• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.78-86
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• 2007

One of the latest social trends is to reappear old things under the banner of the revival. It is easily found in the fashion industry because Fashion is not divided into the past, the present and the future thing but coexisting through all ages. The purpose of this study was to pursue the healthy and characteristic beauty of the modem people by understanding the beauty culture of the ancient. The Middle ages were mainly classified into Byzantine, Romanesque and Gothic by historical and cultural factors. In the Byzantine age, the clothing with rich silhouette was worn by the influence of the abstemious religion and it didn't express a specific proportion of human body. The people covered their hair with turbans and veils for the period. The Romanesque era was affected by the religious idealism and the Greek-Roman culture. The ideal proportion of human body could be 8 heads high and the clothes expressing natural silhouette of human body came out. Depending on the feel of the flowing texture, long-braided hair was typical in that time, and also wearing kinds of head dress as personal ornaments was characteristic in the age. In the period of Gothic, the long and weak human body was emphasized. The ideal proportion of human body could be figured with 8.5 heads high and it was expressed with the form of artificial and vertical silhouette such like tight-fitting upper garments, gathered skirts and long hats.

• International Journal of Costume and Fashion
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• v.4
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• pp.21-45
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• 2004

The rapid development of science technology during the 20th century has greatly lowered the hours for labour, thus giving members of society extra time for leisure. With the increasement of leisure activities, sports casual wear has become one of the foremost leading items in the fashion industry, and among such sports casual, down wear has become the F/W season's most popular item. Because it generates high profits, many recognize it as a very important factor in lady's wear. Since the 1990's, down wear was widely applied to various sections of lady's, men's, and children's wear, and it has ceased to be limited to sports casual only. The purpose of this study was to fully understand the characteristics of down, and to develop crossover garments design desired not only in the F/W season but also the S/S season. It has been taken into consideration that many restrictions in sewing technique and material selection in manufacturing down as a fashion product exist when choosing a means of manufacture. That was why this study focused on the history and characteristics of down while analysing the works of domestic and foreign designers to concretely applicate them in fashion products. This study has divided the resulting down wear products according to consumer preference： vest, jacket, coat, one-piece, and skirt to applicate design manufacture of lady's wear in general, while designing and making artistically expressed down wear. There were 48 works developed as a result of this study, of which 41 were ready-to-wear, and the remaining 7 works were creative art wear.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.877-884
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• 2015

Polytrimethylene Terephthalate (PTT) is an eco-fiber with good elastic properties; however, it requires more detailed studies related to spinnability according to blending of various kinds of fibers. The evolution of spinning technology was focused on improved productivity with good quality; in addition, air vortex spinning was recently invented and applied on the spinning factory as the facility with good productivity and quality. More detail spinning technology according to the blending of various kinds of fibers on the air vortex spinning system is required to obtain good quality yarns for high emotional fabrics. In this paper, the physical properties of air vortex, compact and ring staple yarns using PTT/wool/modal blend fibers were investigated with yarn structure to promote high functional PTT that includes fabrics for high emotional garments. Unevenness of air vortex yarns was higher than those of compact and ring yarns; in addition, imperfections were greater than those of compact and ring yarns, which was attributed to a fascinated vortex yarn structure. Tenacity and breaking strain of air vortex yarns were lower than those of compact and ring yarns, caused by higher unevenness and more imperfections of air vortex yarns compared to compact and ring yarns. Vortex yarns showed the highest initial modulus and ring yarns showed the lowest ones which results in a stiff tactile feeling of air vortex yarns in regards to the initial modulus of yarns. Dry and wet thermal shrinkages of air vortex yarns were lower than ring yarns. Good shape retention of vortex yarns was estimated due to low thermal shrinkage.

• Journal of Fashion Business
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• v.9 no.1
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• pp.79-88
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• 2005

The purpose of this study is to propose the design of the patient's clothes for a disabled child between 4 and 6. For this, in this study, I would present the following design plan which includes 3 upper garments, 2 trousers and a one-piece dress. In case of the damage on head and neck, a neck line should be deep and wide thereby providing ease to the clothes. To facilitate injection and dressing/undressing, there should be parting from neck to cuff which can be fixed by snap or button. By rolling up sleeves with strings inside the cuffs and fixating plaster cast with snap button outside the cuffs. In case of body cast with plaster cast around body part, front adjusting part should be wider and the width should be adjusted with strings. In case of hip spica cast which covers waist, I separated front part and rear part, fixated them with snap buttons, gave more width to front adjusting part with strings to adjust width, which constitute one-piece dress. In case of shoulder spica cast, the other shoulder which is not covered with plaster cast should be exposed, and to prevent clothes' coming down, strings with snap button or velcro should be attached over a shoulder so that the length of the strings can be adjusted. In case of applying plaster cast or aid to the whole part of a leg, one part of trousers should be shorter so as to expose the injured part and there should be a parting with strings or velcros on the side for easy dressing/undressing. When plaster cast or splint is short, The strings are meant to adjust length of trousers. The partings are located 2 cm from side lines toward the center.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• Human Ecology Research
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• v.58 no.3
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• pp.357-374
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• 2020

