• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.56-68
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• 2016

Popular culture has symbolic meaning and has been constructed through different mass media. Newspapers played a significant role in 1950s and 1960s public culture. In particular, editorial cartoons in newspapers expressed social aspects of the age implicitly through satire and criticism. This study examines delivered culture by reflecting the past social aspects and inquiring on clothing featured in the editorial cartoon "Gobau". As for a research method, literature research was conducted on clothing of the age with a review of "Gobau". As for a research range, examination was done based on the complete works of Gobau composed of 5 volumes published as a first edition by Hankookmunhwasa on November, 1973. Early "Gobau" cartoons from 1951-1963 were published in 5 volumes; therefore, research was conducted for the era from 1950s to the early 1960s. Clothing expressed in "Gobau" were reviewed, classified into formative characteristics and internal meaning. Internal meaning was examined by dividing into the expression of social aspects and criticism of society. The research findings are as follows. First, clothing in "Gobau" reflected characteristic in direct manner. There was a coexistence of Hanbok and western-styled, clear distinction between men's trousers and women's skirt. Besides, various kinds of women's western-styled dress appeared in the 1960s. Second, they showed the dress culture that reflected past social aspects. Many aspects were included to reconstruct old and worn clothes due to scarce resources after the Korean War, and cherishing clothes, buying fabric directly to making clothes, making clothes from dressmaking shop, and restrictions on imported goods and luxury items. Third, the study also examined the social norms for fashion. It contained negative perspectives on women wearing pants, short skirts, and new hair styles (like perms) from western culture as well as lipstick.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.11
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• pp.1582-1592
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• 2002

The purpose of this study is to suggest production planning model for women's apparel manufacturer, which are relevant to the situation of Korean clothing industry. The research was based on simulation method. The basic model for the simulation was developed based on the empirical data from six production fm. After verifying the basic model, low alternative production plans went through trial run. In order to suggest the application of these alternative production plans for various style numbers and lot sizes, the simulation results were compared in terms of product efficiency and product cost. The four alternative plans were as follows: 1. The first alternative was to spread out work loads among workers in order to resolve bottlenecks in work flow. So this was suited to manufacturers that had constant production without regard to changing seasons. 2. The second alternative was to merge the skirt and trouser production, which require less work load, in one line. In this line, a few machine was justified by production improvement. It was suited to cases which producted various style suits. The third and fourth alternative were using another subcontractor for assembling inner shell garments. These was compatible in manufacturers which had to product more styles and sizes of trousers and skirts than those of upper garments. 3. The third alternative was to reassign the same workers in production line. Thus, production was increased. 4. The fourth alternative was to except two worker in production line, so expenses of worker's wage was decreased. The four alternatives could be one of the cost effective manufacturing plans according to manufacturer situations.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1427-1438
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• 1997

The art plastique is the part from which designers draw their inspirations to create fashion design. Many designers look for their inspirations from Art Plastique. Since the early 20th century, lots of designers led by Paul Poiret drew their inspirations from Art and co-works with artists. The direct involvement of those artists helped to position Fashion to be an art. Also, these co-works brought the mass media's attention and commercial profit. The most prevalent relationship between the fashion design and art plastique is the reproduction of art such as the 1960s 'Pop Art printed on T-shirts, which can be seen easily todays. After World War ll, art was popularized in a new society where young generation played a major role. Pop Art having image of the freedom and the rejection of tradition was considered as the major trend of 1960s. This study considers reflection of anti-traditionalism, anti-elitism and popularity as the kitsch of Pop. That is the attraction which youth culture looked for from Pop Art and the reason that 60's avast-garde cloth could position itself into the masses. Therefore, this study examines the influence of the kitsch of Pop and the expression of parody upon the major changes in 1960s fashion from which are the mini-look and women's trousers wearing. This study examines Andra Courreges who led 1960s Mini look and Yves Saint Laurent who introduced Pop dress, Smoking look and transparent blouse to find the way which makes it possible for avant garde fashion to have a close relationship with the public and to position itself to be a art.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.270-279
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• 2004

The purpose of this study is to make a basic resource in developing a design satisfying male consumers＇ fashion inclination by examining the features of the men＇s fashion style shown in the fashion collections. Collected were 1,291 photos relating to the suit style through the analysis on the men＇s fashion collections for 8 years(1995-2002). Representative men＇s fashion images are extracted from these photos, then figurative features were analyzed and typified according to image, and finally representative fashion styles were presented and its meaning was analyzed. Representative men＇s fashion images are Sophisticated, Casual, Elegant, Active, Natural, Classic, Romantic, Ethnic, Military, Marine, Colonial, and Avant-garde. With the subcategories such as detailed shape of jacket and trousers, the relationship of color between upper and lower clothes, type and organizing method of material quality, type and arranging method of pattern, and coordination, the extracted fashion images were analyzed the figurative features. After finding out the common and different features, four men＇s fashion styles were suggested. Formal style maintains the typical suit style and has the feature expressing the men＇s authority, tradition, and honor. It includes Sophisticated, Elegant. and Classic image. Casual St Sporty style has the feature that there is a change in the volume of suit by adding activity to the typical suit style. It includes Casual, Active, and Natural image. Uniformed style is that political and social environment such as war has an influence on the suit design. It includes Military, Marine, and Colonial image. Deformed style has the feature that it suggests new type instead of adhering to the typical suit design. It includes Ethnic, Romantic, and Avant-garde image.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1178-1187
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• 2006

