• 복식문화연구
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• 제12권3호
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• 한국의류산업학회지
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• 제20권4호
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• pp.439-448
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• 2018

This thesis intends to suggest a new wedding dress pattern through researches on history and changes of wedding dress, researches on silhouette and details and analyses of existing basic patterns. In this study, to develop torso patterns of top dresses selected as preferred designs through literature reviews and company surveys, dress form sizes suitable for standard sizes were selected and study basic patterns were made using draping techniques. The study finds characteristics of body type dimension that is changed when wearing brassiere (hereinafter, 'bra') for wedding dress through customer surveys for development of basic patterns of wedding dress. That is, wearing wedding bra was used for the purpose of increasing the bust size and we will evaluate later whether this increase helps completeness of aesthetic impression through wearing evaluation. As the result, it was found out that top torso pattern wearing wedding bra made wearers feel more comfortable and in the aspect of aesthetic impression, it provided impacts on women's beautiful silhouettes. The effects of whether a bra is used or not on changes in patterns were reviewed through the degree of polymerization of finished patterns. When a bra for dresses was worn, the waist front length increased by1.7cm, the bust circumference increased by 2.1cm, and the amount of dart increased by 1.5cm in the patterns. A new torso pattern for top dresses, which will solve problems evaluated in each of the above from the aspect of composition of pattern by a method through analysis of existing basic patterns and multi-dimensional cut patterns wearing wedding bra, will be suggested.

• 한국가정과학회지
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• 제5권1호
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• International Journal of Costume and Fashion
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• 제15권1호
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• pp.39-49
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• 2015

Heavenly Kingdom was known for their strict discipline and law as well as their anti-corruption practices and for putting up unconventional ideas to rule its kingdom. They became weak as their leadership was split along with the power struggles that occurred within their kingdom. Heavenly Kingdom's style of dress also ended during this period, but their philosophy continues to influence the style of dress. Taiping rebellion was modern China's biggest internal disturbance which prior studies included political ideals, gender equality and the peasant movement. My research is to associate Heavenly Kingdom's ideas and their dress style by analyzing its relations. Their form of clothing was similar to the Qing Dynasty but the same. They wanted to restore their identity of the Han(漢) while their ideology was oriented in creating a large enough military power to go against the corrupt Qing Dynasty as seen in their military uniform. This research is to analyze about Heavenly Kingdom's ideology with regard to their style of dress but because of their short existence, there are only small remains of artifacts and clothing available which limits this research. This research has to developing further research as I gather more additional data.

• 한국의류학회지
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• 제23권2호
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• pp.335-342
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• 1999

This study is aimed at providing useful data which can be utilized for the design of their dress forms and enhancing the fitness of their apparels. To this end 330 pre-school children living in the capital area and aged from 4 to 6 were sampled to be subject to the measurement of their somatotypes. The results of this study can be summarized as follows ; 1 By the analysis of overlapped cross section diagram and silhouette diagram of each somatotype both had a common shape of lean-backed upper troso. 2. The type 1 showed less dimensions in most scales than type 2 while their shoulder were less developed. The type 2 showing more development in each element. 3. As a result of comparing the dress forms designed in reference with classified somatotypes and the commercial ones it was found that the former ones had the upper body part slanted slightly backwards and the belly part extruded forwards while the latter had a straight posture with large shoulder parts. After all the commercial dress forms were found not to reflect the actual somatotypes of Pre-School children's.

• 패션비즈니스
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• 제7권5호
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• pp.54-65
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• 2003

To accomplish the above goal of this study, I have taken the statistics about wearing behavior and design preference for Saenghwal Hanbok. This is surveyed by 354 women having jobs 20-50years old-in Daegu. The result of the study is summarized as follows. People prefer to put on Saenghwal Hanbok same as the Korea Traditional Dress in the traditional holidays and the active style that they can dress as casual clothes having the Korea Traditional Dress's characteristics as well. Form a viewpoint of appearance, people prefer Jugori have a bit spare width, the length comes near to the waist line, the type of Korean Traditional Dress's sleeve, and the round type that is linked body and sleeve in waist section and length is between knee and the calf of leg.

• 한국의상디자인학회지
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• 제17권3호
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• pp.29-43
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• 2015

This study investigates transformable designs in contemporary fashion. In contemporary society, designs are accompanied by various changes such as transformation of shapes or variation of material beyond the certain form of dress. As a result of having interest in transformable designs with the various attempts on the overall design, transformable design is being suggested as an attempt as the new manner, radical concept, or alternative of multi-purpose lifestyle. With the constant research and collection presentation by the designers of empirical disposition, transformable dress has been evolving gradually. The feature of transformable design appeared in dress is considered as 'variability' which changes in the flow of time. Furthermore, the morphological variability and variability of material have been examined as visual stimuli and conversion of material. By analyzing and assorting diverse transformable dresses comprehensively, it could be divided into technique-oriented transformable design and transformable design with a wearer's intervention. The technique-oriented transformable design is subdivided into the conversion of material and the conversion of form; the transformable design with a wearer's intervention into the conversion of functional frame and the conversion of aesthetic feature.

• 복식
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• 제38권
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• pp.233-244
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• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.

• 한국의류산업학회지
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• 제5권5호
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• pp.465-469
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• 2003

The present study revealed; that (1) The students majoring in a piano course were the preference type of the performance dress - best line was designed of upper form chest. It was 1.5cm shorter than armhole line, the princess line was preferred Top one piece without sleeves which was designed with slim by bottom line through west dart form best line. The expression method was showing embroidery and bidding, colors were in order to white, ivory, black and blue style. The material was in order to silk with glorious shinning, silk satin and race style. (2) The students majoring in a vocal music were the preference type of the performance dress - the princess line was designed shorter, the west line of back and forth was preferred the one piece of bulk style divided with three partitions. Neck line was 5cm shorter than the middle of back, 9cm shorter than the side neck position, 9cm shorter than the middle of forth, sweet heart neck line with circular sleeve designed 7cm shorter than the side neck position. Colors were in order to ivory, red and yellow style. The material was in order to silk with glorious shinning silk satin and race style.

• 한국의류학회지
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• 제45권6호
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• pp.1017-1034
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• 2021

The "Escape the corset" movement raises the question of gender norms in dressing by rejecting the socially established ideal women's clothing. The context is similar to Rational dress of the 19th century, which claimed that women could also wear pants. Cartoons and webtoons reflect the characteristics of each era, including images and stories, and express social problems of the time implicitly and satirically. Thus, this study examined women's clothes expressed in cartoons and webtoons and analyzed their characteristics. The results are as follows. As an expression to the recipient of both clothes, women tried to form their identity through a rational attitude and break away from their embellishment, which was regarded as oppression from society. On the other hand, as an expression of the attitude of others towards the recipient of both clothes, people argued the changed appearance of women as a non-ideal form which should be corrected. This study is significant for proving that the dressing contains gender norms of the time beyond the trends.