• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.133-149
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• 2005

Western designers have long been inspired by exotic and mysterious looks and feelings of non-western countries in their design works. The influence of Orientalism has been prevalent not only in fashion but also in overall aspects of Western cultures ad it dated back to the B.C period. Orientalism has been interpreted differently in different ages. Orientalism has been in effect since the strong emergence of Western powers beginning in the 13th century. There have been produced many studies to analyze the tradition of Western fashion under the framework of Orientalism, but most of them have focused on women's wear and the researches on men's wear have hardly been productive, particularly on men's skirts. This paper aims to analyze the restoration movement of men's skirt fashion in Western societies such as tin America and European countries from the standpoint of Orientalism and attempts to forecast its future. The paper shows how we can reveal the identity of the tradition of men's skirt in Western fashion by making a critical comparison between the pictures of western men's skirts and those found in the folk fashion tradition in non-western countries.

• Journal of the Korean Society of Costume
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• v.40
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• pp.171-180
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• 1998

This is a study on the Men's Underclothes of Renassience Ages. The changes associated with the Tudor regime were sufficiently profound to afect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction. In order to attract still greater attention, the edge of the shirt was ruffled at the neck, a decoration which soon developed into a separate accessory, the ruff. The waistcoat, which originally was an under-garment, was shown, when the doublet was taken off, en deshabille. Thus we see that for men in the sixteenth century the undergarment was no longer an obscure drudge, but was promoted to serve in the general mode of expressing what the whole costume so extravagantly announced ; and likewise to share in that extreme degree of the social superior. The pinched waist of both sexes was not so much for sex attraction, but to signify social superiority. In the period under considera-tion, then, from the Tudors to the end of the Jacobeans, the new function of underclothes was much the same for both sexes ; to exploit the grandeur of the costume as evidence of rank, and only by that indirect method to add to the wearer's sex attractions.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.29-36
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• 2024

The public can now access movies faster and more easily thanks to over-the-top (OTT) services. The audience may be impacted by period dramas, where accurate costume reproduction is crucial. For filmmakers, it is critical to replicate period costumes using precise historical information. The goal of this study is to act as a reference so that, when it comes to period dramas, viewers can evaluate them using impartial criteria and movie producers can use data based on fact to plan their costumes. The film Napoleon won the British Academy Award for Costume after hiring costume experts to create 95% of the entire costume, according to data from the Napoleon I Museum. Following the French Revolution, the ostentatious and ornate men's attire vanished, to be replaced by a more modest and functional outfit. For tops, vests were cut to waist length, shirts, cravats, and carrick were worn, and tailcoats were the norm. The pants were swapped out for loose-fitting ones. The glitzy hues and embellishments from the bygone era progressively vanished and formed the foundation of the contemporary men's costume, which is dominated by black. The hats worn were tricorn, bicorn, top hat, and bowler, and the hairstyle changed from long to short gradually. The civil class wore short tops called carmagnoles. Napoleon wore a high-collared Napoleon collar and a tailcoat with a bicorn, which became his emblem. Green, navy, and white were the colors of the uniform, and a gray woolen coat was worn outside. The elaborately decorated costumes were worn to court and to banquets; the Napoleonic coronation costume was embellished with gold embroidery on silk, red velvet, and martyred hair; the post-revolutionary costumes gradually became more colorful. In the movie Napoleon, period clothing items were well represented, with the aristocracies wearing dark tailcoats, vests, shirts, and cravats. Based on the data from the men's costume, Napoleon's outfit in the movie was made more similarly. This study's limitation is that not every character in the movie could have their costume examined, and the material matter could not be precisely determined by examining the images displayed on the screen. Given that portraits typically feature a great deal of noble imagery, the clothing worn by common people is also associated with data limitations when it comes to movie costume design.

