• Proceedings of the Costume Culture Conference
• /
• 1998.09a
• /
• pp.39-39
• /
• 1998

• Proceedings of the Costume Culture Conference
• /
• 2000.09a
• /
• pp.49-50
• /
• 2000

• Proceedings of the Costume Culture Conference
• /
• 2004.10a
• /
• pp.63-65
• /
• 2004

• Journal of the Korean Society of Costume
• /
• v.50 no.4
• /
• pp.21-36
• /
• 2000

History confirms that the eastern style was reflected in various parts of the western culture including clothing. In this paper we show some evidence that the influence of India on the French clothing during the neo-classical period(1789-1820) was substantial. Among others, the use of muslin, kashmir shawl and banyan during the period is greatly emphasized. The muslin imported from India was used as the textile for the chemise mown, a typical clothing during the period. Indian muslin was used, because it was of better quality compared to the muslin manufactured in England and France and it was not expensive. The kashmir shawl imported from kashmir in India was also a popular item in Europe not only because it matched well with simple color of chemise gown, but because it expressed the tone of Greek and Roman. Banyan which was most popular clothing worn by men in 18th century Europe originally came from India, which goes back to the Kaftan clothing in the Central Asia. Banyan was an informal home style clothing different from the conventional tight men's wear. It is true that the muslin, kashmir shawl, and banyan also became fashion items throughout the 19th and 20th century to the English and other European people. However, we limited our attention to the influence of India on France because we think the French Revolution and Napoleon's conquest of Egypt are far more important factors when considering the influence of Indian culture on Europe.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.29 no.5 s.142
• /
• pp.703-714
• /
• 2005

The purpose of this study is to acquire various methods for the fashion image coordination and to examine common features of variation of coordination methods according to the trend. It has attained by investigating Men's fashion image coordination through trend analysis in terms of its coordination features and its variety aspects. For this study, it has classified into twelve typical Men's fashion images in collecting 1,291 pieces of photographs on the subject of jackets and pants from Men's fashion collection$(1995\~2002)$. The study has examined methods and features of fashion image coordination by year according to design elements and the harmony between items. In addition, it has drawn common factors in the image coordination. The summary and conclusion are as follows. A year of 1995, it has presented as the essential code of the variation that morphologic aspects of a design in the fashion image coordination. Various designs have developed through the variation of shapes such as shoulder width, shoulder pad, jacket width and its length and so on. In the initial stage, the width of shoulder and jacket has fitted into large pattern and then adjusted elegantly to make fit the body that indicates a dissolution according to an avant-garde image. At the time that over-measurement of the shape has reduced and high quality and variation of materials has gradually become significant. Those are often used that high-quality glossy materials or other materials which are opposite to the basic code of the original fashion image materials and qualities regardless of images. On the pattern and color, in addition, have represented neat and elegant impression with moderate applications rather than quantitative abundance that have used opposite elements to the basic code f3r the change code like materials. Furthermore, before and after 1999, ' it shows that a concept of the total coordination has arisen that increased coordination methods to strengthen and affluent its images for the whole with wearing accessaries such as hats, gloves, sunglasses, mufflers, bags, belts and so on.

• Journal of the Korean Society of Costume
• /
• v.29
• /
• pp.127-142
• /
• 1996

The purpose of this study was to Inferr the attractiveness and Men's occupational Status by facial Impressions and Clothing Styles. The Study was consist of experimentals methods. The experiments developed a set of stimuli and response scales which was pro-fessional suits(C1) general clerical position suits(C2) small business suits(C3) artist at-tire(C4) student attire(C5) The impression of stimuli were measured by means of semantic-duffernential scales an open-ended questionnaire and data was processed ANOVA Duncan's multiple range tes and x2-test. Judging the effects of occupational charaoteristics the experiment was designed in the between-subject design. The subject were 30 male and female who were divided 25 experimental groups as arranging 12 subjects. The conclusions of this study are as follows. 1)Facial characteristics affect the attract iveness and occupational status. 2) Clothing styles affects the inferrence men's attractiveness and occupational status. 3) Perceives inferrence of occupational status affect more impression of the high levels positions person and artist person. 4) High quality texiles deep yellow color suits are perceived high levels positions and white knit jacket and check printed slacks are judged Artist. 5) Artistically characterized person is perceived only artist even change any types of cloth.

• Fashion & Textile Research Journal
• /
• v.26 no.1
• /
• pp.44-54
• /
• 2024

In this study, the sizing systems of 40 unisex sweatshirt brands were analyzed to collect the size information needed to produce unisex clothing. Each size specification was compared with the body size distribution and percentiles of men and women aged 18 to 29. Depending on the brand, unisex sweatshirt sizes ranged from 1 to 8. Despite being unisex apparel, three brands offered only one or two sizes. Out of the brands surveyed, 50% were found to offer four or five sizes. Out of the 40 brands, 25 used letters such as "S," "M," and "L" to indicate the size designation. More than 92.5% of the brands included M and L, and the sizing system tended to focus on larger sizes such as XL and 2XL rather than smaller sizes such as XS and S. The size specifications of shoulder width, chest circumference, sleeve length, and total length were compared with the body size distribution and percentiles of men and women aged 18 to 29. The distribution of each size specification mostly appeared in a section larger than the men's body size. The size specifications of unisex sweatshirts were set close to or larger than men's sizes and hardly represented women's sizes. To increase consumer satisfaction with unisex clothing, establishing a size standard that could accurately reflect the body size distribution of men and women was found to be imperative. Such a size standard could also help each brand specify or diversify its target and differentiate itself with other brands.

