• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.129-143
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• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.788-800
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• 2007

The purpose of this study was to develop a caregiver's uniform that is appropriate for nursing and to improve movement adaptability as well as having a pleasing appearance. Based on the results of preliminary study, I investigated the inconvenience and problems with the existing uniforms and made a sample uniform taking into consideration the design, the material, and the pattern. We carried out a sensory assessment and quantitative assessment in order to compare the sample uniform with existing uniforms. Following are the results of this research. The top is a short-sleeved blouse with a round neckline having no collar and with armpit gussets. The armpit gussets are semicircles and the inverted pleats in the back are an improvement designed for activity. The pants are long reaching to the ankles with elastic in the waist so that the waist measurement may be adjusted. The length of the pants can be adjusted with strings and the pants have a funnel-shaped pocket for adjustment of length. We used a mix of polyurethane and polyester for the outer cloth of the uniform in order to improve activity function and used $Coolever^{TM}$, the sanitary textile that absorbs moisture well and dries in a short time, for gussets in the armpits, which is the heavy sweat area. The appearance assessment and movement adaptability assessment were performed with 5 subjects and 9 experts. For the results of the assessment, the sample uniform was appraised to be better than the existing uniforms in every item of an appearance comparison assessment except for the neckline assessment by the experts. As for the assessment of movement appropriateness and wearing assessment, the same subjects were used for analysis. As the results of the assessment, the sample uniform was rated higher than the existing uniforms in movement adaptability and pleasing appearance.

• Journal of the Korean Home Economics Association
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• v.44 no.12
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• pp.9-18
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• 2006

A case study was conducted on the development of patient clothes designs at the Korea University Medical Center, in order to provide an example of patient clothes designs which meet the hospital identity and the demands of patients and nurses. In this study, we focused on general patient pajamas and one-piece gowns worn in the obstetrics and gynecology department. A scientific and systematic design approach consisting of the following four steps was conducted in the designing process: needs assessment, design direction establishment, design presentation, and final decision. For the first step, focused group interviews and a survey were conducted to identify the needs of the patients and nurses. According to the results of the first step, 3 fabric patterns with light, modern, rhythmic, modest and ordinary images were designed utilizing the university and hospital symbols and logotypes. Fixed forms with realistic and geometric characteristics and colors, including white, yellow, blue, grey, and pink were selected to deliver the preferred image. Each fabric pattern was made in male and female versions of the color sets. The following styles of patient clothes were made with the 3 fabric samples: general patient pajamas with a U-neckline, 9/10-length sleeves and ankle-length pants, a full-length sleeved gown with openings for breast-feeding, and a gown with a deep back-neckline and button fastening. Different sizing systems for males and females were recommended for the production.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.496-504
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• 2006

This study was conducted for silver generation women, age 60 and more. Questionnaire was answered by the total 291 of women. Frequency analysis, t-test, ANOVA and Duncon-Test have been completed by using SPSS 12.0 tool. The conclusion of the study is below. First, silver generation women live in Seoul and South Gyeongsang Province. The data shows huge academic background gab among regions. Second, the following is the preferences found by 15 stimulants which expert groups identified based on demography. People in South Gyeongsang Province like default, tailored, three-button jacket more. People in South Gyeongsang Province prefer to Chanel jackets and people in their 70s prefer to it than in 60s, stand collar casual jacket for color and material, and the less they are educated, the more they like the jackets. And those who have less personal expenses tend to prefer to it. South Gyeongsang Province shows preference for semi polo-neck sweater. Highly educated did not show any preference for it. Women in their 70s tend to like blouses with round neckline. The data shows there is significant difference of preference for design, color and material for coloration vest between education levels. The less educated tends to like it. People in South Gyeongsang Province and those who live with their children are in favor with half sleeve jackets for colors and materials. All in Seoul and South Gyeongsang Province do not like three-quarter-length sleeve jackets because those jacket have wide and deep plunging neckline. The study showed people living in Seoul, in their 60s, highly-educated tend to favor polo shirts significantly. Seoul favor basic straight pants and people with any level of education excluding elementary prefer to it. The highly-educated and those who have a bigger allowance tend not to prefer to baggy trousers. In conclusion, Fifteen incentives (clothing design) for semi polo-neck sweaters, polo t-shirts, basic straight pants are more proper to silver generation women in their 60s, living in Seoul. Other designs are desirably applicable to customers on a national scale at middle prices.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.30-43
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• 2013

