• 복식
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• 제29권
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• pp.5-22
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• 1996

the present thesis aims to contribute to the further development of the men's wear indus-try in Korea which now confronts the need to adjust itself more actively to the conditions of the coming age of internationalization and free trade. To achieve this this thesis suggests the trade should provide for the changing domestic needs on theone hand and refine its wares as high value-added products in compe-tition with those from the advanced countries in fashion industry on the other, The history of the 'suit' the standard men's attire dates back to 1850 when the 'Ditto suit' was introduced composed of coat waist coat vest and trousers to remain virtually unchanged till the end of the nineteenth cen-tury and the modern men's wear originated in Britain. In Korea since the introduction of western clothes from 1876 custom-made suits had been dominant until 1944 while western clothes earned popular currency between 1945 and 1964 and ready-made suits began to spread with their advantages recognized in terms of practicality convenience and functionality The next phase from 1965 to 1985 witnessed the establishment of a number of ready-made brands although custom-made suits stayed in their height of prosperity until 1975. The turn-ing point for the men's wear industry came in 1975 when high-calss ready-made brands be-gan to turn up with the arrival of large companies in the market matching the change in consumers' life style. The men's wear market went through further diversification and specialization dur-ing the years between 1985. and 1990. Around the year 1990 however the expansion of the business suit industry came to slow down ac-companied by an oversupplied market. The fashion of pragmatism in the 1990s called for the growth of the casual wear department and as consumers' life style became more and more individualized conscious dressing in accord ance with T.P.O established itself as an important branch of culture, Such casual boom is likely to aid in promoting Korea's men's wear indus-try to peer with that of advanced countries. Consumers' fashion sense is now ahead of the trade's as well as being shortcycled highly individualized stylized and diversified. To meet consumers' demands under such circum-stances each company is required to develop its unique soft Know How based on accurate information and strategically specialized plan-ning. The trade should convert its hithero producer-oriented strategy to a new consumer oriented one and actively lead the needs and purchasin g pattern of consumers by providing an efficient and reasonable price policy with optimum supply of merchandise and also by presenting 'our' trend suited to our circum-stances.

• 복식
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• 제63권2호
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 복식
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• 제32권
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• pp.163-182
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• 1997

The purpose of this study was intended to analyze artistic formativeness represented in the modern fashion design materials. Nowadays the modern fashion design materials is characterized by variety. The fashion materials the most important of fashion is called a softwear in textile industry and emerged as a new field. Fashion design also escaped from the tra-ditional restraint and extended to pursue lib-eral clothes and the designer's creative inten-tion has resulted in conceptual and conven-tional alteration as a new mode of plastic ex-preseeion. As a results of analysis of the formative fea-ture of Art style represented in the modern fashion design materials. First Surrealism had been searching for a new way of confronting a social and rtistic environment that was stifling and repugnant to them. Accordingly the wide applicaytion of the various object due to the thought of Sur-realism through the modern fashion materials brought the diversification and individua-lization of the modern fashion design. Second Pop Art that is made modern mech-anic culture and commercialism brought the great transformation in the history of Art out of the existing style and the sense of ex-pression. And the plastic characteristics of Pop Art that has a gravity as modern fashion materials on a them of the elements of popular consumer's society. That is the common and cheap objects were introduced into fashion materials itself or pat-tern. Third Minimalism is a trend in art att-empting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means. The features of external form are simplicity clarity unrelated composition and symmetrical structure. Mini-malism was a quest for basic elements repre-senting the fundamental esthetic values of art. The minimal expression in modern fashion materials mean fabrics with simple surface and is contained using simple geometric pattern or utilizing textiles without any patterns. Fourth Eroticism is a kind of psychological revolution in the development of human civilization and is deeply rooted in the cultural tradition of myth religion customs and art. So Eroticism must be distinguished from a mere animal reproduction. These erotic char-acteristics were holded the meanings of sexu-ality through the modern fashion materials. Especially it was expressed the sexual part of body was nakedly showed through trans-parent materials or semitransparent like metalic and opaque materials. Recently the various kinds of new materials such as paper vinyle plastic metal as well as human body were applied to new fashion de-sign. First of all the new materials will give modern fashion designers stimuli and inspi-ration. It can also express values of moderners to despise materialism and uniformed modern society and to recover humanity and self-actualization.

