• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.91-106
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• 2012

The purpose of this study was to offer some directions for the design of men's knitwear and provide basic data helpful for design conception and product development for creative and unique men's knitwear. As for the methodology, the investigator examined the works of these following ten designers that consistently participated in the men's Milano Collection for the last ten years from 2001 S/S to 2010 F/W: Burberry Prorsum, Costume National, D & G, D squared, Dolce & Gabbana, Giorgio Armani, Gucci, Iceberg, Prada, and Vivien Westwood. We identified the design elements expressed in knitwear, categorized examples for each element, and reviewed their characteristics. The results of this study are as follows. The designers usually adopted the H-silhouette with some room until 2006, after which the slim tubular silhouette became prevalent. Most of the designers made knitwear with normal yarn and expressed them by dyeing or printing regardless of seasons, which meant the usage level of fancy yarn was low. The much usage of the basic pattern was particularly salient. The most popular basic structure was plain, which was followed by rib and color pattern, which included the jacquard and intarsia pattern. The designers presented thick outer items made of thick yarn for F/W seasons and many thin inner items made of thin yarn for S/S seasons. The popular colors were brown from the Red Group(R) and beige from the Orange Group (YR) regardless of seasons. When achromatic colors were used a lot, there was a development of various grey shades. For the most used basic structure, plain, the designers employed such technical methods as printing, pleat treatment, and dyeing in high frequency.

• Fashion & Textile Research Journal
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• v.20 no.6
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• pp.722-732
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• 2018

This study was to develop a dress form that is highly representative of the body shapes of senior men in their 50s and 60s. And this research was compared the measurements and forms of three different dress forms available in the market, in order to analyze the body type and suitability and provide a standard for developing and utilizing the dress forms. After extracting the body shapes of the senior men's 3D shape, the body type that is curvature on the back prevalent among senior men, was chosen. The dress form was created as follows: 3D modeling and rendering, printing with a FDM-type 3D printer. The dress forms were 3D-scanned and the 3D data was analyzed - classification drop value, area deviation, compared horizontal section and vertical section. The results were as follows: This suggested that the area deviation amount at the chest and hip circumference levels was larger in the commercial products than in the dress form in this study, while that at the waist circumference level was larger in the dress form in this study. The vertical length of the lateral shoulder point-waist circumference was smaller, the side shape showed severe curvature on the back, and the waist circumference was larger in the senior men dress form than the commercial products. The dress form developed in this study reflected the body type of senior men and, therefore, were suitable for fitting when creating clothes for senior men.

• Journal of the Korean Home Economics Association
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• v.44 no.5 s.219
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• pp.21-33
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• 2006

The purpose of this study were 1) to analyze customer relationship management(CRM) based on the online customer experiences by product types (i.e., men's, women's, casual, sports wear), 2) to analyze CRM based on the off-line customer experiences by product type, and 3) to examine customer purchase behavior of fashion products and internet usage behavior by product types. Survey and 1:1 interview were conducted from January 13th to May 16th, 2005. Six consumers from each brand (i.e., 3 loyal customers and 3 general customers) in a total of 24 customers were selected from each product type. For the data analysis, content analysis and descriptive statistics (i.e. frequency) were used. Among the key study findings first, as a result of the on-line CRM experience, the customers of men's wear preferred receiving customized information through e-mail or SMS service. The customers of sports wear preferred receiving a different level of information and participating in customized product service. Second, as a result of the off-line CRM experience, the customers of men's wear need to be encouraged to join a membership at a sales encounter and the customers of women's wear preferred receiving quick information of new products and participating in a design development planning of the merchandising process. Third, the purchasing behavior of the customers of women's wear are influenced mostly by the salesperson and the store atmosphere when they purchase clothes and the customers of men's wear are price-sensitive. The results of this study can be used when fashion brands perform strategic planning and decision making on CRM.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.205-220
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• 2007

