• 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 Costume
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• v.58 no.3
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• pp.49-62
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• 2008

The purpose of this study was to analyze the signification system between color and clothes systematically in black and white clothes. For this purpose, after examining the images of black and white clothes, we selected 55 clothes that represented as black and white and analyzed their meanings and the sources using semiotic framework, based on the work of Saussure and Barthes. The results as follows: First, the meaning in black and white clothes was generated from original color image. White clothes of religious person like Virgin Mary, Angel expressed pure and sacred color image. And black clothes like funeral dress expressed grief and death. Next, the meaning of black and white clothes was regenerated into modern color image by new environment. After industrial revolution, black was considered as a traditional men's fashion color. With diverse leisure activities, white sports wear appeared as active and clean image. Finally the source of the meaning of the clothes was the designer or the wearer. A little black dress by Chanel who was interested in simplicity and function represents an ideal of simple and sexy object. The situation is complicated by the fact that these three kinds of explanation may be found singly or mixed together.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.129-144
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• 2015

This study is aimed to better understand the lifestyle and fashion trend of Korea in 1954 and 1955, a period right after the Korean War. The study examined "The Journey of Duty", which was a color slide film of Seoul and Suwon made by a US soldier stationed in Korea during that time, as well as various documents. The films are assumed to be outcomes of the US Army wanting to record the situation in Korea, and the study was able to use 110 of the slides to examine the fashion trend of the times. There are three noticeable trends shown on "The Journey of duty". Koreans in western clothes, women wearing work pants called Momppae, and black color being in fashion. Most of the men and the children either wore only western clothes or western clothes with the Hanbok. But women rarely wore western-style clothing, such as blouse with skirt. They usually wore Hanbok or wore reformed Hanbok. The work pants, Momppae, becoming an everyday wear is the most unique finding from the slides. Women either wore just the pants or over the traditional Korean skirt. Black-colored clothes were in fashion. This color first spread after the Costume Reform Movement in the 1920s' and the prohibition of white robe. The wearing of white clothes did increase after the Korean liberation in 1945, as national spirit was promoted. However, many people still wore black due to economic reasons, as we as practical reasons. So the Korean fashion in 1954-1955 was in a transition period, as people were beginning to change their daily wears from traditional Korean costumes to western-styled clothes. The reasons for this change could be attributed to people only having access to western goods, as well as their awareness of western-styled clothes being more practical.

• Journal of the Korean Society of Costume
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• v.34
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• pp.135-150
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• 1997

The purpose of this study was to inves-tigate the economic performance of the textile industry for the Korean traditional clothes. The content of this paper had two pars; The first part was for the macroeconomic aspects such as location production employments and the produc-tion facilities of the textile industries. The second part was for the microeconomic aspects such as business type branding method fabric type R&D efforts sourc-ing and the distributional channel The major results were as follows: 1.) Most textile firms for the korean traditional clothes were located in Gongju for man-made fibers and in Jinju for silk fabrics. 2) The size of the textile industry in terms of the number of business produc-tion amount the number of employee de-creased during 1994 and 1995 due to the decreasing demand. 3) Over the half of the textile firms produced raw fabric products while only 20% of them were involved in additional dyeing and /or printing finish which re-sulted in low value added production 4) The R&D effort of the textile indus-try for the Korean traditional clothes was very low due to the market uncertainty lack of technological knowledge and most of all small size of the firms 5) Most raw materials for the textile in -dustry were imported with high(25%) tariff rates resulting in price increase and thus low competitiveness in the market. 6) The textile producers sole about the 70% of their products to the wholesalers while selling the rest to the retailers di-rectly. This showed the dual structure of the distribution channel in the textile products. These results suggested some implica-tions for the firms the policy makers and the researchers. The firms should develop new and improved products to increase and create consumer demand by intensive R&D efforts. The government policy ma-kers should give financial supports the firms with R&D investment and legal help such as lowing tariff rate for the raw ma-terials. The researchers from the academy could help the textile industry with the advanced technological knowledge and up-date information for the consumer fashion demand.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.189-203
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• 2014

In this study, Creative motifs using face composition of Jogakbo and Knot Symbol were developed, and applied to traditional Baeja of Joseon Dynasty to develop design contents of traditional clothes. As for study method, 7 motifs of new formative image that integrates traditional beauty and contemporary sense were developed by applying Knot Symbols and face compositions of Jogakbo with the use of Adobe Illustrator CS6 and Adobe Photoshop CS6 vector graphic software. The motifs were designed in contemporary image in face compositions like rectangle pattern, triangle pattern, dual rectangle pattern, vertical and horizontal pattern, pinwheel pattern, gojunmun pattern and free pattern by involving various changes like repetition, rotation, reduction, expansion and decomposition and using the colors used in the Jogakbo. It is desired that through this study, traditional Baeja may develop to bear traditional and contemporary image so that our traditional clothes design may become global. Also it is anticipated that this study will contribute to development of culture products of Hanbok like Jeogori, pants and skirt that require change of design in the global era while maintaining traditional beauty to appeal to the emotions of world citizens.

