• 복식
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• 제36권
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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.

• 한국의류산업학회지
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• 제6권3호
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• pp.357-366
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• 2004

The purpose of this study is to classify the types of men's back and chest through the criteria which represent the characteristic of men's back and chest. We have the following conclusions based on our sample size of 291 men's back and chest. The result of factor analysis concerned with men's back indicates that six factors are extracted and they are consist of 80.6% of total variance. We divide the shape of back into three categories: bent, protrusion of the scapula, and breadth. Each category is divided into subcategories. According to the frequency based on our data entries of 291 men's back, we introduce five new types of men's back. 83.8% of examined men's back belong to one of these five types: (i) 15.5% of protrudent and lordotic type; (ii) 6.5% of flat and lordotic type; (iii) 22.7% of protrudent and normal type; (iv) 34.4% of flat and normal type; (v) 4.8% of flat and bent type. The result of factor analysis related to with men's chest shows that six factors are extracted and they are consist of 76.0% of total variance. We divide the shape of chest into three categories: thickness, breadth, and protrusion of the breast. Each category is divided into subcategories. According to the frequency based on our data entries of 291 men's chest, we introduce four new types of men's chest. 65.0% of examined men's chest belong to one of these four types: (i) 7.2% of full and well-developed type; (ii) 24.1% of full and developed type; (iii) 25.8% of flat and developed type; (iv) 7.9% of flat and under-developed type. In order to consider the shape of the upper body as a whole, the back and the chest types should be corresponded.

• 복식
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• 제61권10호
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• 한국의류학회지
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• 제30권12호
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• pp.1723-1729
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• 2006

드레이프성은 직물의 최종용도를 결정하는데 매우 중요한 요소이다. 본 연구에서는 남녀 수트직물의 드레이프 특성을 분석하여 수트직물로서의 선호도와의 관계를 연구하였다. 본 연구에 사용된 직물은 남자 수트직물 중 봄/여름 용 60가지, 가을/겨울 용 60가지, 여자 수트직물 중 봄/여름 용 70가지, 가을/겨울 용 142가지로 총 332종류를 사용하여 이들의 주관적 인 태, 수트직물로서의 선호도를 조사하였다. 주관적인 태는 자체 개발한 9점 척도의 질문지를 사용하여 측정하였으며 이 때 7점 척도를 사용하여 직물선호도도 함께 조사하였다. 주관적 인 태는 질문지를 구성하는 20개의 태표현 형용사를 요인분석을 통하여 용도에 따라 5가지의 요인으로 표현하였다. 용도에 따른 수트직물의 드레이프 특성을 분석하기 위하여 직물의 드레이프성을 Cusick 드레이프 측정기를 사용하여 측정하였다. 드레이프계수, 굴곡수, 굴곡의 높이, 굴곡의 파장 등을 측정하여 통계적으로 분석하였다. 이러한 드레이프 특성치들의 계절에 따른 차이와 남자와 여자직물의 차이를 살펴보았다. 남녀 수트직물 모두에서 드레이프성은 태 표현 요인으로 나타났으며 여성용 수트직물에서는 직물선호도와 관계가 있는 것으로 나타났다. 여성 춘하용 직물에서는 선호되는 직물과 선호되지 않는 직물간에 드레이프 계수에 통계적 인 유의한 차이는 없었으나 굴곡수와 굴곡의 파장에는 차이가 있어 드레이프의 형태에는 차이가 있었다. 여성 추동직물에서는 선호되는 직물의 드레이프 계수가 0.6-0.7로 너무 부드럽거나 뻣뻣한 직물은 선호하지 않는 것으로 나타났다. 남자의 수트직물에서는 주관적인 태를 나타내는 주요요인으로 추동직물에서는 드레이프성이 추출되었으나 춘하직물에서는 추출되지 않았다. 추동직물에서 선호되는 직물과 선호되지 않는 직물간에 측정된 드레이프특성에 차이가 나타나지 않아 소비자들이 느끼는 드레이프성을 좀더 민감하게 대변할수 있는 드레이프 측정 방법의 개발이 필요하다. 계절에 따른 차이로 남녀 모두에서 유의한 차이가 나타났으며 드레이프 계수는 여성춘하직물이 가장 높아 0.72였으며 남성 추동> 남성 춘하> 여성 추동의 순으로 감소하였다. 굴곡의 높이도 드레이프 계수와 같은 경향을 나타냈다. 남성복에서는 춘하직물이 추동직물보다 드레이프성이 좋았으며 여성복은 반대의 경향을 나타냈다. 남녀 직물간에도 차이가 있어 춘하직물은 남성 수트직물이 여성직물에 비하여 드레이프성이 좋았으며 추동직물에서는 여성 직물의 드레이프성이 더 좋았다.

