• The Korean Journal of Community Living Science
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• v.14 no.3
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• pp.21-30
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• 2003

An underwear originated from when a human lost his purity and recognized his situation. But, it could not be sure when underwear and an outer garment were classified according to a function. An underwear has been used for a decorative and mental function, as well as a practical one. Also, it is the most fundamental medium to understand a human and a period. However, many studies on outer garments not an underwear have been done till now Therefore, this study was done to be arranged and analyzed materials scattered in order to give a correct understanding of an underwear as a clothes. The data were based on the existing fashion pamphlets, fashion magazines and other materials. The main results were as follows; Female's contemporary underwear was classified into Hosiery, Foundation and Lingerie. The Hosiery was again classified into chemise, combination, drawers and brief. The most typical hosiery was a chemise for a health and hygiene, and the drawers was adhered closely to a body. The Foundation which had a function to be well shaped was classified into Brassiere, Girdle, All in one, Body suit, Corset, Waist nipper and Garter belt. A typical contemporary foundation was a brassiere and a girdle. A brassiere had a role to support the breast up and A girdle compensate a hip area. The Lingerie which made body silhouette be vivid was classified into Slip, Panty, Wintum, Linge, Home lingerie, and so on. A slip, a panty and a lingo were typical lingeries. A slip made an outer garment be well-formed.

• 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.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.336-352
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• 2019

This study examines the characteristics of expressing hippie styles in contemporary women's collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study's scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women's curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies' affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• Journal of Fashion Business
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• v.10 no.6
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• pp.52-62
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• 2006

The purpose of this study is to investigate the changes of modern Korean men's pants design from 1962 to 1998 by reviewing fashion magazine advertisements and pictorials. For theoretical study, the characteristics and the importance of apparel advertisements and the changes of modern Korean men's fashion trend were reviewed. For sample selection, first, 932 pictorials of men';s wear designs from Joongang Magazine, Shin Dong-A, Bokjangwolbo, Meot, Men's Life, WWD, and SFAA's photograph album, published from 1962 to 1998 were selected and then excluded some samples that could not clearly identify the pants design. Content analysis method was used to analyze the content of magazines and pictorials. The final samples are classified into pattern, color, length, silhouette, and existence or non-existence of turn-up. Frequency and $x^2$-test were conducted using a SAS statistics package to analyse the data. The results were as follows. ; (1) Solid pattern was the most prevailed throughout the last four decades and followed by stripe, check, the others, abstract, dot and floral. There is no significant difference in the type of men's pants pattern between each decade. (2) It showed a significant difference in colors of men's pants between decades. The colors in men's wear are divided into nine categories and the order of occurrence are as follows; multi-color is the most frequently shown and followed by brown, gray, blue, black, green, pink, yellow, and red. More various colors appeared over the period, however, multi color was the most popular in all decades but in the 60s. (3) Full length of pants style occupied more than 96% throughout all four decades. Due to the popularity of sports wear in men's fashion during the 90s, the shorts style appeared not only in sports wear and casual wear but also in suit style. (4) There is a significant difference in silhouette of men's pants between decades. The silhouette of men's pants were divided into four types and their order of occurrence are as follows; basic, baggy, fitted, and loose silhouette. Basic silhouette was the most prevailed throughout the whole four decades. (5) A significant difference was shown in the existence or non-existence of turn-up of men's pants between decades. Non-existence of turn-up of men's pants was the most prevailed throughout the whole four decades.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.183-196
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• 2000

The purpose of this study was to identify cosemetics purchasing behavior of male college students by clothing involvement. A questionnaire was administered to 246 male collage students living in Taegu and Seoul during September of 1999. Data were analyzed by using frequency, cross tabulation, t-test, χ²-test and factor analysis. The results of this study were as follows : First, the consumers are classified into two categories by clothing involvement ; 65.5% of the highly involved consumers and 34.5% of the lowly involved consumers. Second, the factors of selecting cosmetics were fragrance, quality and price. Third, the major information sources of cosmetics are TV, magazines, outdoor advertisements, newspapers, subway, radio and internet in order of importance. Fourth, high clothing involved group was more fashion oriented and showed more impulsive purchasing attribute.

