• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.549-561
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• 2000

The purpose of this study was to survey and analyze the age classification of women customers as a target market and sizes on a label that were actually produced by each brand in Korean national brands ; they were classified into size for bodice and bottom, and compared with the distribution of national data of women's body measurement. They were analyzed and classified by brand groups of 'miss', 'missy', 'Mrs.'and 'madam', The results were ; 1) It was found that recent products for ready-made for women's clothes tend to be designed with target to the measured ages classified by the range of five or ten years. The main practice was that for 'miss'brand group the age range was of five years, and for 'missy'brand group, ten years. And for 'Mrs'and 'madam'brand groups, it was of 15 or 20 years. So that, it is necessary to design their clothes based on their features of body considering the intervals of age. 2) 'Mrs'and 'madam'groups were most remarkable for their distribution into a vast range of sizes for three control dimensions and waist girth size when compared to 'miss'and 'missy'groups. The distribution of brand size had no relation with that of body measurement, and in particular, none was produced for short height size between 145 and 150 ㎝. For tall height size between 175 and 180 ㎝, many brand sizes were distributed while body measurement was few. It means that distribution of brand size was different from real distribution of body measurement was few. It means that distribution of brand size was different from real distribution of body measurement as a result that the larger the bust girth in such cases over 160 ㎝, the larger the size of hip girth. Even as for the height 155 and 160 ㎝ in which body measurement is concentrated, there were many problems because while sizes of 'large'bust girth and 'small'hip girth had a large distribution, their clothes were not produced.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.14-23
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• 2011

The present study aims to apply the theory of Brecht's 'Verfremdung' or distancing effect to the process of fashion design. The distancing effect refers to an avant-garde artistic technique that enables artists to create their works by viewing particular objects separately from the phenomena that occur around those objects. Brecht encouraged a sense of purpose that involved shifting to the new society sought by modernism. He also suggested an artistic approach that isolates perception from judgment 'Verfremdung' which reflects his approach well. In this paper, with the distancing effect considered as a method for creation, the author identifies the system of thought associated with the distancing method and applies this system to fashion design. To this end, the author first reviewed the concepts of 'Entfremdung' (alienation) and the distancing effect and studied the backgrounds of the two concepts. Next, the author identified Brecht's epic theory and its application. As a result, a method of perceiving objects as used with the distancing effect was noted, and this method was utilized to distinguish the relationship between the body and its clothes. Specifically of interest were parts of the human body and the related functions of clothes as well as the motor functions of the body and detailed decorations on clothes. Moreover, the author discovered a trend in the wearing of clothes that exists in the context of historical changeability by examining Brecht's work as it relates to the types of clothes that are worn. Finally, the author applied the distancing effect to fashion design in consideration of the discovered trend.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.4 s.152
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• pp.507-518
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• 2006

This study aims to prove that traditional patchwork wrapping cloth can be a creative motive for modem fashion, and the application of it can be a way of expressing not only the pride in our cultural heritage but also the originality of fashion design. The analysis of the plasticity of 108 patchwork wrapping clothes has come up with the following findings: Firstly, the plane structure consists of 41 basic forms and 67 applied ones. Secondly, 61 contrast color harmony and 47 similarity color harmony. Thirdly, the fabric consists of 88 silk clothes, 19 ramie clothes, and 1 silk and ramie cloth. Fourthly, 47 unlined clothes and 61 lined ones. The study also expresses the analyzed plasticity of patchwork wrapping cloth for fashion with the following findings: Firstly, basic plane structures, contrast color harmony, silk cloth and the press flower coating technique become one piece dress to express splendid and elegant image. Secondly, application plane structures, similarity color harmony of natural dyeing method using persimmon, ramie cloth and the press flower coating and over lock technique become a jacket and a blouse to express calm and dynamic image. Thirdly, the needling and over lock technique used to patch clothes has become a desirable way to express fabric with unique surface effects. Fourthly, the press flower coating which modernizes embroidery in patchwork wrapping. cloth has become a new technique which can create high values with its extended the visual effects of the material. Fifthly, Patchwork wrapping cloth in Chosun Dynasty has now become a motive for modem fashion design to express tradition and creation.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Home Economics Association
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• v.26 no.2
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• pp.39-47
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• 1988

The aim of this study is to grasp the actual state of high school girls' clothing after liberalization of their uniform and to provide the reasonable guidance materials in clothing for both schools and homes. These are the results of the study 1. In the aspect of the favor of clothing and the interest in about clothes. a. They were fond of wearing "T" shirts, blue jeans in summer and pants and jackets in spring as their school wear. That implies that they enjoy wearing active and practical clothes. b. In the aspect of color, majority of them favored blue or similar colors, Also they had the tendency to love soft, simple clothe and more students preferred cloth without pattern. c. In their choice of them, they seldom paid attention to the informative-label are not their chief interest. d. More than half of girls prepare one or two suits in advance in a season, and they would prepare them deliberately This implies that their everyday life inclothing is based on the economic motive. 2. In the aspect of the purchasing clothes, a. Most of the girls bought them at the market and some of them at the direct-sales stall. b. when they purchased clothes, most girls were accompanied by their/mother and senior girls more often by their friends. c. The price and kinds of their favorite clothes such as "T" shirts and blouse was 5,000 won or so, and skirts, pants, one-piece and jackets are from the range of 5,000 won to below 10,000 won mostly. d. In regard to so-called brand-name items by popular designers, half of the girls responded that they wear some of such kinds of items because of superiority of sewing and longterm wearing, and the other half tend not to wear them due to high price.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.11
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• pp.1174-1185
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• 2012

