the classic, which are in correspondence with the requirements of Confucianism, especially for stressing the social rights, obligations and codes of conduct to everyone in the society.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.32-48
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• 2007

This study analyzed image components of make-up image between fashion and advertisement of Christian Dior, also, this study examined, compared and analyzed their aesthetic characters. Then, it researched whether brand image was shaped exactly as the same method or not. The study was theoretical and established method; using more than a graduate student-major in clothing and make up, survey$(2004.5{\sim}6.)$ and SPSS 10 program statistics method. As the results, in Dior fashion and make-up, this study analyzed the factors of shape, color, material and texture, and both of them indicated the aspects of chic, classic, gorgeous and romantic image. Also, consumers understood them as a same image. This demonstrated that Christian Dior fashion and make-up have been shaping toward a same image as a same meaning.

• Fashion Information and Technology
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• v.13
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• pp.74-80
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• 2016

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.4
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• pp.385-395
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• 2011

This study investigates the buying behavior of apparel by middle aged women according to lifestyles. Questionnaires were distributed to 300 women who lived in the Seoul area and between 40 to 65 years of age. A sample of 248 women responded. To analyze the data, Factor Analysis, Cluster Analysis, Analysis of Variance (ANOVA) and a Duncan test were used. As a result, the respondents were clustered into 4 different groups according to lifestyles. The groups included practical oriented group, economic oriented and practical group, active oriented and appearance group, and economic group. Their buying behavior was as follows. First, the active oriented and appearance group shopped at department stores and specialty stores; however, the economic oriented and practical group shopped at discount stores more often than other groups. The practical group shopped more frequently using TV home shopping networks, discount stores, and outlet stores, the economic group shopped at off-price stores, discount stores, and online more than the other groups. Second, the active oriented and appearance group bought classic suits and semi-classic suits, imported brand and/or designer brand apparel more often than other groups. Third, the active oriented and appearance group perceived another person's appearance, advertisement, and shop display as a more important information source than other groups. Forth, the active oriented and appearance group considered design & style, harmony with self-image, brand name, color, and coordination with other clothing as more important selection factors for clothing than other groups. The economic groups considered coordination with other clothing; however, the economic oriented and practical group cited ease of care as more important factors.

• Journal of Fashion Business
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• v.3 no.2
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• pp.1-17
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• 1999

The purpose of this study is to discover the source of the force that has continously pertained it through the years. Following the flow of the times, the Chanel Style has transformed and developed through the styles of the sporty look, the russian look, the gar onne look, the romantic look, and the classic look. Not only has Chanel created classic designs that transcend time, but she has created clothing that is very feminine and full of wit in the evening wear. She has also innovated the fields of textile, garment cutting, details, and accessories. The Chanel Style was expressed by simplicity, funtionality, sensuality, and amusement. Simplicity to Chanel was an important element that expresses both youth and casual characteristics and the use of jersy and the color black has resulted in a functional simplicity. For the active, new woman, not only a funtional beauty but also a subtle, moderate, and a unobtrusive sauve sensibility is expressed in the Chanel Style. Also pleasure can be observed in the costume jewelry that gives one enjoyment.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.137-157
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• 2008

The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.191-199
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• 2011

The purpose of this study was designed to investigate the purchasing considerations given and wearing fit according to suit styles in male consumers in their 30s by conducting questionnarie research with 410 persons. The research intended to give menswear manufacturers the scientific data to improve consumers' satisfaction when menswear brands produce jackets. The summary and conclusions in this study are as follows: First, male consumers have moderate interest in fashion and recognize the impact of fashion on their professional lives. Also, male consumers were aware that recent menswear fashion trends are being changed to slim-fit. Second, by examining the suit inventory and the purchasing consideration according to the suit styles, male consumers in their 30s had between 2 to 4 suits, both in slim-fit and classic-fit, respectively. When consumers purchase a suit, the most important consideration factors are size and wearing fit in both slim-fit and classic-fit. The reason to purchase a slim fit suit is that it seems slim due to its fitted silhouettes, while in a classic-fit suit, it is required because of job nature. Third, the result indicates the circumferences causing the most uncomfortable were the shoulder, chest, the back, and upper arm. Also, they mentioned the chest and the abdominal section including the shoulder as the most uncomfortable circumference to the question on what to be improved in jacket. Therefore, the research suggests that the menswear manufacturer should consider different consumers' desires which require different criteria based on the suit styles.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.357-370
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• 2010

This study presents the basic resources for the enhancement of the competitiveness of the Korean fashion brands in the Chinese fashion market. They are composed of the differences and common points of clothing styles in Seoul, Beijing, and Shanghai, by analyzing the style comparatively. The research was performed by taking pictures of the Summer 2009 street fashions, from July $1^{st}$ to July $15^{th}$ 1999 (10 am to 5 pm). Among the data about the three cities, 200 photos were selected of women in their twenties and thirties, respectively. The disparity of regional preferences were noted in the fields of easy casual, romantic casual, sports casual, character casual, classic style, and feminine style. There were no specific differences in style among the three cities in the easy casual and classic style. The romantic casual after the easy casual were more prevalent in Seoul, as compared to the two cities in China. The neat style was more prevalent in Seoul. In Beijing the feminine style after the easy casual were preferred. The conservative style was more preferred in Seoul, while the body exposed style was preferred in Beijing and Shanghai. In Shanghai, the character casual was preferred and shows the similarity to the fashion style of Seoul, rather than Beijing. The high exposure of the body in romantic casual and feminine styles was more remarkable in Beijing and Shanghai. The frequency of the character casual that emphasized individuality with a unique style was relatively high in Shanghai. Seoul, Shanghai, and Beijing showed a similarity in the acceptance of fashion trends and preferences in clothing style. However, the fashion coordination in Shanghai and Beijing was different from Seoul.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.3
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• pp.433-445
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• 2017

This study uses a macro-viewpoint to investigate how female world leaders' clothing behaviors are different by nation and culture. This study conducted a comparative study on clothing behavior by cultural block in order to understand similarities and differences based on Hofstede's cultural dimensions theory. The findings are as follows. First, the clothing styles of female world leaders are categorized into classical suit style, national traditional style, and eclectic style. Second, classic suit style is more often found in countries characterized by high individualism, low power distance index, and low avoidance index. The style represents individual activity and rationality as well as trust towards women acting in men's roles. Third, a national traditional style is found in countries featuring high collectivism, high power distance index, and high uncertainty avoidance index. These countries share a culture that emphasizes harmony with the whole, rather than any one given part; consequently, clothing style represents a national identity (or the roles as a national member) rather than that of the individual level. Fourth, an eclectic clothing style is expressed in a mixture of classical suits and a national traditional style that depends on how much Eastern and Western cultures are reasonably compromised or Eastern tradition and Western culture coexist.