• 복식
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• 제59권7호
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• pp.17-33
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• 2009

The purpose of this study was to get some pieces of prior information to eventually develop high value-added fashion cultural products design using local cultural resources, to promote the cultural tourism festival. For this purpose, this study is carried out the investigation of cultural product stores and visitors' questionnaire survey. The subjects of this study were festivals which were selected as cultural tourism festival by the Ministry of Culture, Sports and Tourism from 2000 to 2008. Of them, six festivals were finally selected but food festival was excluded. The results of this study were as follows; First, the store survey was conduced to analyze the situation of the products of cultural tourism festival. The most frequent product was accessories. And a T-shirt was found to be sold every festival probably because it was the most popular item and basic item which people could buy without burden. While the most diverse kinds of products were found in the Andong, the Jinju and Gangjin were found not to develop various products. In the design motif used for cultural products, most products did not use festival or local image. The highest use of the festival and local image was found in Gangjin and Muju. The Andong and Chungju were found to sell very common products buying anywhere rather than products using local cultural resources or image. In the material of cultural products, most products use metal. And In the price of cultural products, 10,000-30,000 won was found highest. Second, the purchase conditions of cultural tourism festival visitors were examined. The visiting goal and companion of visitors was found to vary with the type of cultural tourism festival. The types of visitors were also found to have an effect on the choice of items in the purchase of cultural products sold in the festival. Only one third of respondents responded buying one and more cultural products. The purchase rate was found high in the festival where cultural product items were various and there were many products symbolizing festival or region. The most purchased item was a mobile phone hanger and the amount of purchasing cultural products was 10,000-30,000 won. The reason not to purchase cultural products was dissatisfaction with utility, originality, possibility of a present, symbolism, and price. The most important attribute in the purchase of cultural products was design, followed by symbolism, price, originality, and innovation. The highly preferred product group included clothing, miscellaneous goods, and accessories. Specifically, T-shirt was found highest. Based on these research results, it was found that the design strategy for the cultural products development should consider both regional and festival images. The items and designs of the cultural products should reflect visitors' characteristics and the price zone should be varied.

• 한국의상디자인학회지
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• 제4권2호
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• 한국의류학회지
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• 제31권6호
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• pp.911-922
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• 2007

본 연구에서는 패션에 나타난 아프리카 이미지에 대한 정확한 시각과 현대 패션의 이해를 목적으로 서양사에서 바라보는 아프리카 이미지와 예술, 아프리카복식의 일반적 특징, 아프리카 이미지의 패션 등장배경 및 시대적 흐름을 토대로 하여 2005 S/S컬렉션에 나타난 디자이너와 디자인작품을 요소별로 분석하여 아프리카 이미지를 도출하였다. 2005년 S/S세계 4대 컬렉션에서 선정된 10개의 디자이너와 브랜드 작품에 나타난 아프리카 이미지는 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant', 'Sporty Romantic'의 4가지 특성으로 나타났으며, 이를 디자인, 디자이너, 패션트렌드 측면에서 아프리카 이미지에 대한 현대 패션의 시각을 살펴보면 다음과 같다. 첫째, 현대 패션에서 아프리카 패션은 주술적, 종교적 의미보다는 장식적인 디테일을 강조하는 경향으로 나타났다. 즉, 토속적인 감각과 도시적 인 감각을 조화시켜 주술적 의미에서 장식적 의미로 이들을 차용하였다. 둘째, 패션디자이너는 아프리카의 원시성, 순수성의 힘을 현대인의 회귀심리 및 자연의 순수성에 대한 동경과 결합시켜 아프리카 이미지를 패션문화의 한 코드로 인식시키고 현대 여성의 도시적 야성미를 독특한 스타일로 연출하였다. 셋째, 아프리카 이미지는 원시생활속의 미의식에서 찾을 수 있는 창작 디자인으로서의 영감은 물론 이국취향의 창의적인 이미지로 연출되어 패션트렌드의 강한 키워드로 자리매김하며 21세기 초두의 트렌드를 주도하였다.