• Journal of the Korean Society of Clothing and Textiles
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• v.7 no.1
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• pp.17-25
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• 1983

The purpose of this study were to explore specific buying practices of college women and to determine if there were significant differences in shopping patterns between grade level. The participants consisted of 415 college women in grades freshmen through seniors. The data were collected by questionnaires. The statistical analysis of the obtained data included Caculation of the Frenquency Distribution and Chi-Square test. The specific findings of this study were as follows: 1. More than half of the students had purchasing dependence in their clothing purchase. 2. Most of the students planned their clothing purchase in advance, 3. College women interact minimally with sales people. They feel salespeople are not courteous and often dishonest in order to increase sales. They also feel that sales person does not have much knowledge about products. 4. Magazines and store displays affected college students clothing purchases more than other fashion stimulants. 5. Seniors had greater purchashing independence than freshmen. 6. Freshmen considered becoming-ness more important while seniors considered price more important in the selection of clothes.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.845-858
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• 2004

The purpose of this study is to identify the association of military looks with fascist aesthetics and to infer various aesthetic values of fascism expressed in military looks. The research method is documentary studies through the literature and academic papers, and examined masters' and doctors' theses, domestic and overseas books and fashion magazines, photographs and materials collected from the Internet. The facism expressed in military looks is as follows: First, nationalism, reflecting the current ideology of rebellion, appeals to the original national sentiment of the masses. Second, temptation implies that fascism tempts the mass using the nature of charisma rather than by force and, by doing so, accumulates mighty power without military force. Third, mythology is utilizing images and symbols of great appeal to people for absolute power beyond the concept of time. In order to express power for the effusion of emotional energy through the vision for realities and the magical power of images. Fourth, barbarism is always harbored in the conflict and confrontation of interests among ideas, economies, religions and classes on the other side of contemporary civilized society.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.7
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• pp.976-986
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• 2000

The purpose of this study is to clarify the relationship between the visual sensibility and the decorative design of clothing. 41 kinds of costume samples have been selected from photographs in fashion magazines under detail and trimming, and divided into three types according to line, shape, and form. I have measured these images by using Semantic Differential method. The obtained data were analyzed by factor analysis ANOVA, discriminant analysis, regression analysis and MDS. The results of analysis are as follow; 1. Factor analysis has extracted five factors which consist of decorative design sensibility. These factors are Attractiveness, Hardness and Softness, Rhythm, Decorativeness, Cuteness. 2. There were significant differences in visual evaluation of decorative design and demographics 3. The discrimination among formative designs was closely related to decorative image, especially between line and form. 4. The Image effect on Preference, Buying needs, Riches and Pleasant was consist of complicated sensibility. 5. Evaluative dimensions of decorative design were identified by Simple-Complicated, Cubic -Plane perceptive image differed in degree of similarity in spite of same formative design.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.589-599
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• 1997

The purpose of this study was to investigate compostion factor and special qualities of design about Korean clothing image. The 72 samples were obtained from domestic fashion magazines. The questionnaire, which was composed 23 semantic diffrential bi-polar scales, was distributed to 50 female students majoring in Clothing and Textiles. The data were analyzed through factor analysis, anova, scheffe's test, clust analysis. The results were as follows; 1) Through factor analysis about Korean clothing image, 5 factors were identified; elegance, simplicity, femininity, tradition, looseness. 2) By cluster analysis, 3 clusters were determined according to Korean clothing image. Special qualities of design about Korean clothing image showed that there were lots of H silhouette in clothing form, related harmony in color harmony, somewhat rough and crude in texture and simple design in decoration. Top was more or less fit and bottom was found somewhat exaggerated tendency in fitness. 3) As a result of the visual evaluation about Korean clothing image, there were significant differences in all factors.