• 한국컴퓨터정보학회논문지
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• 제25권8호
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• pp.89-98
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• 2020

본 연구에서는 Q방법론을 적용하여 65세 이상 노년 여성을 대상으로 노년 여성의 의복 선호도에 대한 주관적 평가와 인식에 따른 유형별 특성을 알아보고자 하였다. 제1유형의 경우 부드러운 니트 소재와 천연소재, 파스텔 색상, 스커트 착용을 선호하였다. 제2유형의 경우 체형을 커버해주고 젊어 보이는 바지를 선호하였다. 제3유형은 착용감이 편안한 의복을 선호하는 유형이다. 제4유형은 단순한 스타일과 착용감이 편안한 옷을 선호하는 유형이다. 제5유형은 디자인이나 색상이 중요하고 젊어 보이는 스타일을 선호하는 유형이다. 노년 여성의 ZIGTECHnology의복 개발을 위해서는 등의 굽음, 허리의 굽음 등의 체형을 커버하면서 아름답게 보일 수 있는 디자인 개발이 필요하고, 움직임에 장애가 없는 동작 기능성을 고려한 의복 개발이 필요할 것으로 생각된다.

• 복식문화연구
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• 제7권4호
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• pp.52-68
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• 1999

The purpose of this study was to be inquired inner contemplation of the tattoo expressed in the modern costumes. For this study, related documentaries and pictures or photos were analyzed in terms of the theretical background for the history of tattoo, the relation between tattoo and the modern western costumes. The primary source of pictures or photos are Vogue, Collections, Collezioni, Harper\`s Bazaar, Modain, Model et Mode etc. The human\`s needs of body decoration had constantly pursued on the body and costumes from the first until lately. Especially in the recents, as the tattoo is implicated a dynamic and charming method of all kinds of body decoration, it\`s used a motive of modern western costumes. The original tattoo means a picture, word etc. that was put permanently onto their skin using a needle and coloring matter. But, these days tattoo is an expression of street style for something new in the subculture. The results were as a follows : The inner meaning of tattoo represented in the modern costumes was classified into two categories. First, the tattooing was a very important factor to complete fashion design through the history of modern costumes, and also the elaborate tattoo of the body was displayed unrestricted formativeness as the skinhead\`s tattoo, raceless\`s ambiguity of street style and artistic decoration, because that can be faded easily. Second, Tattoo Look was expressed as tattoo prints of the see-through, elastic textiles in the modern costumes. That is, the tattoo enhanced the effect of dramatic atmosphere other formative arts as well as the modern costumes by Tattoo Look. Similarity, Tattoo Look could be interpreted as the change of the aesthetic consciousness by the influence of the subculture. Accordingly, in the end of a this century, many experimental designers had applied tattoo to modern costumes. So this study will stand as an important clue to foresee the future costume\`s style and change.

• Human Ecology Research
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• 제60권2호
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• 복식문화연구
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• 제9권3호
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• pp.511-522
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• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• 패션비즈니스
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• 제10권2호
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• pp.83-98
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• 2006

With the subjects of male consumers in their 20s to 40s living in the Ningbo area in Zhejiang Province, this study aims to investigate into the reality of their purchase attitude and size fitness of ready-made suits. The results are as follows; Looking into their demographic characteristics, 70.6% of the subjects were twenties, 60.6% were single, and educational career stood in the order of college, middle school, and high school graduation. They were largely absorbed in free trade, followed by teaching, commerce and service industry. 59.6% of them were Zhejiang Province belongs. One to two thousand yuan was the greatest portion of their monthly income. As for their purchase attitude of ready-made suits, they thought higher of material, quality, activity, and solidity than of design. They preferred to buy clothes at a department store. There was significant difference between purchase frequency and purchase price according to monthly income and jobs. Concerning brand recognition, the Chinese subjects favored "Youngor." Though Korea's brands were very lowly recognized, Korean products received really high recognition. Compared with China's brands, they found foreign brands excellent in design, followed by material/matter, wear, and sewing. As to their physical satisfaction and the size fitness of clothes, most subjects felt happy with their sizes. Trousers and jackets were among the unfitting suit items, while the girth of waist was the least satisfactory size. Therefore, in order to raise the market occupation rate of Korean suit goods in China, more aggressive marketing strategies are required to utilize the current Korean-style entertainment and maximize concerning brand images. In particular, outstanding products in consideration of prices should be made through the proper patternmaking to reflect the body types of the Chinese.

