• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.12 s.138
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• pp.1545-1553
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• 2004

This study assumes a bidimensional model of acculturation theory in order to understand the acculturation patterns of Korean-Americans and their fashion and shopping behavior. Bidimensional models of acculturation suggest that acculturating individuals may possess the components of both the heritage culture and the new, host culture. A combination of email and paper and pencil surveys was conducted with a convenience sample of Korean-Americans who are living in Seattle and vicinity area (n=108). The questionnaire included questions related to the respondents' and their parents' demographic information, the respondents perceived relationship with their parents, self-reported ethnic identification, ethnicity-related behaviors/attitudes, clothing involvement, shopping motivations, and fashion reference groups. The results support the bidimensional models of acculturation process as opposed to the linear model. Three different groups among Korean-Americans based on their ethnic identification pattern were found: a group with dominant Korean identity(Segregation group), a group with dominant American identity(Assimilation group), and a group with dual identity(Integration group). According to the results of MANOVA and subsequent Duncan and Scheffe tests, the Integration group showed distinct characteristics from Segregation group or Assimilation group, in terms of their ethnicity-related behaviors/attitudes, clothing involvement, shopping motivations, and fashion reference group influence.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.2
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• pp.193-202
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• 1998

The purpose of this study was to understand clothing condition of elderly men focusing on somatotype variation and satisfaction with ready-to-wear and to provide basic data in designing ready-to-wrar for the elderly men. The questionnaire method was used and one-to-one interviews were held for the elderly residents in Seoul, Deajon, Jonju, and Yeosu areas. The total of 275 questionnaires (from 148 elderly men in the 60's, 99 in the 70's and 28 in the 80's) were collected and used for statistics. SAS package was used for the statistics and the statistics were based on frequency, X2-test, ANOVA, Duncan's multifle range test. The results of the study were as follows; 1) Height (p< .05), weight (p< .001) and Rohrer index (p< .05) decreased significantly with ageing 2) The somatotypes of 75.6% were changed and the 70's 8t the 80's showed significantly (p< .05) higher changing rate compared to the 60's and more changes took place significantly (p< .001) with ageing. 3) The most preferred out wear was suit & tie and next was jumper or shirt. 4) For the mode of getting suit, the highest number 55.3%) purchased ready-to-wear, next (32.0%) was tailored and the least (12.7%) neither purchased nor tailored. The percentage of buying ready-to-wear significantly (p< .01) decreased with ageing. The main reason for getting tailor-made was not well fitting of ready-to-wear (20.7% out of 32.0%). And for the mode of getting suit, there was significant differance with income (p< .001) and pocket money (p< .01). 5) The most important factors in suit and shirt werefirst, size (fitness) and second, comfort in movement. 6) For the wearing feeling of suit, 55.3% showed discomfort. There was significant difference according to the age (p< .05) and pocket money (p< .05). The Discomfort increased with ageing and less pocket money. 7) 62.4% answered it uneasy to Pick out well fitting If comfortable suit. This showed their dissatisfaction with ready-to-wear. 8) As for the items of not well fitting, 64.4% answered in jacket, 60.8% in trousers, 46.0% in shirt. The above result shows that elderly men's somatotype changes as they age, suit is found uncomfortable and it's not easy for elders to pick out comfortable ready-to-wear. So, they seem to have a certain dissatisfaction in ready to wear. Therefore, there is a need for reorganization of size and developing pattern design according to measurement of elderly men.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.5
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• pp.840-857
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• 2017

In 1995, the costumes were restored in an unknown woman's tomb at the Jeonju Lee's family cemetery in Gapyeong, Gyeonggi-Do, and there are currently nine items remaining. In this study, we first introduced these 9 relics to academia and analyzed the morphological characteristics of the costumes. We also estimated the time and person of burial compared with costumes unearthed from other burials. Jeogories (short jacket) are all four items. One of these items was unusual in shape, and the upper part of the seop (gusset) was wrinkled and shaped. This type of Jeogori appears only till the 1520s in other tombs. There are also two skirts, one of which is characterized by a superimposed pattern. The top and bottom / middle part of the skirt were rolled up, and the skirt, which was double-rolled up in this way, was first discovered. An analysis of the shape of Jeogori and skirt indicated that the person buried in the Jeonju Lee's family tomb was believed to have survived until the early 16th century. Based on these estimated periods, as a result of looking at the genealogy of Jeonju Lee's family, it was concluded that the tomb was probably a woman named Lee Geum Myeong (李金命) born in the mid-15C and died between the late 15C and the early 16C.

