• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.4
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• pp.388-399
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• 1989

The purpose of this study was to investigate the effects of garment design, fabric type and the presence of lining on the thermal insulation value $(I_{cle}\;and\;I{cl})$ and clothing area factor $(f_{cl})$ of skirts. A standing, electrically heated thermal maninkin was used to measure the insultation value of eighty skirts-five skirt styles with eight different fabrics, with and without lining. The air temperature of the chamber was set at $22.2^{\circ}C{\pm}0.5^{\circ}C$ , air velocity was limited to less than 0.1 m/s, and relative humidity was approximately $50\%$. The results are as follows: 1) The Ic, values of gathered skirt and flared skirt, which had high $f_{cl}$ values, were significantly higher than those of other skirts, though the highest $I_{cle}$ value among five styles wer pegged skirt. 2) Insulation values of various skirts were more relevant with physical properties such as thickness, air permeability, and thermal transmission of the materials rather than fiber content. 3) The addition of lining made significant difference in the insulation values of skirts and the differences of gathered and flared skirt were significantly higher than those of othere types of skirts.

• Journal of Fashion Business
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• v.15 no.3
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• pp.67-83
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• 2011

Korean film "Swiri"(1999) as well as a popular film is the first Korean blockbuster Film. In addition, the number of viewers is very common in Korea a large ripple effect that Korea film "Swiri" in his works were selected to act as a hero and contextual significance confrontation between the two figures through the symbolic analysis of clothing styles and colors Analyzing the meaning of space and a scene in the background with the colorful costumes and would like to study. In detail, the film's central character theme and image suggesting that dramatic reversal the character's personality through the clothes I was expressed through clothing styles and colors were analyzed with symbolism. Korean film "Swiri" the film's DVD player application from the situation or story that is considered to be important psychological conflicts selected twenty-seven screens in the study were collected still images. Data collected for the effect of color contrast and color analysis technical. The center of the video footage, the film's main characters costumes and background colors of the space was to examine the significance and symbolism.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.2 s.24
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• pp.69-89
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• 1987

The objective of this paper was to identify the general concept of subculture; to assess the symbolism of youth subculture style, such as Teds in the 40's, Mods in the 50's, Skinheads and Hippies in the 60's, and Punks in the 80's, giving an inspiration to many high fashion designers. The data were collected from eye-wittness reports, interviews, magazines such as Vogue, The Face, and The Sunday Times, postcards, and photos taken by authors. Youth subcultures were symbolized as 1) a social protest and disaffection against social class and racism, 2) an expression of shock value for nihilism, anarchism, and vandalism, 3) a meaningful sexual fetishism concerning gender confusion, and 4) an emotion of rage, fear, and alienation among working class youth. One cultural form in a subculture is its 'style.' Costumes, appearances, and accessories such as hair style, make-up, and jewellery were playing an important role in forming a subcultural style. The symbolism of youth subculture was well depicted on their clothing styles, which had influences on Zandra Rhodes's, Body Maps', and Hyper and Hyper's fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.5
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• pp.742-752
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• 2019

This study analyzes the type of subjectivity of married women who have experienced pregnancy and childbirth. It also provides basic data on clothing development that can provide satisfaction to the physical comfort and appearance of pregnant women by understanding the conditions necessary for maternity wear design. This study used Q methodology. The type of recognition for maternity wear was classified into three types and explained 90.88% of total variance. Type 1 was comfort and activities style-oriented. They preferred the A-line shape with a size adjustable style and elastic material. In addition, they preferred designs using details such as wrinkles. Type 2 was a fitted body and modern style-oriented. It was analyzed that they prefer a pants style that is close to the body in a simple and modern style of monotone. Type 3 held a lot of space and was cute style-oriented. They preferred cute dress style along with a maternity suit that could cover the hip and abdomen. Maternity wear design is necessary to develop various designs considering preferences because it is classified into types that emphasize comfort, types that emphasize modernity that is close to the body, and styles that emhasize cute styles.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.1
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• pp.12-26
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• 2012

Young people have got to like 'party' and 'attending parties' is considered 'reflection of trendy lifestyle' nowadays. The more party experiences they have, the more party wear styles get various and detail. They want different styles for the next party and it stimulates designers to create something new. We now realize that the party has become popular with an increased market demand for party wear. In addition, we analyze dress styles according to party types to suggest a new dress style to satisfy consumer needs. We suggest two ways to research party wear industry conditions in Korea. Off-line shop managers need to offer practical and various designs for a good price according to party types that make distinctions between on-line and off-line shops. On-line shop managers need to use better materials and develop better service. Considering an analysis of dress style according to party types, an elegant style is good for a formal dinner party and an evening party. A romantic style is good for a season party (such as a New Year's party, a Valentines party and a Christmas party) and a chic style is good for a music party (such as a classic party, jazz party and pop-era party). In addition, the result of a dress style analysis according to party types can be used for the tip for the development of designs to come in the party wear market as well as for a dress style guide to the partiers.

• Human Ecology Research
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• v.52 no.4
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.4
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• pp.697-706
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• 1996

The actual conditions of bed climate are investigated depending on the regions and housing styles used on ondol in autumn and winter. Sixty healthy men and women (30 of them live in apartmrnt and 30 of them live in detached house, 20 of them live in Wonju, 20 of them live in Wonju, 20 of them live in Cheongju and 20 of them live in Pusan) The results are as follows: 1) No significant differences was shown between the seasons of bedclothes thickness. 2) In the autumn, the temperature and humidity of bedroom, on the mattress, inside the bedquilt, and inside the sleep-wear were higher than those in the winter. The temperature of ondol floor and under the mattress in winter were higher than those in the autumn. 3) The differences of the temperature and humidity of bedroom, the bed climate, and the clothing microclimate were significant by the regions and housing styles in both seasons. In both seasons, the temperature of bedroom, on the mattress, inside sleep-wear in the apartment were higher than those in the detached house. 4) The differences of subjective sensation on the bedroom conditions were not significant by the sextons, the regions, and the housing styles. Most subjects perceived that the conditions of bedroom were somehow hot and dry, but comfortable.

• Journal of the Korean Society of Costume
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• v.36
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• pp.121-137
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• 1998

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.151-166
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• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.