• Journal of Fashion Business
• /
• v.4 no.2
• /
• pp.51-67
• /
• 2000

The purpose of the study was to investigate general characteristics of brand images of men's wear manufacturers and differences in their brand images according to characteristics of their brands and their merchandise. Thus, this study was to be an exploratory study to search apparel niche-market in men's wear market for the marketers by exploring trends of brand images of men's wear manufacturers. The questionnaire consisted of questions on brand images and characteristics of men's wear manufacturers and their merchandise. The subjects were to evaluate their brand images and rated on 5 point Likert-type scales of 36 adjectives. For the survey, the subjects were 100 employees (62 merchandisers, and 24 designers, etc.) who are employed by men's wear manufacturers which have national brands, designer brands, license brands, import brands or private brands. The SAS PC+ package was used to calculate factor analysis, mean, ttest, ANOVA, Duncan's test, and Tukey's test. The results from the study were as follows: 1) High scores of mean of brand images were simple, prestigious, mannish, and dynamic. 2) The brand images of men’s wear manufacturers were divided into 10 factors which explain 73.91% of the whole image. 3) There were significant differences in brand images according to types of brands, price lines of merchandise and ages of target consumers. 4) There were significant differences in brand images according to categories of apparel (suits vs. casual clothing), types of suits, and types of casual clothing. 5) There were significant correlations between brand images, such as simple image to conservative image, prestigious image and chic image, prestigious image to conservative image, chic image and simple image, etc.

• Journal of the Korean Society of Fashion and Beauty
• /
• v.2 no.3 s.3
• /
• pp.96-101
• /
• 2004

This study suggests the basic resources for men's cosmetic which shows in history. Because not only ancient chief but also modern French noble men made up in the area where succeeded the traditional national cosmetic, when it was seen through historic or world, the men's cosmetic was generated and was more luxurious and presence than women. But since the French revolution, men was limited the collection of fashion, also the luxurious cloth and cosmetic disappeared. It was 1960s that men's cosmetic based rock musicians reappeared. And then, rock musicians made up luxuriously. The early cosmetic of rock musicians began from the protest's meaning for old fashioned value and fixed society. But gradually, it was changed the style that valued appearance's beauty. In the past, movie star's hair style and cloth were the basic fashion, but now the sportsmen are recognized heroes and their cosmetic is prevailing. Today, the basic meaning of men's presence fashion is that men and women's each role and self expression is allowed and appearance's decoration showed from sex roles disappeared. Men is limited body's beautiful expression and collective range but they fluently express each self imagination through work, special hobby, female attire and drag queen. From various men's beautiful expression, we will know that human beings want a society which is recognizing different self expressions.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.6
• /
• pp.990-1001
• /
• 2009

The purpose of this study was to investigate the effect of perceiver's gender, clothing, and hairstyle on the visual evaluation of men's professionalism and preference. A quasi-experimental method by questionnaire was used. The experimental design was a $2\times8\times2$ (perceiver's gender $\times$ clothing $\times$ hairstyle) factorial design by 3 independent variables. The stimuli were 16 photographs of a man in his twenties. The upper clothing of the man included tailored collar jackets in beige and dark blue colors, and jumpers and sweaters in beige, dark blue, and red colors. The lower clothing of the men included jean pants. Two types of the hairstyles included short hair and medium length hair. The subjects were 208 men and 223 women in Seoul, Korea. Wearing a beige sweater with jean pants was evaluated high in intellectual image, a red jumper was perceived low in intellectual image, and a beige tailored collar jacket was evaluated low in potent image. Men's short hairstyle was evaluated to be more professional than the medium length hair. Male perceivers liked short hair more than medium length hair, but female perceivers evaluated both hairstyles similarly. In the case of women, the preferences of tailored collared jacket and soutien collared jumper were similar, but jumper was preferred to jacket in the case of men. Male perceivers showed more positive feedback towards jean pants with soutien collared jumper than jeans with tailored collared jacket, which indicated that men showed more conservative attitude towards the outfit than women. The man who was wearing a jumper with short hair was evaluated positively and the man who was wearing a jacket with medium length hair was evaluated negatively when the attires were coordinated with jean pants. In conclusion, medium length hairstyle with a beige jacket and short hairstyle with a red sweater were evaluated as professional image; and the results indicated that clothing and hairstyle interact with each other and influence the evaluation of professionalism.