• The International Journal of Costume Culture
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• 제6권2호
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• pp.126-133
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• 2003

The purpose of this study was to develop the sizing system for men's glove. The combination of anthropometric and engineering aspects of glove pattern-making is difficult problem in engineering clothing. And the traditional measurements is not enough for glove. Therefore, to develop the hand measurement method and dimension for glove, a comprehensive list of candidate measurements was reviewed and the manufacturers (Their career was over the 15years) were interviewed on the method of glove pattern-making. This study was conducted traditional and creative 88 two-dimensional anthropometric measurements and 4 photometric measurements for glove pattern-making. In addition, 16 creative measurements were instrumented using a special hand measuring board for measuring of landmark locations on the hand. The subjects were 260 men's right hand in the age group of 18 to 35 years old in korea.

• 한국의류산업학회지
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• 제23권2호
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• pp.159-173
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• 2021

This study attempted to investigate the perspective of the skirts of male and female students by analyzing the differences in image evaluation according to the constituent elements (type, length, and wearing method) of men's skirt designs in modern fashion. The study included 109 male and female college students from Generation Z residing or whose life center was in Gwangju Metropolitan City, to evaluate 12 images depicting types of men's skirts. First, the constituent image evaluation factors according to the constituent design elements of men's skirts were analyzed. Second, the differences in each constituent image evaluation factor based on the constituent design elements of men's skirt designs were analyzed. Third, the gender-based differences in image evaluation by men and women concerning the constituent design elements of men's skirt designs were analyzed. The analysis included relatively more women than men. The results of the image recognition dimension included the following categories: "attractive image," "evaluable image," "gender image," and "personality image." In modern fashion, skirts are used to express the diverse personalities of men's fashion. Thus, they are used beyond the stereotype of women's clothing, toward expanding and diversifying the image of men's clothing through mixing and creating a dichotomous image of men and women. It can be used as a design that suggests a gender-fluid image.

• 한국의상디자인학회지
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• 제11권1호
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• pp.77-85
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• 2009

In modem society, fashion is used as a means to express oneself. Colors in fashion are regarded as one of the important design elements and play a significant role. Today men's fashion trend represents to adopt diverse silhouettes, colors and various materials. They can choose diverse color for men's fashion. Brown has been popular colors for both man and woman. It usually represents the image of warm, comfort and classic. This research analyzed Brown whose diverse uses had been observed in fashion and the characteristics of Brown the color combinations in men's fashion through men's fashion collection from 2000 to 2008. The characteristics of color combinations with Brown analyzed two color combinations for the top and bottom as follows: First, the hue characteristics of Brown two color combinations were analyzed in men's fashion. Second, the tone characteristics of Brown two color combinations were analyzed in men's fashion. Third, the characteristics of color combinations were analyzed in the Brown top and bottom according to the hues in men's fashion. The Brown color combinations were analyzed according to the 10 hues and achromatic colors. As a result, 10YR was most used in both the top and bottom in F/W and S/S. As for the Brown color combinations of the 12 tones and achromatic colors in the top and bottom, dark grayish was the most used in S/S and F/W regardless of the seasons. The Brown color combinations in men's fashion were analyzed in terms of characteristics. As a result, 10YR and 2.5Y were most used. They were also of the highest frequency in the color combinations of Brown tops and bottoms.

• 복식
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• 제38권
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• 한국의류학회지
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• 제25권8호
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• pp.1524-1535
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• 2001

The purpose of this study was to establish a sizing system according to size and dimension whereby manufactured pants can be classified and develop men’s formal pants pattern based on the analysis of ready-made and educational pants pattern. The first, we surveyed the sizing and the basic pants patterns of the men’s ready-made wear companies, Secondly, through the survey data of the domestic men’ready-mad clothing industry, we proposed a new sizing system. Lastly, after compared three different types of ready-mad pants manufactured according to their patterns and an additional type of pants made after the educational pattern, the new men’s basic pants pattern were developed. The findings were as follows: 1. Survey of the domestic ready-mad garment industry showed that each company classified its own manufactured goods according to its own sizing system: moreover, they each used its own unique patterns which appeared to be resulted from a combination of two factors : the experience of a patterner and foreign know-how technology. 2. New sizing system was developed with 12 steps from size 74-88 to size 96-106 based on the high frequencies of the companies’3. New basic patterns for men’s formal pants were developed: Inseam length = 80cm, crotch line = H/4+4.6cm, pants ham = 23.5cm as basic lines and front waist girth =W/4+9.1cm as drafting line. 4. the superiority of the new basic patterns were been demonstrated by a high approval rate of the subjects who participated in testing.

• 한국의류학회지
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• 제30권8호
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• pp.1199-1209
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• 2006

The purpose of this study was to analyze men's body sizes in order to develop men's garment sizing system. This study was based on the anthropometric measurements called Size-Korea, which was surveyed in year 2003 and 2004. The male subjects of the survey were 3215, who were from 18 to 69 years old. In the results, each age group had the statistically different mean of height from one another, which was inverse proportion to age. Analyzing with the height index values, Fifties had the biggest values in bust, waist and hip circumferences while Thirties had the biggest values when the circumferences were analyzed by its original measurements. Therefore, the consumers who wanted bigger sizes were Fifties instead of Thirties or Forties in case they had the same height. For the past 5 years, bust, waist, hip and waist-height were obviously increased and this phenomenon was remarkable at Twenties. The results of Correlation analysis showed that height, bust, waist, neck circumference were the key dimensions for the apparel sizing system.