• 대한가정학회지
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• 제11권3호
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• pp.276-284
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• 1973

An experiment, aimed at finding out the adhesive condition when adhesive non-woven fabrics for padding cloths are used for padding cloths of blouse, has been conducted. Materials used were three different kinds-scoured, sanforized, and permanent pressed- of combined fabrics of polyester and cotton. As for padding cloth material, mixed spinning nonwoven fabrics of polyster and viscose rayon have been used. Adhesive conditions were made each at $120^{\circ}C$, $140^{\circ}C$, $160^{\circ}C$ and $180^{\circ}C$, respectively, and adhesive time has been limited to 5, 10, 20, 30, 40 seconds each. External appearance as well as quality have been watched through washing experiment. In case of 12$0^{\circ}C$, all experimental materials were separated at the seventh washing and as for $140^{\circ}C$, all but the material which has been attached on scoured cloth for 40 seconds were separated. In case of 20 seconds only permanent pressed cloth and sanforized cloth were separated. At 30 and 40 seconds, the adhesive conditions have been maintained up to the seventh washing. In case of 5 seconds $180^{\circ}C$it was not turned yellow, but all were separated. In case of 10, 20, 30 and 40 seconds, at above temperature all were turned yellow in the adhesive process. Therefore, the adhesive power could be said strong enough, though it was not very practical. In this experiment, the lower the temperature of iron is, the longer time it has to be touched. At higher temperature however, relatively short time makesn it possible for adhesion and depending upon the finishing methode of cloth, there is slight difference in adhesive power. As a result, the best adhesive condition for all experimental materials is $160^{\circ}C$of iron temperature, and the time of adhesion is between 30 and 40 seconds.

• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• Human Ecology Research
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• 제52권4호
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• pp.347-354
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• 2014

'Heongbu and Nolbu 1' is a series of the on-line game 'Tales Runner.' It is based on a traditional Korean fairy tale. However, the game characters in Heongbu and Nolbu 1 wear casual clothes even though the game is set in the Joseon Dynasty. Therefore, this paper presents proposed game characters clothes based on traditional Korean costumes from the Joseon Dynasty. This work should help inspire gamers and game designers with the beauty of Korean traditional costumes and familiarize them with an aspect of Korean people's identity. A literature review of online games and game characters was carried out, and game characters' clothes were analyzed. The design motifs of historical relics of the Joseon era were evaluated. Three styles, one traditional and two "fusion" styles integrating traditional and modern elements were proposed for each of the 4 characters: Chowon, Ruff, Bada and Abell. The chulrik and jurip were used as design motifs for Chowon. A traditional chulrik, short chulriks and pants are suggested. Second, the dongari and jeonrip were used as design motifs for Ruff. A traditional dongdari, sapok pants, deck pants and a vest are suggested. Third, the jeogori and chima were used as design motifs for Bada. A traditional female hanbok, arm warmers, short-sleeved jeogori and dress are suggested. Fourth, the dang-ui and daeran-chima were used as design motifs for Abell. A traditional dang-ui and daeran-chima, blouse, skirt, jumper and tight Bermuda shorts are suggested. The length, shape and color were converted into new styles, but some traditional elements such as the git and goreum were retained.

• 한국의류산업학회지
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• 제2권4호
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• pp.331-338
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• 2000

To study on the actual condition of care label attached to clothing and consumers' perception, 250 summer clothes sold at department store-blouse, trousers, one-piece dress, knit cardigan and skirt-were investigated during July 2000. In addition, a questionnaire was administered to 192 women in Taegu during August. The fiber contents of surveyed clothes were polyester 100% & polyester blend (26%), rayon 100% & rayon blend (18%), cotton 100% & cotton blend (17%), wool 100% & wool blend (14%) and others. All clothes surveyed were attached care label and the signals showed on care labels were 4~6 kinds about cleaning, squeezing, drying, bleaching, and ironing methods. 92% of clothes had to be dry-cleaned and only 8% could be wet-cleaned. Considered the surveyed clothes were for summer which needs frequent washing and the clothing items, the number of clothes had to dry-cleaned were too many. The bleaching instructions were no chlorine bleach (74%), no bleaching (21%) and others. The ironing instructions were cool ironing ($80{\sim}120^{\circ}C$) with cover (24%) and warm ironing ($140{\sim}160^{\circ}C$) with cover (69%) primarily. The drying instructions was dry on a hanger in the shade (54%) and 38% had no signal or incorrect signal. The properties of summer clothes considered important by consumers were wrinkled hardly, hand-washable, machine-washable, needed no iron and etc. Actually most of summer clothes were hand or machine-washed. Also, the majority of respondents felt inconvenient to have to dry-clean summer clothes. More than 80% respondents looked over care label and fiber content label before buying clothes. However most of respondents did not followed that instructions exactly and thought care label instructions were not correct. Considered this results, the suppliers have to make efforts to attach correct and appropriate care label which furnish the correct information to consumers.

• 한국의류학회지
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• 제31권5호
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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.

