• 한국의류산업학회지
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• 제20권6호
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• pp.679-689
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• 2018

The purpose of this study was to investigate the wearing & fit of ready-made and online custom dress shirts by surveying middle-aged men aged 40-54 years in order to collect information necessary for making good fit dress shirts. Also, we analyzed whether there were significant differences in the actual wearing of dress shirts according to the stature of middle-aged men. The stature was classified according to KS K 0050 as $R(157{\leq}x<170)$ and $T(170{\leq}x<182)$. The 23 questionnaire items were divided into three categories: 'General purchasing behavior and wearing', 'Fit satisfaction of ready-made dress shirts' and 'Wearing and fit satisfaction of online custom dress shirts'. Through the results of the study, we could understand the actual wearing condition of ready-made and online custom dress shirts. Also, differences in stature groups were found. The significant differences according to the stature groups were found in the interest in fashion, the purchase criteria, the limitation of the shirt size selection due to stature and body shape, shirt size satisfaction, repair experience, dissatisfaction with purchase and the experience of purchasing online custom dress shirts. Suggestions should be made to improve dissatisfaction with stature groups in the ready-made dress shirts. In addition, the study confirmed the consumer demand for the online custom dress shirts. In order to activate the online custom market, the online custom dress shirts company needs to reduce consumer dissatisfaction and improve size suitability.

• 복식
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• 제58권7호
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 복식
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• 제50권7호
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• pp.235-247
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• 2000

This study was conducted to consider the formation of sleeves from the point of view that dress is one of expressive arts. The formative meaning of a sleeve and its chronological formation according to its formative changes as an evidence showing the Internal changes of social culture were examined, centering around day dress of England in the 11th to 19th centuries. Then, sleeves were formatively classified and their aesthetic values were considered to help do formative, aesthetic expression of dress design in the present times. Literatures and references concerning the history of domestic and foreign dress were used as a method of study. The results of this study are summarized as follows. 1. In the women's dress, the formation of the sleeve focuses on aesthetic decoration. This means that in the androgentric society the status of women are subordinate socioculturally. 2. Sleeves were classified into a fitted shape and a extension shape according to the aesthetic formation. The fluted shape expressed the beauty of body with emphasis old natural body, whereas the extension shape represented aesthetic expression of decoration. 3. The formation of a sleeve has influence on forming an image of dress by making the silhouette of dress natural or distorted, expresses the harmonious beauty of the whole dress, and produces the expressional beauty that gives a distinct characteristic to a dress.

• 복식
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• 제54권1호
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• pp.97-108
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• 2004

This study was conducted to examine the marking efficiency of a dress pattern in order to reduce textile loss by pattern marking. A basic one-piece dress pattern saved to the Yuka CAD System was graded with different sizes and arranged for industrial purpose to calculate the marking efficiency in different conditions. Condition of marking experiment is made it a rule to use 150cm textile width and apply 44, 55, 66 pattern size for three pieces of a dress patterns. The results of the study indicated that the marking efficiency rates of the dress pattern with a separate facing was higher than the one with a self facing. In the dress pattern with a separate facing, the separated seam at center back was appeared to have a higher marking efficiency than the extended seam. It was also found that the efficiency rate was higher in the pattern with a seam at center back when comparing with the dress pattern without a seam. When the marking with a horizontally-loaded collar was compared with a vertically-loaded collar, the efficiency rate was higher for the collar loaded horizontally, The result of the study showed that the type of facing, the location of a seam, and the direction of collar loading were the factors directly related to increasing marking efficiency. The dress patterns marked efficiently in terms of a type of facing, seam, and collar treatment can reduce fabric loss and also shorten the time needed for marking process.

• 복식
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• 제53권3호
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• pp.121-135
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• 2003

This paper is about the dress styles during the 16th century of the Chosun dynasty, just before the Japanese Invasion of Korea in 1592, through painting-Kiyeonghoido. In the Chosun period, dress styles played an important role in representing the differences in social status. The most remarkable signs of social standing are the hair ornaments. Officials in ranks, noksas, and seoris are wearing a same, a yugakpyeongjeongeon and a mugakpyeongjeongeon respectively. The head ornament for musicians in high ranks is a samo, and, for those in low ranks a hood or a heuklip. Accordingly, head ornaments were important articles among apparels, and especially ripja was an article that sensitively reflected the contemporary fashion. Such a trend also influenced the common people's styles of dress. Thus, the style of the heuklip worn by the chamberlain in Kiyeonghoido resembled of yangban's. Actual official uniforms also diverged from the specifications for them. Sangboks were red for both dangsanggwans and danghagwans, but their ranks were marked by the material of their dress rather than by the breast plates. Dress styles change over time as the society members influence and are influenced by each other. Therefore, owing to the social characteristics of a hierarchical society, dress styles are distinctive according to the wearers' social standings and roles, and various dress styles emerge that deviate from regulations. The significance of the present paper is to review the diversity of the dress styles during the 16th century of the Chosun dynasty.