• Journal of Conservation Science
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• v.32 no.3
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• pp.345-352
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• 2016

The purpose of this study is to analyze on the textile used for book covers of "Gukgiboksiksoseon" and "Boepboksajeolboksaek", and slipcase of these books kept in the Oryundae Korean Martyrs Museum in Busan. These records are estimated to be written by Gyeongbin Kim(1831-1907), who was a royal concubine of 24th King Heonjong (reign 1834~1849) of the Joseon Dynasty. The cover textile of slipcase and two books are investigated to be silks by the FT-IR. The cover textile of slipcase is flower patterned satin with silver thread and the cover textile of two books are green and red with Su characters and bat patterned satin. The blackish part of pattern of slipcase is investigated by silver thread by FE-SEM-EDAX. Moreover, by the dye analysis, berberine, brazilin, and carthamin are detected from the cover textile of "Boepboksajeolboksaek". It is indicated that it was dyed with an amur cork-tree, a sappanwood, and a safflower. And rutin which is the main dyestuff of the sophora flower of the pagoda tree was detected from the yellow thread of the cover textile of slipcase.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.11
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• pp.1426-1437
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• 2004

The study has an objective of providing the basic data for the bodice basic pattern that is highly appropriate after classifying the torso shapes of women in 60s. In order to classify the torso shape, 200 women in 60s that reside in Seoul were investigated for 52 tests. The factor analysis produced total of 6 factors. Factor 1 tended to be posture of upper part of torso and shape of shoulder. Factor 2 was an element of silhouette and Factor 3 was vertical size of lower part of torso and side silhouette. Factor 4 showed to be width and thickness of torso, Factor 5 was shape of neck, and Factor 6 appeared to be sagging of belly and buttocks. Therefore, it can be known that posture, silhouette, shape of neck and shoulder, sagging of belly and buttocks, and etc. are important factors for classification of the torso shape of women in 60s. Through a cluster analysis, each torso shape was classified into 4 types and each type showed information on size, shape, and posture clearly. Type 1 showed percentage of 24.2%, and values of height and weight showed to be average. Also, the body shape hardly had any curve with high shoulder at the Posture of upper body, and they had saggy stomach and buttocks. 43.5% of them were involved in Type 2 and they were short and overweighted. They were comparatively large in width compared to the height with no curves. Type 2 had the largest percentage and this can be said to be the special shape of women in 60s. People of Type 3 were short and overweighted just like Type 2 and all the sizes were similar to those of Type 2 or bigger. The posture is right posture and 21.7％ fall into this type and there is no body curve. This type is the shortest and most overweighted type, and it is a torso shape with right posture just like Type 4. Type 4 is a torso shape with tallest height and least weight. The percentage was the smallest(10.6％) and the width was smaller than any other type but the height was the tallest. The body curve is very clear and they have thin body but big buttocks so it can be said that the people of this type have the best silhouette. Type 2 that had the highest percentile is short and overweighted so it can be said that Type 2 is the representative torso shape of women in 60s.

• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.1-10
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• 2013

The purpose of this paper is to investigate the adequate clothing pressure of upper and lower body foundation garment and subjective assessment of those compressive foundation depending on various wearing conditions. Eighteen women in their 30s and 40s participated in the experiments for this study to evaluate the level of clothing pressure of girdle and waist nipper. Subjects were divided into two groups by the wearing habits of foundation, one is the group of wearing foundation garment 'tightly' and the other is 'loosely', It was found that the group wearing foundation garment 'loosely' was much more sensitive than the group of 'tightly' in everyday life. The adequate pressure of upper foundation, waist nipper was about $1.5{\pm}0.8$ kPa which is lower than that of the lower body foundation, girdle. And at the same time, the sensitivity of the pressure level was higher when subjects are wearing waist nipper compared with wearing girdle. Therefore, precise pattern making process is necessary to meet the adequate level of pressure of the upper body foundation such as waist nipper, specially for those who used to wear clothing loosely.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.2
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• pp.276-287
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• 2009