This study develops tight-fitting upper clothing to measure electrocardiography (ECG) data. Taking into consideration the elasticity of the clothing, we made 4 experimental clothes by applying to each a weft reduction rate of 40%, 50%, 60%, and 70%. The 4 experimental clothes were used to measure resting ECG, exercise ECG, and post-exercise ECG for 4 men in their 20s. We compared clothing pressures using sensors on the human body and on a dressform. Subjective wear sensations of the 4 experimental clothes were evaluated using a subjective 7-point scale (with 7 being most excellent). We measured clothing pressures by using the air type pressure (AMI 3037-2) for upper and lower chest sensors in the developed tight-fitting upper clothing. The lower chest sensor showed that the clothing pressure on a human body and dressform changed consistently as the weft reduction rate decreased. The upper chest sensor showed inconsistent changes in clothing pressure as the weft reduction rate decreased. The wearing-test result for preliminary subjects showed that the lower chest sensor was more stable than the upper chest sensor; therefore, we inserted the sensor at the lower chest position before performing ECG. Except for Subject 4, the resting ECGs were stably measured for 3 subjects (Subject 1, Subject 2, and Subject 3) in all the developed clothes (A clothing, B clothing, C clothing, and D clothing). However, D clothing showed stable ECG values after exercise. The results of the experiment showed that we could measure ECG without difficulty using clothes with a weft reduction rate of 40% when the movement was not intense; however, tight-fitting upper clothing with a weft reduction rate of 70% was necessary to measure exercise ECG and post-exercise ECG values.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.114-128
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• 1999

In a turn a century, the skepticism, mysticism and eroticism used to prevail, the people becoming anxious, expectative and doubtful about an oncoming age. The costumes tend to become more exciting and erotic in the fashion. This thesis is on understanding “What would 21 century's clothes be\ulcorner” after analyzing the specific points in an end of the century. The characteristics found from 16th century to 20th century are going to the extremes in the shapes, consistent appearance of bustle style costumes and excessive ornaments which are closely interrelated with one another. I expect the fashion in 21st century would be changed in two ways. Firstly, going to the extremes and stressing on the buttock would be going down in the end of 1999. Secondly, the comfortable clothes highest in function and technology, and also friendly to the environment, might be the main stream, rather then outwardly good looking clothes, because spirit and environment is much more emphasized than the mode by the social impact or pressure in the next era. (Korean J Human Ecology 2(1) : 114~128, 1999)

• Journal of Fashion Business
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• v.11 no.3
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• pp.69-78
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• 2007

This study explored the perceptions of Korean college women concerning their clothing deprivation and clothing decision factors. A convenience sample was used consisting of 101 female college students aged from 18 to 36 years, with a mean age of 20.78 (SD = 4.24). Descriptive statistics were used to develop a profile of the participants. To test the research objectives, multivariate analysis of variance (MANOVA), using Wilk's lambda criterion was conducted for the study. The results indicated that a college woman's year significantly influences her perceived clothing deprivation, at p =0.003 (Wilk's lambda). There was a significant positive correlation (r = 0.24, p= 0.02) between college year and perceived clothing deprivation for special occasion clothes. The two clothing decision factors clothes that fit me well and clothes that look best on me were found to be the top two factors determining clothing decisions for the study participants.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.145-159
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• 2016

This study developed the learning criteria for Science, Technology, Engineering, Arts & Mathematics to establish the theoretical background of the education pursued by STEAM. The learning criteria was developed on a basis of 6 kinds of Technology Home Economics textbooks by 2009 Amended Curriculum, and the factors of STEAM were extracted according to related contents. From the results of this study, the unit 'Dress and Self-expression' assimilated T.E.A.M with learning related to clothing psychology, consumer behavior, fashion design, and Korean fashion. The unit 'eco-friendly clothing and fixing clothes' was found to assimilate S.T.E.A.M. with learning related to clothes science and dress structure. Accordingly we can understand this unit also consists of the S. T. E. A. M assimilation such as clothes science, fashion marketing, dress structure, dress aesthetics, design and so on. Both units 'dress and self-expression' and 'eco-friendly clothing and fixing clothes' were found to consist of suggesting situations, creative planning and emotional experience following the learning criteria of STEAM. Therefore, these units will be the basic material for developing STEAM programs centering upon 'Home Economics' among the curriculum.