• Journal of the Korean Society of Costume
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• v.36
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• pp.121-137
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• 1998

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.45-60
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• 2001

The purpose of this research is to offer basic data for the study of men's suit by investigating purchase behavior and fit of men's ready-made suit for Koran adult men. The subjects were male who aged 25∼39 and resided in Seoul, Kyunggi and Chungnam regions. The results of the research are summarized as the following : 1. Male consumers purchase suit most frequency at department, specially stores. As the consumers grow older dependency on their spouses'opinion for purchase decision increases. The standards of purchasing are stated to e design, price and color. 2. the male consumers are generally knowledgeable about the current sizing system. Yet, the knowledge is confused with the pst and present systems. 3. When the male consumers purchase, they consider mainly for the fit of th d\\body part are shoulders for the jacket and waist, hip for the pants. 4. The attitude to toward the combination of sizes for the jacket is comparatively satisfaction than pants. Specially, most negative part of jacket is the length of sleeve.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.50-59
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• 2007

This study has been conducted to classify elderly men's feet with the three-dimensional body scanner data of Size Korea. It was intended to assist the manufacturing of the shoes that can appropriately perform the functions of feet, by providing the specific information about the shapes of elderly men's feet that are altered as a result of aging and shoe-wearing for a long time. The findings are as follows. 1. The investigations into the average and standard deviation of the measurements and index values for the elderly men's feet showed a large personal difference in the items of length and circumference. 2. The factors constituting the elderly men's feet were observed to be the size of foot width(Factor 1), the central angle of feet and the extension of toes(Factor 2), the size of ankle(Factor 3), the positions of lateral malleolus and pternion(Factor 4), and the position and size of medial malleolus(Factor 5). 3. The cluster analysis for the classification of elderly men's feet produced three types of them.

• The Research Journal of the Costume Culture
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• v.20 no.6
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• pp.826-837
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• 2012

Recently, hats have been used more frequently as an accessory, contributing to the general image of clothes in men's collections. This study compared and analyzed the frequency and styles of hat usage in men's brand collections according to the collections' images. Types of hats and their frequency of usage in men's clothes were analyzed among 857 collections from 74 brands between S/S 2006 and F/W 2012. This study also examined the relationship between clothes image and type of hats used. Hats were used in 622 out of 857 collections, and 24 different types of hats were used. In 67 collections, hats were used in at least 71% of clothes. The most frequently used hat was the fedora, followed in frequency by the beanie, cap, bowler, and high hat. The styles of hats in collections varied depending on seasons. In S/S season collections, fedoras were often used, while beanies were more common during the F/W season. This study analyzed styles of hats used in formal, casual, uniformed, and deformed images. Beanies and fedoras were frequently used for the formal image; fedoras, beanies, and plat caps were often used for the casual image; more than 3 types of hats were used together for the uniformed image; and design hats and hats in various styles were used for the deformed image. The results show that hats of various styles were used in collections to express the image of clothes.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.95-95
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• 2001

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.104-105
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• 2005

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.89-100
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• 2012

The purpose of this research is to compare the body proportion of the Mongolian and Korean men and women in their 20' s by comparing the characteristics of the body type that uses the body indexes, in order to provide the base data for the increased fit of the apparels. The results are as follows. 1) Histogram of the Rohrer' s Index for the Mongolian men and women in their 20s was examined. the Mongolian men, normal body type took up 48.0% while small body type comprised 50.0% and obese body type comprised 2.0%. the Mongolian women, normal body type comprised 61.5%, small body type comprised 22.1% and obese body type comprised 16.4%. 2) The body proportion of Korean men has 1:1.62 with upper body and low body part on a waist basis, and Mongolian men has 1:1.65. Thus Mongolian men has longer pan of lower body than Korean men. 3) Mongolian women has longer part of lower body and has higher rates of hip height, crotch height, knee height than Korean women. Mongolian women has high rate of hip line and calf length. 4) As a result comparison using the body index of Mongolian and Korean women (bust thickness/ bust width, waist thickness / waist width, hip thickness / hip width, when regarding the height as 100 ), it was found that Mongolian women are flatter than korean women.