Apparel professionals need to understand the customer to effectively develop, select, and promote apparel products. Analysis of consumer preferences can help in the creative design process. Therefore the purpose of this study was to identify consumer preference by gender in two segmented group; $20{\sim}34$ aged group and $35{\sim}49$ aged group toward men's apparel consumers, considering target customers and female influences on men's wear purchasing. We used questionnaires that were distributed to 600 males and females aged in their 20s to 40s, using stratified sampling method. Only 547 reliable questionnaires were selected for statistical analysis. Chi-Square and t-test were used to analyze the data, using SPSS program. We obtained the following results: 1. We found that there was a significant association between segmented age group and the preference of men's jacket style. Specially $20{\sim}34$ aged group had a significant association with styles of formal jacket, casual t-shirts, casual pants, but $35{\sim}49$ aged group had formal pants style. Looking at the general percentage, semi-formal jacket, slim fit t shirt, straight casual pants were the most favored styles. 2. Age has an significant effect on the preferences of formal menswear fabric patterns and shirt patterns. The results of t-test showed that there found to be significant by gender in character and check pattern of shirts. 3. In design details, the number of button had not significance by gender, and 2 buttons was th most favored by both age groups. The number of gather at the waist had an significant association in $34{\sim}49$ age group. $20{\sim}34$ age group prefer high waist of pants, while $35{\sim}49$ age group prefer low waist of pants. 4. For on time outfit, formal wear and tie ensemble was the most favored with significant difference by age and gender. Formal wear and no tie ensemble favored by about one third of respondents, and more favored by the younger group. For off time outfit, casual jacket and casual pants ensemble was the most favored.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.280-291
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• 2013

This paper analyzes desirable breast types using measurements from 31 selected female subjects based on the ratio of breast in works of art and to design a brassiere cup design according to the breast type of 182 female subjects in their 20s. The subjects selected for this paper are somewhat larger than a previous study on aesthetically perfect breasts of foreigners according to chest breadth, center neck point to breast point, breast circumference, and breast volume. However, the aesthetic breasts of foreigners are larger than the subjects selected for this study according to chest depth, under-bust circumference, and bust point to bust point. Comparing various breasts types and aesthetic breasts, padding is necessary to complement the form of flat breasts to increase the volume and diameter. Brassiere cups for cone-shaped breasts should be designed to increase breast volume through an increase in nipple height. Hemisphere breasts should be designed to increase the overall volume-leaving diameter. Protrusion breasts should enhance the functions of aggregating and supporting without any increase or decrease of the breast volume. Drooping breasts require the ability to support a large volume to stabilize the breast. Subjects were selected depending on the ratio of breast silhouette as works of art and who have large breasts in disproportional to a slender trunk. Three items, the circumferential length of breast, height of the nipple, and the depth of inner breast using the anthropomorphic measurements of 182 subjects were measured through regression equations for breast volume. Breast volume = -394.86 + 27.52 ${\times}$ (the circumferential length of breast) + 18.73 ${\times}$ (height of the nipple) + 12.85 ${\times}$ (the depth of inner breast). Regression equations to extract the aesthetic breast volume in measurements irrelevant to breasts using the anthropomorphic measurements of 31 subjects were as follows. Aesthetic breast volume = -611.30 + 17.67 ${\times}$ (bust circumference) -24.29 ${\times}$ (under-bust circumference) + 16.31 ${\times}$ (neck point to breast point to waistline) + 22.83 ${\times}$ (bust breadth) + 12.22 ${\times}$ (waist depth) -8.34 ${\times}$ (interscye- front). This prediction equation is useful to develop a breast type brassiere pattern, complement breast enhancement surgery, or minimize the effect a mastectomy.