• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 패션비즈니스
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• 제11권6호
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• pp.101-114
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• 2007

This research aimed to identify the differences, in terms of the pattern, of using wool and jersey for designing jackets and to provide a theorized solution. The object of this study is development of women's tailored jacket pattern by the traits of fabrics with fabrics those are generally used to develop the power of manufacturing technique about fit of jacket. Basic bodies prototype, graphics of sleeves prototype and graphics of jacket pattern those a clothing company at present(on&on, a brand of Beaucre Merchandising Co.,Ltd) is using were used as basics of tailored jacket pattern. Three kinds of fabric(wool, polyester, jersey) were chosen, we made jackets in the same manufacturing process of the clothing company, modified and made up for the weak points and then we compared and analyzed differences of pattern by the traits of fabrics, the results are as follows: 1) We drafted basic tailored style jacket pattern, made a jacket with wool fabric, made wearing experiment, modified and made up for the weak points by the trend, then developed JacketⅠ for study; 2) With JacketⅠ for study as the basic, we made a jacket with polyester fabric, made wearing experiment, modified and made up for the weak points, then developed Jacket II for study; 3) With JacketⅠ for study as the basic, we made a jacket with jersey fabric, made wearing experiment, modified and made up for the weak points, then developed Jacket III for study; 4) We presented final degree of polymerization of pattern with Jacket I II III for study; 5) We compared and analyzed the differences of pattern with the degree of polymerization of pattern with Jacket I(Wool) for study and Jacket II(Polyester), there was no change of size overall except extra amount which happens because of the trait of the fabric in 20 items of body format pattern, there were differences of size in 3 items(height of a sleeve, width of a sleeve, length of a sleeve) among 5 items of sleeves pattern; 6) We compared and analyzed the differences of pattern with the degree of polymerization of pattern with Jacket I(Wool) for study and Jacket III(Jersey) for study, there were differences of size by the kinds of fabric in 11 items(neck point to shoulder point length, Bishoulder point length, back interscye length, front interscye length, armhole circumference, depth of armhole, chest circumference, bust circumference, waist circumference, hip circumference, waist dart) among 20 items of body format pattern, there were differences of size by the kinds of fabric in 5 items(height of a sleeve, circumference of a sleeve, width of a sleeve, length of a sleeve, width of bottom of a sleeve) among 5 items of sleeves pattern.

• 패션비즈니스
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• 제5권2호
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 한국의류학회지
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• 제32권9호
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• pp.1333-1342
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• 2008

This study intended to evaluate the visual sensibility of textiles of knitting simulation through the painting function of SDS-ONE, a computer knitting system, with the use of various fancy yarns for hand knitting. For this study, six kinds of fancy yarns with difference manufacturing style and form were selected: loop yarn, tamtam yarn, fur1 yarn, fur2 yarn, ladder yarn, and tape yarn. In order to create a computer knitting simulation, paint function of SDS-ONE was employed to scan the fancy yarns for hand knitting with a scanner. Then, after the registration of the yarns as data, the yarn was brought in for knitting simulation in plain stitch with 3 gauge. After that a survey was conducted involving 60 female experts in their twenties. Using SPSS 12.0, factor analysis, reliability, Pearson correlation coefficient, ANOVA, Duncan test, and regression analysis were performed to analyze the collected data. First, according to the result of analyzing the visual sense factor, three factors of the 'inflexibleness/ruggedness sense', 'lightweight sense', and 'smoothness sense' was extracted. According to the result of analyzing the visual sensibility factor, three factors of the 'activity', 'grace', and 'purity' was extracted. Second, With regard to preference and purchase intention, the knitted fabric with tamtam yarn(H2) was preferred than the other samples, indicating that the respondents had intention to purchase it. As for word-of-mouth intention, H2 ranked the first place, implying the respondents had intention to recommend it to other people. Third, the examination of the use of products each knitting simulation knit found that sweater and muffler are the most appropriate knit products. And H2 was the most suitable sample for sweater and muffler products. This study tried to prove that knit textile can be visually evaluated through a computer knitting simulation without the actual knitting and then to provide accurate data to related companies or the academic circle.