• 복식
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• 제52권7호
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• pp.27-44
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• 2002

The Folk-dress of some parts of the traditional style is extremely focused and puts value on protecting itself against changes. Generally rural areas are much more conservative politically economically, and culturally. Its environment is sluggish and slow and daily routines change slowly. So they take friendly a position between a race and geographical and environmental differences which is expressed in the Folk-dress. Also, a dress is the most preferred individual object as a symbol of collective homogeneity. By those people who preserve these kinds of the individual objects and by those people who have ethnic conservation, folk-dress was handed down to the present age and the festival dress was used as a tool of ethnic tradition and binding. Therefore, 1 would like to study and research the differences between the folk-dress of the Lithuanian historical and geographical factors and the folk-dress of the surrounding north-eastern European countries. Especially when we compare these with the folk-dress in terms of historical, cultural. and political relationships between Lithuania and the north-eastern European countries, we can find out that they had a good effect on the folk-dress historically and culturally.

• 복식문화연구
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• 제1권1호
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• pp.33-68
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• 1993

The purpose of this paper is to survey the influence of the culture change on the dress and personal adornments, and to survey the change of factors from the August 15. 1945 to 1960, in connection with the social and cultural background, applying B. Malinowski′s "Theory of Culture Change" which means an acculturation is the change′s elements of the dress and its ornaments. It is remarkable that the dress and personal adornments of Korean women after August 15, 1945 has great change from the traditional dress of the thousands years. Through the Liveration on August 15, 1945, American military government and the establishment of the Korean government, American democracy has brought many changes on Korean society. Advancement of education, an society with developed economic life, and introduction of scientific skill have influenced on the women′s way of thinking and a style of behavior and the view of value. The acculturation, the supply of mass communication, introduction of new institution and the reorganization of the old institution, the change of the economic situation, the change of the educational system, the change of the point of value, the development of scientific skill have greatly influenced on the dress and personal adornments. Modern dress and personal adornments of Korean women has the following developing procedure. The Liberation from Japan on the 15th, of August, 1945, the stationing of American Soldiers during hte Koran War, returning of the oversea′s brethern, and the mass communication have the direct and indirect contact with western civilization, and bring the occasion of development of the modern dress of Korean women. The increase of mass communication, such as radio, TV, newspaper, magazines and the frequent fashion shows showed fine design and practical western style dress to the women. This was the real beginning of the western style dress in Korea. By the increase of employment and the improvement of the economic situation, the consumption of clothing and the adornments was increased, so that a wide variety of fashions was set, and numerous kind and form of dress came in. As the increase of the number of women students, their practical and free dress life demanded western style dress. After the Liberation from Japan, the open-door policy of sex, public morals and traditional ethics became lax, and in this disordered society, indecent expose of the body was common. By the different kind of technological development, the form, fabrics, colors and patterns in clothes were much influenced and the hair style, make up, shoes and adornments were much influenced too. As shown above, the change of the dress has the same connection with that of society and culture. This shows that the dress and personal adornments represent clearly the cultural phenomenon of the society and cultural change of the society.

• 한국의류학회지
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• 제40권6호
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• pp.1116-1133
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• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• 패션비즈니스
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• 제10권5호
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• pp.159-179
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• 2006

This research checked about the necessity for the development of men's dress forms in the first investigation for the educational circle and the men's wear industry. Somatotype characteristics were analyzed in the second investigation of body measurement with the subjects of 200 male adults in their twenties residing in Busan. The following are the results of the present research to develop male dress forms for patternmaking: 1. In the group analysis for the characterization of front body types, three somatotypes were found and named H, Semi X, and Y. In the cluster analysis of side body types, four types were identified: D, I, d, and q. In the combination of front and lateral body types, four kinds were chosen: semi X-I, semi X-q, semi Y-I, and Y-q. 2. Through the comparison of plane figures by the plaster method as well as horizontal and vertical cross sections by the sliding gauge method, semi X-I was finally chosen as the standard somatotype for male dress form development. 3. Compared with the sliding gauge method of the present dress forms, the research dress form reflected better the shapes of the parts of the back and hips and the position of the waist, especially for males in their 20's. In addition, the dress form in the current research had superior points in all the items of clothing evaluation. Based on the above results, the sizes and models of the men's dress forms for patternmaking were developed.