• 복식
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• 제55권2호
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• pp.58-69
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• 2005

The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Amitabha of the late Koryo Dynasty. The results were as follows; The type of 'Seon' is classified into Standard, Decoration and Application types. According to three types, the types of the standard are subdivided into same rotor and no pattern and different color and no pattern, the types of the decoration are subdivided into same color and pattern and different color and pattern, And the types of the application are subdivided into wrinkle and beads-decorated wrinkle according to whether decorative beads exist or not. In the Standard type of Seon, same color and no pattern in the Decoration type of Seon, different color and pattern was most often used as its type while, in the applied type of Seon had its main type of beads-decorated wrinkle. Patterns used for Seon were complex in its composition type and filing in its arrangement style. Seon was used mainly for guneui(裙衣) and daeeui(大衣). The color arrangement of Seon, in most cases, used complementary colors, followed by same ones. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and plain when their Seon was same color and no pattern in type, artificial and plain when their Seon was different color and no pattern in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern. In regard to the applied type of Seon, such costumes looked sophisticated and delicate when their Seon was wrinkle in type and dynamic and decorative when beads-decorated wrinkle.

• 복식
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• 제63권8호
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• pp.143-155
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• 2013

The outdoor apparel market has been growing very fast recently, and consumers are spending more time doing outdoor activities for their leisure. As the outdoor apparel market is growing, it has started to combine functionality with style to provide more diverse designs and colors for all ages. The increase of interest in heathy life-styles, outdoor activities, and leisure has lead to a rise in demand for outdoor apparel. Now outdoor apparel have become a part of people's daily casual wear in addition to being worn for outdoor activities. This study is focused on a outdoor jacket design which is used as down-alternative material and the purpose of this study is to design outdoor jackets using a down-alternative fabrics that improve the thermal and lightweight effects for clothing comfort, and increase the satisfaction of wearing down-alterative outdoor jacket. The research of this paper was done by using a questionnaire survey. The survey was used to examine the male customers' outdoor activities, purchase behaviors, place, expense and design preferences. Then, down-like fabric was used to make the prototype down jacket and its design, function, and satisfaction with wearing compared with other brands down jacket products were analyzed. Although duck down fabrics are representative of outdoor jackets, they have many problems that need to be solved such as feathers falling out or its vulnerability to moisture. They have competitive prices compared to down jackets so down-alternative jackets are able to gain more proportion of its market share.

• 복식문화연구
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• 제20권6호
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• pp.811-825
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• 2012

The purpose of this study was to identify imported apparel selection behavior according to Mongol women's conspicuous consumption orientation. A self-administered questionnaire was used for data collection. First, factors of conspicuous consumption orientation were high price and luxury brand, fashion style, altruism, prestige, and brand. Mongol women were segmented into the price and prestige pursuit group, the fashion and brand pursuit group, the altruism pursuit group, and the conspicuous consumption retard group. Second, factors of motivating the selection of imported apparel were value, symbolism, and aesthetics, and Mongol women considered the aesthetics of imported apparel important. Married Mongol women in their 30's chose imported apparel because of its symbolism. More married women selected imported apparel because of its value and more educated women selected imported apparel because of its aesthetics. Women with higher apparel expenditure selected imported apparel because of its value and symbolism. Quality, diversity, and the fit of imported apparel were the selection criteria for Mongol women and they were satisfied with the quality, diversity, and fit of the imported apparel. Brand awareness was very important when selecting imported apparel but the women's satisfaction level was significantly low. Third, more women in their 30's, unmarried, or with a lower educational level were found in the price and the prestige pursuit group, and the price and prestige pursuit group and the altruism pursuit group selected imported apparel for its aesthetics. More unmarried women in their 30's with a higher educational level were found in the fashion and brand pursuit group and selected imported apparel for its value, symbolism, and aesthetics. More unmarried women in their 20's with a higher educational level were found in the altruism pursuit group, but unmarried women in their 20's with a lower educational level were found in the conspicuous consumption retard group.

• 복식문화연구
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• 제17권3호
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• 한국의류산업학회지
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• 제20권3호
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• pp.266-278
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• 2018

This study investigated the transformation of the Chanel jacket by looking at clothing design and constructional components. This study explored Chanel jacket's designs from 2001 S/S to 2016-17 F/W, and collected designs from Samsung Design Net and Vogue. The study used 690 designs with the following results. First, in the silhouette of the Chanel jacket, straight silhouette and hourglass silhouette had the most; in addition, in the length, hip line and under hip line were in order. Second, in case of collar and neckline, the form of a non-collar was the most and revealed the persistence of round neckline which is the basic style of a Chanel jacket. Third, in the shape of sleeves, the loose-fit straight sleeves, wide sleeves, and cocoon sleeves appeared most often. In method of closure, button, zipper were in order, and snaps or without closure appeared. Fourth, in the form of braids, various forms such as twisted yarns, leashes, or lace were used, and patch pockets were mainly used in pockets. Chanel maintains its original design by using various methods. Chanel tried to improve activity and functionality through silhouettes, lengths, necklines, and sleeves. The unchanging expression of the world of Chanel will continue to display and inherit future value. This study can provide Chanel's unique characteristics and new ideas that can transform their origins for jacket design.