• Journal of the Korean Society of Costume
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• v.35
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• pp.343-366
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• 1997

Most of the recently-exhumed excavat-ed costume is the garment for the dead which is one of the costume of funeral rite Investigating the birth and death years of the dead reveals that the excavated cos-tume was mostly used in the 16th and 17th centuries, . The study on the change of clothes in-cludes two aspects; one is manifestication of the structure of clothes and the other is elucidation of the constructure of clothes through examining constructure compo-nents and constructure compo-nents and construction method. This study investigates the costume of the midddle years of the Chosun dynasty in these aspects by examining the excavated Costume of 16th and 17th centries and Ryesu. This study also aims to assist to comprehend the constructure of costume by comparing actual excavated clothes with chronological standards through in-specting diverse clothes in a specified pe-riod. The construction of the clothes of the middle years of the Chosun dynasty is different depending on the purpose of theclothes and the principle of sewing is set up on the bases of mentality and body That is the Costume stands for the individual social and men-tal world of the people at that time since the external construction of the clothes represents their social rank and the inter-nal construction of sewing symbolizes their mentality. The characteristics features of the clothes of the middle years of the Chosun dy-nasty coexistence of diverse sorts and patterns indicates a change in clothes. This suggests that the clothes of a partic-ular class last and change in role corre-sponding to formation lasting and extinc-tion of the class. Thus diversityof the sort of general costume advancement of pattern and the change of clothes de-pending on the change of the class signify that the middle years of the Chosun- dy nasty is a period in which the general costume is actively developed and a turn-ing point for transforming the traditional clothes into new ones, . In other words the middle years of the Chosun dynasty is characterized as an era during which a castume native to Korea is formed with respect to the structure and constructure of clothes.

• Journal of Fashion Business
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• v.18 no.2
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• pp.113-131
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• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• Journal of the Korean Home Economics Association
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• v.43 no.3 s.205
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• pp.131-145
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• 2005

The purpose of the study was to determine ae forms, patterns and structures of Huipils as traditional clothes in Guatemala and Mexico, and to cite possibilities of applying the findings of the study, acquired by comparing the differences of the two countries' Huipils, to textile or costume design. There are two types of Huipils. One is for everyday wear and another one is for special occasion. The latter is bigger in size, more colorful and is worn on top of the daily use Huipil. Huipils consist of 1 to 3 panels, and are usually made by weaving rectangular cloth which has 4 selvedges. There are various neckline such as - type, T type, 1 type, round type and square type. The types of the neckline depends on how many panels are used. The Mexican Huipils are worn usually over skirts, whereas the Huipils of Guatemalans are practically designed with white cotton that doesn't have any patterns so as to be easily put into skirts. Different from Mexicans' Huipils which mainly show big botanical patterns, the patterns of Guatemalans' Huipils combine animals, plants and abstract concepts display mixed aspects, and it seems to me that that expressed their emotions and dearest wishes.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.41-64
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• 1995

A clothing design preference & clothing satisfactions(a general satisfaction, fitness) was studied for women 55 years and older. The major results are as followings. In view of a clothing design preference, 1) Styles of outdoor clothes for spring-fall : ① Two-pieces ② Blouse(Sweater) & Slacks ③Blouse(Sweater) & Skirts. 2) Colors of clothes for seasons: (Spring - Pink, Light yellow, beige), (Summer - Light blue, Blue, Light green), (Fall - Brown, Red purple, Beige), (Winter - Black, Brown, Gray). 3) Fabric prints ; ① Unicolor without print ② Geometric print ③ Traditional print. 4) Kinds of textiles : ① Easy Laundriability ② A style of dressing ③ Uncrumple. In view of clothing satisfactions for ready made clothes, they have unsatisfactory trends as following orders. 1) Considering a general satisfaction : ① Clothing which go with oneself ② Fitness ③ Matching with other clothes. 2) Considering fitness for clothes : ① Sleve length ② Shoulder width ③ Length in Blouse (Sweater) & Jacket, ① Length ② Waist ③ Girth of hip (under abdomen) in slacks (skirts).