• 한국의류학회지
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• 제31권9_10
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• pp.1418-1430
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• 2007

To strength global competitivenss and raise reputation in times of globalization, the practical use and development of traditional culture which must be discriminated against other countries wedging their ways. The purpose of this study is, 1. Make the mutual relationship between globalization of Korean traditional clothing(Hanbok) and the strean of the international fashion clear. 2. Deduce a common primary fact through commonness of international great products and a success of globalization in Asian nations 3. Suggest a scheme for globalization of Korean traditional clothing from the flank of a design and a policy on the basis of analysis. The consequence of this study is, 1. In the situation that modern international fashion focused Re-Orienting Fashion, Korean traditional clothing-Hanbok is considered as the most priceless value of application for an effective design sauce to differentiate.2. The common point between International leading fashion brands and success of globalization of each Asian nation is to pursuit an effective marketing strategy through a proper harmony with a differentiated 'uniqueness' which is motivated from their tradition, a sense of modern trend reading, and a 'generality' which fits in their lige styles. In consequence, we must develop typical design factors to be connected directly with Korean traditional image from the flank of design, For this, the typical design factors need to be applied with grafting tradition and modern ideas, simplicity, convenience, fleshly senses, and youth.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 한국생활과학회지
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• 제23권6호
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• pp.1191-1204
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• 2014

Even though a Han-bok, or traditional Korean costume, should be inherited since it is invaluable part of our culture, research on Han-bok is scarce. Since the development of a Jeogori pattern, the upper garment of Korean traditional clothes, is done mostly based on the chest size, the design does not completely consider on wearer's body shape. Moreover, unless made by an expert, trial and error is almost always necessary to improve the fit of the clothes. In this research, a Jeogori pattern was suggested that improves the fit based on the shape of the upper back(straight or bent) of a female in her late 20s who often wears a Han-bok and is comfortable when moving. Using a 3D virtual clothing system, the optimum pattern was selected based on the body shape. The final selection was made, and each subjects tried the garment on to evaluate the comfort when moving, along with its appearance, based on a seven point Likert scale. As a result, for a straight body shape, the optimum ease for the front bust width was 2.5cm, and that for the back bust width was 2.0cm. The optimum center back dart was 1.0cm. The optimum Geodae width was 7.6cm, and the optimum back Geodae point was 2.0cm. For the bent body shape, the optimum ease for the front and back bust was 2.0cm. The optimum Geodae width was 8.4cm, and the optimum back Geodae point was 1.5cm. Furthermore, if the Hwajang slope was set at half of the vertical distance between the laterals of the neck and shoulder, a fitted silhouette appeared, which is preferred nowadays. In the appearance evaluation, the final pattern designed in this research received higher scores than the original design(straight; p<.001, bent; p<.05). The results of the evaluation of the comfort when moving also showed higher scores for the final pattern that was designed.

• 대한가정학회지
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• 제41권8호
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• pp.33-53
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• 2003

A Study on the color comparison of Korean Saek-dong and Italian futurist fashion It is generally recognized that the color scheme and its characteristics as a product of living culture are strongly reflected in clothing. This study concentrates on the color comparison of Korean Saek-dong which has been used in traditional Korean clothing and Italian futurist fashion which showed dynamic characteristics and brilliant colors. The purpose of this study is to investigate the external format, emotions, functions and meanings of the colors in Korean Saek-dong and Futurist fashion, and to find similarities and differences between them. The results of the study are as follows. The similarities between them are harmony of vivid colors like a rainbow, no-use of black color and expression of rhythm through repeated geometrical shapes. They have been used as festive costumes and have implied meaning of happiness and pleasure. The differences, in the external formats, are as follows. Korean Saek-dong has striped patterns including the color white, and has regular distances among the stripes. But, Futurist fashion includes luminous or fluorescent colors and metallic colors. In addition, it has repeated motifs of geometrical shapes and geometrically divided areas. While Saek-dong expresses Sangsaeng through the conceptual use of color, Futurist fashion shows simultaneity, speed and dynamics through spiritual functions of crossing and inter-penetration. In emotional aspect, Saek-dong expresses pleasure of children's mind and Futurist fashion expresses pleasure of city. In functional aspect, Saek-dons expresses a concept of ceremonial beauty, which is spiritual and symbolizes good auspices, holiness and sorcery. So it is used for ceremonial costume. But, Futurist fashion reflects the harmony of colors created from modem and urban images and shows the willingness and emotion of solving futuristic avant-garde, modernity, dynamics, transformation and bellicosity. So it is used for daywear. While Saek-dong represents succession of tradition, Futurist fashion represents resistance of tradition in cultural aspects.