This study provides suggestions of cultural product design contents by using the cloud-shaped gong in traditional temple culture in order to find a high value-added approach. The research herein is part of cultural design contents projects embedded with the spiritual value and symbolic connotation of temple culture. This would be meaningful to enhance its degree of utilization. This can also be a way to find a strategic alternative to a high value addition of temple stay and dissemination of temple culture. For the research methodology, literature was reviewed over temple stay and Bulgeonsamul. For motive design and development of cultural product design, both Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as computer design program. The template image of cloud-shaped gong for basic motive design was selected from those available at the domestic temples for accurate depiction of its head and body. Finally, samples were adopted from those temples of Gounsa, Songgwangsa, Guinsa, Hwaeomsa, and Naesosa. For each motive, different colors were applied and ten basic motives were practiced in total. By repeating the process for these motives, three types of textile design were prepared. T-shirt designs used a round neckline as basic form, and it was designed for sleeved and sleeveless styles. Apron designs stressed V-neckline and two types were processed: one for the back seam line and the other for side seam line. Pendants were designed with modern and luxurious image so that so that it could be used in various types of accessories. Designs for the bedding applied pattern design of the motives and this was done in a way that gave the images a sense of stability and splendor.

• The International Journal of Costume Culture
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• v.6 no.1
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• pp.38-51
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• 2003

Peking Opera, one of a representative Chinese dramas, is a synthesis of drama and stage art. Peking Opera's stage costume was set up in Qing dynasty though its style was embellished with mainly Ming dynasty's clothing style. The special patterns in the clothing were very important because they classified social rankings. There are two kinds of roles in Peking Opera. Sheng stands for male roles and Dan stands for female roles though Dan had traditionally been acted by male actors with female attire until the ruling of the People's Republic of China. There are five different kinds Peking Opera's stage costume. First, Mang is a formal dress for kings and generals. It is a very delicate long Po with special patterns. It has several names depending on the color and shape of a dragon. Second, Pee is a casual attire for kings, government officials, and their families. It is also a long Po with front opening and symmetrical neckline. Third, Kao is an armor of warrior which is made not for protection in a real war but for ornament of a formal dress. Kao reflects the wearer's authority when the wearer stays still, but it is a comfortable clothing for big dancing moves once the wearer starts dancing. The wearer puts a banner into the shoulder to alarm tension of a war. Fourth, Cheup is an outfit that one wears the left part adjust to the top. There are different lengths of Cheup and it has a straight neckline. There are twenty-one different kinds of Cheup according to its shape and color. Last, Yi is name for the rest of Peking Opera's stage costume other than Mang, Pee, Kao, and Cheup.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.947-954
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• 2008

The purpose of this research is to find out related factors to obtain the best collar pattern of the women's tailored jacket by analyzing the difference of the shapes between the drafted pattern and that of being stitched. The experimental conditions established are as follows. The position and angle of its break point, the notch and the width of the collar and lapel are kept unchanged. The collar decrease in neckline edge and the top collar larger than the under collar. The crossing point of gorge line is changed to make the collar's roll line straight. When the pattern is changed to make the outline of the lapel straight, the amount of cloth is changed too. According to the experimental conditions, The experimental clothes using muslin were made to. put on the manikin and the suitable methods of making the collar pattern were decided. In order to find out the influence of fabric materials on the jacket' shapes, Three kinds of wool fabrics were used and the results were evaluated. Summary of the research is as follows. When 0.5cm of the neckline edge is shortened, the standing part of the collar has less wrinkles, and its position looks natural and lastly, the material has slightly affected the collar's condition. It is desirable to make the top collar 0.2cm longer than the under collar. But the length should be different according to the fabric material. It it is thick cloth, the length has to be extended. To make the roll line straight, 0.4cm of the crossing point of gorge line should be corrected. The thick cloth needs more correction. To make the lapel's outline straight, it needs outwardly round 0.2cm more and materials make little difference to affect the shape.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.5 s.153
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• pp.722-732
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• 2006

