• Korean Journal of Human Ecology
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• v.14 no.5
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• pp.859-869
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• 2005

The purpose of this study was to research university students' awareness of gender equality and practice of clothing and textiles education contents(classifying them into four units; choice and dressing of clothes, textile and management of clothes, design and sewing of clothes, and knitting and embroidery) in their real life. This is the investigation of 344 university students living in Choongchungnam bukdo, Junrabukdo, and Daejeon. In this statistical analysis, SPSS 10.0 for Windows Program was utilized to calculate percentage, mean and standard deviation. Also, these data were verified by t-test, One-way Anova, Duncan's multiple range, Pearson's correlation coefficient. The results of this research were as follows: The more university students have awareness of gender equality, the more they have practice of clothing and textiles education content in their real life. There was a significant difference in practical awareness of contents of clothing and textiles education according to demographic variables and correlation of variables differed significantly. As a conclusion, university students' awareness of gender equality plays an important role in practice of clothing and textiles education contents in their real life. These results would provide fundamental information for improving students' critical practice.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.45-59
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• 2020

In the 1950s, Korea was forced to rely on foreign aid, relief supplies, and contraband because of the Korean War. At the same time, Western culture also flowed into the country rapidly, which is believed to have had a great impact on the Korean clothing culture of the time. It is thought that this trend could be found in magazines and newspapers of the time. In the 1950s, newspapers served as the main channel for information acquisition and dissemination. I would like to analyze this tendency focusing on a newspaper article in the Dong-A Ilbo in the 1950s. According to the article, the hanbok was viewed as an old custom that needed to be improved or old clothes that had to be changed to Western clothes. As a result, the doubles system of both hanbok and Western clothes collapsed, and hanbok changed to an evening or ceremonial dress. From the 1960s, Korean fashion quickly changed to a more western style.

• Korean Journal of Human Ecology
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• v.15 no.3
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• pp.405-416
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• 2006

We, in this thesis, examined the similarities and differences of bat patterns in China and Korea, along with a consideration of how two peoples understood bats and how their understanding of bats developed and also influenced the bat patterns. As for research period, the Ming(明) dynasty and the Qing(淸) dynasty in China and the Chosun dynasty in Korea were considered. The subjects of this study included clothes, personal ornaments, and embroidery. This research was done by comparing and analyzing the similarities and differences of two countries' bat patterns. The results of comparing and analyzing Chinese and Korean bat patterns were as follows: In terms of similarity, people of two countries understood bat patterns as the symbol of happiness. Therefore, they were used in clothes, personal ornaments, and daily necessities. In terms of difference, bat patterns of two countries had different shapes. In China, colorful and realistic single bat patterns were shown as intensive composition, whereas in Korea plain and simple bat patterns were used. These differences resulted from different way of understanding of bat patterns. It can be concluded that the bat patterns can be a great cultural commodity with high commercial values, if the traditional pattern is used as a unique element of the Oriental designs and altered and developed to attract consumers' attention.

• Journal of Family Resource Management and Policy Review
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• v.10 no.4
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• pp.27-45
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• 2006

On this research, we classified Korean consumers into several comsumer groups based on the different decision-making process they endorse, and then investigated the difference among these consumer groups in frequency, expenditure, satisfaction in using different types of retail stores. For this research, we have surveyed consumers dwelling in Seoul and in near-Seoul areas in 2004. The following is the summary of the main results. First, 'enjoy shopping' group showed a high expenditure rate in department store shopping and internet shopping, whereas 'impulsive decision' group more frequently visited traditional market places, 'fashion pursuing' group and 'enjoy shopping' group visited department stores more frequently than traditional market places. Second, 'impulsive decision' group assessed that the traditional market place offers better price and quality. Also 'impulsive decision' group and 'enjoy shopping' group assessed positively on the AS provided by department stores, and assessed negatively on the AS provided by internet shopping malls. Finally, 'fashion pursuer' group preferred buying foods from traditional market places, while 'brand seeker' group and 'fashion pursuer' group preferred buying clothes from discount stores. While 'enjoy shopping' group showed a high preference in buying clothes in department stores, 'rational decision-making' group showed a low preference in buying clothes in department stores.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.140-159
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• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.67-81
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• 2005

The purpose of this study is to evaluate a sizing system of ready-to-wear clothes for middle-school girls. Results of the study are as follows. 1. Results of the survey revealed most middle-school girls preferred garments for women like unisex-casual and young-casual, and prioritized overall style and design over sizing issues. However, when they purchased clothes, they were dissatisfied with the poor fit of ready-to-wear clothing, which is a little too big for average middle-school girls. 2. There is a difference between a brand's target age and its average consumer age. $96.7\%$, of respondents purchased clothes from unisex-casual and young-casual brands, which sizes did not fit for them. Most of these brands had female adults ages 18 to 24 as their targets, whose somatotypes do not correspond with those of girls 12 to 15 years old. 3. Body measurements of those in age groups from 12 to 15 and from 10 to 24 were analyzed to identify physical differences between middle-school girls and female adults, which confirmed the relevance of different sizing systems for each age group. As a result, it is undesirable that middle school girls' clothes are designed in accordance with sizing system for female adults' garments. 4. Using the two-wav distribution of middle school girls' stature-bust circumference for upper garments, and stature-waist circumference for lower garments, this study establishes a sizing system in sections of high frequency. The size intervals of stature and circumference were 5cm and 3cm respectively.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• Journal of the Korean Home Economics Association
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• v.41 no.5
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• pp.179-191
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• 2003

The study is to suggest easier making method of skirts and slacks as to compare production process between manufacturers and references of clothing construct in universities. Skirts and slacks have simple production process and they are basic subjects in clothing construct class. But most references have just contents which are to make basic styles of skirts and slacks made basic materials. Continuous development of new material and variety of style request more efficient and easer making method in the reference of clothing construct. So the making methods of references and manufacturers are compared and analyzed in this study In references, there are many hand work and sub-work because they are for a person who make own clothes. In contrast, manufacturers have to product many variety clothes of good quality for many people and think the production cost of clothes. They use more simple and efficient method that include their know-how to meet changing fashion situation. In making methods of skirts and slacks, differences between references and manufacturer are in sewing of waist band and zippers and location of interlining. Manufacturers use variedly sewing method of waist band according to material and their experience. Especially handling for wrong side inseam of waist band is distinct between references and manufacturers. References have basic and detail work and manufacturers know processing order having even grade work to keep continuous production. The making method of clothes have to change and improve according to the situation. The more useful making method get to include their merits and references need to add more practical method and knowledge.

• Journal of the Korean Society of Costume
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• v.50
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• pp.129-144
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• 2000

In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.