• 복식
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• 제4권
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• 한국생활과학회지
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• 제21권2호
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• pp.285-298
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• 2012

Considerable number of women are enjoying swimming, however, the chest-region of swimsuits including cup inserts are not stable during swimming. The purpose of this study was to explore alternate designs and methods of stabilizing the breast cup to the swimmer's body by using 3D technology to design and position the pad and cup pattern of the swimming suit. To position the pad optimally, a 3D pattern of a nude woman was divided into blocks and different reduction rates were applied to blocks around the outlines of the breast. Two types of 3D patterns were developed. The first, referred to as the 'basic 3D pattern' provided for the curved surface of the breast point to be maintained with the remaining slack distributed evenly along the neckline, armhole and side seam. The second, referred to as the '1/3 shoulder moved 3D pattern' ignored the curved nature of the breast point by overlapping, with the resulting position of the shoulder strip moved toward the center. Three women of corresponding size and body shape evaluated the two 3D pattern designs as well as the conventional 2D pattern style of swimsuit. Respondents rated the'the basic 3D pattern' design highest in terms of stability and easy of movement in the chest region.

• 한국생활과학회지
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• 제21권3호
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• pp.567-576
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• 2012

The purpose of this study was to analyze and determine the relationship between physiological responses including blood flow rate and garment pressure, and the feeling of restrictive tightness associated with the wearing skinny pants as a popular clothing style. Evaluation was based on material type, posture and activity type, and body part location. Five female college students took part in this research. Five kinds of experimental clothes with waist measurements of 66cm were chosen. An analysis of the selected skinny pants demonstrated the degree of the whole looseness was higher in this order: clothing type A>B>D>C, and E with E being knitted cloth. Garment pressure was the highest in the front knee portions and was lowest in the outside thigh region. Garment pressure was highest in this sequence : clothing type C>=D>A>=B>E. In terms of posture and activity types, garment pressure was the highest when research participants were crouching, and was the lowest when standing. The blood flow rate was highest in this order: clothing type E>D>B>A>C. Type C skinny pants impeded blood flow and demonstrated the tightest and most restrictive relationship. Blood flow rate varied depending on the type of movement and was highest in this order: getting up, rowing, kicking, jumping and O-shaped leg posture. The results of subjective pressure evaluation demonstrated that pressure was highest in this order: E>=C>B>A>D. These results suggests the need to improve on the patterns and the material design in the area of the front knees. The degree of the looseness when wearing skinny pants did not always correspond to garment pressure or subjective sensation.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 복식문화연구
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• 제19권2호
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• pp.346-359
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• 2011

The purpose of this study was to examine students' reasons and standards for purchasing their casual upper garments through online shoppin. A questionnaire composed of 26 items in five-point Likert type (14 items for measuring reasons, and 12 items for measuring standards for their purchase) was administered. The subjects were 422 male and female students attending middle schools, high schools and colleges located in the metropolitan region of Daegu. For a statistical analysis, a $3{\times}2$ two way ANOVA design (3 levels of schools: middle school, high school and college and 2 sexes: male and female) was involved, and Turkey's HFD multiple comparisons were made. The results showed that the reasons for students' purchasing casual upper garments through online shopping malls were as follows: quality, availability of discount coupons and points, other benefits such as special promotions, gifts, the easy return of goods and refunds, and also no trial of wearing shirts even at off-line stores. Significant differences in purchasing reasons through online shopping were found among middle schoo, high school and college students. There were also significant differences between male and female students mostly found in three variations of purchasing reasons: ease of availability of garments in contemporary fashion, convenient shopping without any restriction on time, and the decision to purchase with help from consumers' recommendations. Significant differences among middle school, high school and college students were found in the following standards for the students' decision to purchase their casual upper garments through online shopping: affordability, color, design, style, payment safety, and ease of maintenance (cleaning and ironing). Differences between male and female students were found to be significant in the following categories: affordability, fashionable, brand name, free delivery, product quality, coordination with other clothes, and consumers' recommendations on the products concerned.