The pattern making of the tight-fitting collars which often used in diving suits, dance wear, or cycle wear has not been fully established. To develop tight-fitting collar pattern directly from 3D images from the representative somatotypes, dressforms developed by Jaeun Jung were used. The 3D scan data of the four male dressforms were obtained using Exyma-1200. Triangle Simplification and the Runge-Kutta method were applied to reduce the 3D scan data points and to make the segmented triangular patches in a plane from 3D data. As results, apparent differences between the tight-fitting collar patterns obtained from the 3D scan data and the ordinary 2D collar patterns were found around the center back line. The curvatures of the center back line were higher in all types of the tight-fitting collar than in the ordinary collar pattern. Relative differences in the shape of collar lines among four representative Korean men were reported. To fit the curved shape of the back neckline, 1.8 cm should be reduced from the upper neckline in average. We suggested the direct pattern making method for the 2D tight-fitting collar patterns considering the 3D shape of various types of men's dressform.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.146-155
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• 2011

This study examines the design characteristics of figure skating costumes by a content analysis of their design elements. The content analysis method for the study was used based on 185 photos of female figure skaters. A total of 218 coding units in 15 categories were used. In the category of color, unicolor costumes were the mainstay and represented 48.11% of the total costumes. Black costumes showed the highest rate (13.51%), followed by red (7.57%) and blue (7.03%). In the dual-color costumes, combinations of red and black and white and black, represented 4.32% of all costumes. A camisole was the most popular type of neckline (20.54%). Stand collars with neck decorations were found in 5.95% of the costumes. In addition, 98.2% of all figure skating costumes had decorations (crystal beads 21.86% were the most frequently used decoration type), 65.41% exposed all the shoulders and arms, 70.81% of the costumes did not have sleeves, 5.41% of the costumes had arm decorations, and 3.78% had wrist decorations. In the analysis of the hem of skirts, 32.40% had a curved line, 30.73% had a straight line, and 15.08% had an unrecognizable form. In general, the figure skating costumes have stand collars with neck decorations, arm and wrist decorations, and irregular skirt hems that are not found in everyday dresses. To emphasize and intensify a theatrical effect, the costumes were fabulously decorated with spangles, crystal beads, feathers, and lace; black, red, and blue were frequently used. The skirts had frills, fringe, flared lines, and beads on them to reflect the stage lights and emphasize movements.

• The International Journal of Costume Culture
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• v.2 no.2
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• pp.45-59
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• 1999

The objectives of this study were to identify fashion trend in the late 1990's by using content analysis of the design elements of wedding dresses in wedding magazine photographs. The data were selected among the wedding dress photographs in 1997 issues of two wedding's magazines, 'My wedding'and 'She's Bride'. The identified 455 photographs were classified into 15 major-categories of silhouettes, necklines, sleeves, materials, and trimmings, etc. 15 major-categories were consisted of 232 sub-categories. In the late 1990's, fashion trends of wedding dresses have mixed mainly dome silhouettes(56.0%), bell silhouettes, and tubular silhouettes. One-piece forms(90.8%) were familar more than two-piece forms. Necklines were used mainly such as square neckline(14.0%), high necklines(13.0) blended with other off-shoulder necklines, heart-shape necklines, and sweet-heart necklines, etc. Also camisole and strapless were added in neckline. Long-tight sleeves dominated at the late 1990's because that were used most (21.1%) among 22 sleeves sub-categories. And short sleeve, ruffled below-elbow length sleeves, and french sleeves were also used with the other sleeves. Long length in skirts(98.4%) were common but mini length were used rarely. Satin, lace, and solid cloth were the main materials in wedding dresses, however, spandex and velvet were also used. Various trimmings such as flowers(corsages), ribbons blended with embroidery, small flowers, buttons, frills, strings, and fur trimming are used. Especially, flowers used most(11.8%) among 61 trimmings sub-categories. But simplicity was shown in trimmings because there were dresses not having any decorations(14.3%). The wedding dress of the late 1990's has become more varied in design due to the reflection of changes in society and fashion of everyday garments while the traditional design of the wedding dress has been preserved.