The purpose of this study is to conduct a questionnaire survey on the actual conditions of the working uniform and protective equipment put on by street cleaners, then to identify their inconvenience and problems and to draw solutions to improve them, and finally to design a spring-and-autumn street cleaner uniform which has enhanced functionalities such as motional flexibility, safety and soil proof. The questionnaire survey of this study was done by street cleaners who were in charge of street cleaning and collecting the recyclable waste. The result of this study, easily worn-out parts of the working clothing were the sleeve hems and the front part on the upper uniform, and the trouser hems and zipper on the lower uniform. Easily soiled parts were the sleeve hems, parts of arm on the upper uniform, and the trouser hems and knee parts on the lower uniform. Based on the results of the questionnaire survey, the sample uniforms were designed in consideration of material, design and pattern. A soil-proof material was used for easily soiled parts such as sleeve hems, knee parts and trouser hems. Reflective material was applied to the parts such as chest, back and the side lines of sleeves and trousers to raise visibility in working and to ensure safety. A crease was given to each side of the back. The height of sleeve cap was lowered to lift the motional flexibility of back and arm parts. Darts were applied to elbow and knee parts for a three-dimensional design. Gussets were inserted in the thigh part to give it activity. Then quantitative evaluation and a sensory evaluation, which was composed of outward appearance, motional flexibility and fitness for field operation, were conducted. According to these evaluations, the sample uniform was found to be more satisfactory than current uniform.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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• pp.410-419
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• 2009

The purpose of this study was to develop the functionally improved winter work clothing for the Korean railroad workers. Based on the questionnaires, sample clothing for the Korean railroad workers was produced. The design, materials, and patterns were modified to increase mobility and comfort for workers. Water-repellent treatment was added to the material in order to decrease the dirt and stains while working. Also, reflective strips were added to side seams and hems of the trousers in order to increase the visibility and safety of the workers. In terms of the design and pattern, a circumference of 4.5cm was added to the crotch area in order to minimize tightness on the hip and crotch areas, but no additional circumference was added to the hip area. And a 1cm width dart was inserted between the side seams and yoke in order to add activity. Also three 1.4cm width tucks were used at 2.5cm space on the knees to alleviate tightness at the knees. The prototype was evaluated objectively and subjectively to compare with the existing working uniform. The assessment group consisted of 5 subject groups and 11 expert groups to evaluate external appearance and adaptability of the movements. Subject and panels were asked to evaluate the prototype that followed an ergonomic design and pattern. According to the results, the prototype was evaluated better than the existing working uniform in appearance and adaptability. A field test was conducted to compare the prototype and the existing working uniform. The field tests were performed by 6 workers in the Korean railroad. According to the results, the prototype advanced in terms of adaptability and comfort.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.58-71
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• 2006

This research is aimed to develop the functional clothing designs for disabled women in the manner of investigating design preferences among them by means of questionnaire and interview with 150 disabled women as respondents and interviewees. The findings of this research are summarized as follows: 1. Regarding satisfaction with ready-made clothes, the respondents answered 'very satisfied' (1.6%), 'usually satisfied' (14.1%), 'moderate' (20.3%) and 'unsatisfied' (53.1%), suggesting that they had been generally unsatisfied with ready-made clothes. 2. There were more disabled women preferring to ready-made clothes with one-grade bigger (loose.) size than the actual one (53.1%) instead of completely fitted size (43.8%) when they purchased such clothes. This result indicates that they prefer to ready-made clothes with bigger size than the actual one because most of such clothes are made up of non-elastic materials which may be unfavorable for wearer's activities. 3. It was found that primarily worn upper garment among them was T-shirt (59.4%). The reason may be that T-shirt is favorable for using prosthesis and orthotics such as wheelchair, walking stick and crutches thanks to its remarkably high activity as well as simple to maintain, compared with other kinds of upper garments. 4. Regarding preferences to functional clothing designs, the primarily worn lower garment among them was trousers (85.9%); the reason was easiness to move. The main reasons of avoiding to wear a skirt included 'difficult to move' (40.6%) and 'exposed disabled region' (30.3%). Accordingly, functional clothing for disabled women should be developed in consideration for their individual characteristics of disability associated with the disabled region such as wheelchair user, crutch user or brace user, In addition, the designs should be made so that they are not different from those for non-disabled people.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.14-23
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• 2006

The purpose of this study is to identify the esthetic features of femme fatale character fashions, which are shown in Movie . The feature of evil femineity is the attribute of evil which brings men to ruin by the dangerous, cunning, and cruel trick, and is expressed in black color, red color, and slash fashion. This fashion shows the dark reverse side of women's sexual desire in relation to anxiety, evil, and death. The feature of sensuality evokes physical pleasures or desires, and maximizes the exposure of sexual regions by tightening or loosening women's body. In the fashion expressing this feature, the forms are fit or loose silhouette. and the colors are black and red. and the materials are soft. This fashion seems to deconstruct the past concept of sex consciousness and emphasize the independent and autonomous femineity. The feature of positiveness combines feminine elements with masculine elements in relation to power elements. This feature is expressed in tailored suit and trousers, with few patterns and details, and in black color and gray color. This fashion reflects the aggressive, challenging, and independent femineity, and expresses the potential defense for the weakness and danger of female body. The feature of purity expresses the earnest and truthful mind, and is expressed in the soft and light one-piece dress, the elegant suit, and the pink color and black color fashion. This fashion shows angel-like and reliable womanly beauty, but at the same time shows women's attribute which changes their behavior and thinking every moment, so that this fashion shows women's double-sided attribute which combines women's weakness and violence, or tenacity and conflict.