• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.13-24
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• 2019

Adolescence is a transitional stage of physical development which occurs during the period from puberty to adulthood. Going through this period, various parts of an adolescent's body grow at different rates, leading to different body shapes and proportions when compared to adults. Therefore, this study aimed to investigate the body sizes and shapes of junior high school boys from ages 13-15 based on body measurement items that are used as the basis for school uniform designs including jackets, shirts, and pants. For this, the study sought the basic data needed to develop body shapes and school uniform patterns for junior high school boys using the data from the 6th Size Korea Survey (2010). Specifically, it provided basic data for the development of school uniform patterns that fit well through the classification of bodies into particular types. After extracting body shape componen a cluster analysis using ANOVA was performed. According to the factor analysis conducted to determine body shape components, 5 factors were obtained as follows: Factor 1: bulk and horizontal size, Factor 2: body height and length, Factor 3: shoulder shape and length, Factor 4: characteristics of horizontal size, Factor 5: shape of the upper body with a variance of 82.62%. To classify junior high school boys' body shape was determined using various characteristics, and a cluster analysis was performed with the variables obtained by the factor analysis. For this, body shapes were classified into 3 different types: Type 1 accounted for 33.4%, with a total of 463 subjects. This type was a tall, long body individual with the smallest bulk and size. Type 2 accounted for 22.7%, with a total of 315 subjects. This type was large in bulk and horizontal size, but the lowest in height and length. Type 3 accounted for 43.9%, with a total of 610 subjects. This type was close to average in terms of horizontal size, length, and height. To develop well-fitting school uniforms for junior high school students, there should be further studies on changes in body shape and their associated causes. The study results will be available as basic data for comparing branded school uniform patterns for junior high school boys and developing school uniform patterns based on body shape, using 3D virtual clothing simulations.

• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.156-161
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• 2010

To improve the standard of living of its citizens, local festivals is located in one axis of the new culture. These symptoms shows that there is increasing awareness of traditional culture such as Hanryu. The purpose of this study is to develope the presentative Dress of Andong International Maskdance Festival to stimulate curiosity and participate easily. 24 villages in Andong were present to represent appropriate Dress of Maskdance Festival which have been announced through the fashion show. The characteristics of the maskdance dress which presented in this study has the purpose of making the specialties of each village to tourism resources. Characteristics of the maskdance dress which designed to blend on the mask was as following. (1) Maskdance dress should shown well and must have strong durability of strenuous exercise in maskdance (2) Maskdance dress should be able to get the sympathy of the spectators. (3) Maskdance dress should be sympathetic as modern costumes. (4) Aesthetics as custumes and requirements as product must be met. (5) Acceptance of Andong region's traditional beauty is required. (6) Maskdance dress is likely to require long-term use. (7) Maskdance dress must be able to accommodate a variety of body conditions. Through customer satisfaction survey of 158 spectators and 48 members of fashion show, the relevance of masks and costumes, aesthetic and motility of costumes, commercialization potential, especially costume' motility and functional fitness of clothing sizes was highly evaluated. So maskdance dress or stage costumes as long-term development is likely to be considered. And continued research is needed.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.