• 패션비즈니스
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• 제2권1호
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• pp.35-48
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• 1998

The purpose of this paper is to examine the street fashion, which is influenced by the youth culture in 1960s. Youth culture is the youth subculture which appeared multiform in the 1960s. It tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. Youth cultures as youth subculture are symbolically expressed in their style which had strong characteristics of sub-fashion and anti-fashion, and which are different from mother fashion in shape. Therefore youth subculture fashion had an effect on street fashion in the 60s. The influence that the youth culture fashion had had on the street fashion is summarized as follows: Beats fashion was intelligency look on black dress, black polo-neck shirts, black trousers, black glasses and heavy black eyeliner. Mods fashion was neat style on Edwardian suit with narrow trousers, pointer-toeshoes and smooth croped hair. Folkis fashion was ethnic look, middle east asian look, peasant look, Indian style, south america look, gypsy style, natural materials, natural dying, tie-dye, beads and hand made ornaments. Rockers fashion was violence appearance categorized 'blue collar' on black leather jacket decorated with metal studs and hand-painted insignia, blue jeans and boots for motor bike. Swinging London & the Psychedelics fashion was blend mods look with pschedelic color and motive pattern. Hippie fashion was intermix pschedelic and natural or ethnic style. It was appear to be a meaningless, unpredictable assortment of diverse items and style. Faded and tattered jeans, army jackets, vintage hat, beads, embroidered headband, white sheets, diverse theatrical costumes, sandals or bare feet, granny dress, peasant blouse, blanket cape, tie-dye T-shirts and long hair. Greasers fashion was adorned black leather jacket with chains, fringing, badges, insignia and sleeves had been crudely ripped off. They came to be known wore jeans so soaked with oil. Skinheads fashion was aggressive working class identity with donkey jacket, jeans rolled up, collarless union shirts, heavy boots, braces and hair cropped short.

• 한국의류학회지
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• 제34권10호
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• pp.1596-1610
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• 2010

This study investigates the studies of development of apparel basic pattern published in domestic journals and the trends in related studies. It also provides basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December 31, 2009 and retrieved by a keyword related to the design of basic apparel patterns. The data was classified by the journals, the year of publication, research themes, research subjects, and research methods. They were analyzed to find out the overall distribution status and characteristics by time. The number of theses for the analysis was 73 published in 11 Journals total. Reviewing the theses by dividing the times into 7 Chronicles of 5 years in each term since the first thesis was published in 1968, it was found that more active research had been done as time went by. The theme of the theses in most cases was the composition of western apparel. As for items, most cases were on the study of bodice torso basic patterns. Since the period of 5-6 Chronicles, studies in the pattern of underwear, jacket, shirts blouse have gradually increased and the development of patterns using elastic materials are increasing as well. Women were dominant in the studies as subjects and so were young people of both sexes. Unlike the studies in earlier times that focused on the average figure, studies on developing patterns for various figure types have been made since the 5-6 Chronicles. However, there were limited studies on the figures of infants, male youth, seniors, and obese males. As for the research methods, there were common processes for validity testing of patterns through the measurement of the human figure, survey of customers and companies, designing pilot patterns, and wearing trials. The studies showed characteristic the differences in research methods according to the period.

• 한국의상디자인학회지
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• 제8권3호
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• pp.59-71
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• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• 한국생활과학회지
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• 제23권5호
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• pp.843-859
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• 2014

The purpose of this study is to find the differences among the clothing brands through examination of present situation about uniform design in domestic coffee houses and provide the basic materials in developing uniform designs to reflect the brand identity. For research contents and method, the overall circumstances were examined about the domestic coffee houses and their uniforms at large via literature review. Then, characteristics on their 10 uniform designs were reviewed according to item, color, pattern and accessary. The following are results. First, cardigan, cap, and necktie according to the individual brand are added with basis of shirt and apron in composition of coffeehouse's uniform. Second, in cardigan, those colors including black, navy and brown are used, reminding of the coffee. Brand logo or symbol is also presented on it, which addresses the brand image. Third, the kind of shirt consists mainly with long or short shirt blouse and long sleeve or short sleeve pique shirt. Job title or gender differentiates the shape and color. Fourth, one-piece type is commonly applied for the apron. At the same time, a short skirt is put on as well. An image expression is often found by the unique brand color also, but mostly, some dark tones like brown or black are largely used. Fifth, in cap, various kinds are worn including the cap as in the case of baseball, fedora, beret, and hunting cap. In color, black or brown color same to that of apron is common, which fails to show differentiation. Thus, consideration of color remix with application of brand symbol is thought to be an alternative to this.

• 복식
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• 제56권4호
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• pp.160-170
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• 2006

The purpose of this study is to analyze the image of color combination in fashion design. For this study 14,121 color samples were collected from 116 fashion brands selected by the market segmentation based on the results of the previous studies. The brands have high market share and brand recognition in each segmental market. The color samples were measured by spectrophotometer and analyzed by the Munsell's H V/C and CIE $L^*a^*b^*$ value. The representative colors of each market were selected concerning the tensity in CIE $L^*a^*b^*$ color space and the distance between the color samples. h4 a result, 2,213 representative colors were chosen. These color samples composed top and bottom color combination samples by the program 'Item Comparator' that calculated the color differences$({\Delta}E^*)$. Top includes the items such as blouse, shirt, and coats, bottom includes the items such as skirt and pants. The color combination samples were divided into two groups. In one group ${\Delta}E^*$ was less than 30, and In the other group ${\Delta}E^*$ was 30 or more. For investigating the image of color combination, 480 rotor combination samples were classified. The image adjectives for the survey from preceding studies and brand dictionaries were 'classic', 'modern', 'feminine', 'casual', and 'romantic', which have highly preferred in women's wear brands. The result of the study is as follows; For 'classic' 'image, YR, and greyish tone were generally preferred. In the color combination of 'casual' image, the samples with PB color and greyish tone were preferred. For 'feminine' image, RP was preferred as a top color, R, RP, P were preferred as a bottom color. For 'casual' image, PB was preferred as a top color, PB, B were preferred as a bottom color. For 'romantic' image, RP was preferred as a top color, R, P were preferred as a bottom color. The bigger the color differences between the color combination samples were, the more remarkable the image of color combination samples was.