This study suggests the use of standardized sewing terms for the construction of smart sewing systems. This study analyzed the use of stitches (ISO 4915) and seams (ISO 4916) for cut and sewn knit garment which are the basic elements of sewing on an ISO basis. The results of the analysis of sewing specifications of cut and sewn knit garments are as follows. First, the use of stitches and seams were analyzed. As a result, both stitches and seams were used as non-standard terms. Second, among 3,263 stitches, ISO 4915 No. 406 followed by 401, 504, 605 were the most frequently used; however, ISO 4915 No. 514 was anticipated the most because the ISO 4915 No. 514 used for joining was not recorded in the sewing specification. Finally, the use of stitch for each seam was analyzed. The most common stitch used for ISO 4916 No. 6.02.07 was ISO 4915 No. 406. In addition, when it was sewing ISO 4916 No. 4.04.01, ISO 4915 No. 504 was used in step 1, and ISO 4915 No. 406, 602, and 605 were used in step 2. It is important to use the international standard sewing terms for the production site based on the results. In addition, the construction of smart sewing systems and the work of international standardization through industry-university cooperation are important for securing global competitiveness. Therefore, the use of international standard terminology and practical training should be conducted with a focus on stitching and seams with high frequency of use.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.1-15
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• 2014

In the fashion industry, the thing that shows the latest trends and makes issues is the fashion show. The function of fashion shows is changing from a promotional mean to a method of communication with customers. Recently, some fashion shows have used digital images and omitted traditional parts of a fashion show such as models, stages, garments, music and audiences. In this study, 30 fashion shows that used digital images were selected from the 2000-2010 collections of Paris, Milan, London and New York, and its communication characteristics were analyzed and discussed. The three categories of the communication characteristics are as follows: First, the shows used digital images as stage sceneries or effects to create desired stage effects. The digital images were used as extra tools to reinforce the concept of the fashion show. Second, the fashion shows used real-time videos to extend its presentation into the virtual space. The interactive videos were designed to encourage audiences to actively participate in the show. Third, the digital images were the focus of the show for the internet-only digital fashion shows. Since the Internet is not constrained by time or space, multi-faceted, communication between audiences and fashion designers or among audiences is possible. In addition, the number of audience it can reach is higher than traditional fashion shows. Digital images will be used more often in the fashion shows. In the future, fashion shows will try to become more interactive with audiences through the use of new digital image technology.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Fashion & Textile Research Journal
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• v.20 no.4
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• pp.379-388
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• 2018

The Hawaiian shirt, also known as the Aloha shirt, is a short-sleeved, colorful shirt with traditional Polynesian designs (e.g., hibiscus, fish) originating in Hawai'i. The shirt was selected for study because it is a unique garment that originated in the Hawaiian Islands in the late $19^{th}$ and $20^{th}$ centuries and marketed as a tourist product but was eventually adopted as appropriate residential clothing by the $mid-20^{th}$ century, however with different aesthetic details. Today, it is assumed by Hawaiian Island residents that tourists demonstrate poor taste when selecting a Hawaiian shirt. The purposes of this study are to examine the validity of the assumption that tourist taste and resident taste in Hawaiian shirts are different and to investigate the current Hawaiian shirt market change. For this study, 555 questionnaires were obtained from tourists and residents, and 10 Hawaiian shirt retailers/wholesalers participated in in-depth interviews. The results indicated that differences do exist between tourists' and residents' preferences for print designs and colorway. The market change of Hawaiian shirts was also recognizable in that an increasing number of tourists select Hawaiian shirts similar to resident customers, as part of their routine lives rather than as holiday or vacation garments. Other differences in Hawaiian shirt shopping behavior included the findings that tourists consider fabrication less important than resident customers who consider fabrication more (i.e., cotton 100%). By using both quantitative and qualitative methods, this study contributes to the fashion design and marketing field as well as help manufacturers and retailers with their merchandise and distribution plans.