In the 17th century, men's hair style showed a dramatical change to thick hair style with femineity. During the 17th century, men wore their hair longer than at any other time in the history of western culture. Men's hairs in the early 17th century were defined as short hair style influenced by ruff collar of renaissance and thick beards and moustaches During the mid 17th century, shoulder-length hair style was predominant over all classes. As hair style became long, beards and moustaches gradually declined in favour: from 1625, small neat beards, and moustaches turned up at the ends, got progressively smaller, and by 1650 the beard was only small tuft on the chin, disappearing completely by 1680. In the late 17th century, very long, thick and shiny hair got a great popularity with the gorgeous and decorative baroque costume dominated over the entire Europe. The habit of adding false hair when natural hair was deficient led to the introduction of the periwig, which became an essential part of a fashionable man's attire. Wiggery were widely used to express curled and puffed hairs more exaggerated. As the long hair style with wiggery became popular, various style of beard and moustache got smallar so that they were ended up in entire disappearance in the end of the 17th century.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.584-598
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• 2018

This study classified respondents by consumption value and analyzed differences in the purchase behavior of men's suits among consumption value groups. Frequency analysis, factor analysis, cluster analysis, and analysis of variance were conducted in order to analyze research problems. Factor analysis results showed that male consumption values included safety-oriented value, individuality-oriented value, others-oriented value, pleasure-oriented value, aesthetic-oriented value, low price-oriented value, community-oriented value, utility-oriented value, innovation-oriented value, and self-expression oriented value. The study divided respondents into personal satisfaction pursuit group, beauty & functionality pursuit group, individuality pursuit group, and others-oriented & low cost preference group according to consumption value. There were significant differences in selection criteria for men's suit (product image, physical properties of product, and brand name), selection reasons of brand (fashion & ostentation, individuality, and refinement), store attributes (store environment/salesperson service, reputation/additional service, and product assortment/shopping convenience).

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.953-970
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• 2004

The purpose of this study was to design men's jacket pattern for variable body types by employing the data of wearing evaluation from experimental basic bodices selected by male subjects in the 30's. As a result of sensory evaluation, functional test and clothing pressure test by each type of experimental basic bodices, the 3rd experimental basic bodice was chosen to be a basic bodice type in this research since it showed a high degree in fitness and function, but a low in the clothing pressure test. As a comparison of one item from conventional jacket and sleeve pattern with each somatotype, the type 2(the standard somatotype) indicated a great fitness in both basic bodice type and conventional jacket pattern, whereas the type 1 and the type 3 showed higher fitness and moving function in the basic bodice type. In the making of men's jacket, many corrections were made in the front interscye breadth, back interscye breadth, front and back length, and shoulder line as adapting each body type. Thus, the ease-amount of chest circumference at scye for clothes should be established differently according to the size of chest circumference at scye.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.449-459
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• 2011

The purpose of this study is investigate the feature of the body shape of obese males and to propose a new apparel sizing system considering the body size of obese men through an the analysis of the body measurement of obese men in their twenties as reported in the 'Fifth Korean National Physical Standard Reports'. For this study, a new apparel sizing system for casual wear was proposed for obese men in their twenties after a body measurement of 159 obese men in their 20s with a BMI of 25 and over as reported in the 'Fifth Korean National Physical Standard Reports' conducted by SIZEKOREA. This study sought to investigate the features of obese men's bodies by comparing the body shape between obese men and ordinary men. The result of shows that width, depth and circumference items influencing the width size when producing clothes are larger in the case of an obese body shape than an ordinary body shape, and that the stature, total length, arm length and outside leg length influencing the length size are similar between an obese body shape and an ordinary body shape. Therefore, it was confirmed that an apparel sizing system specializing in clothes for obese customers is required. As a result of this study of the features of body shape, the control dimensions for such an apparel sizing system were determined to be the stature and chest circumference of upper garments and the stature and waist circumference(omphalion) for lower garments. The interval between the sizes was 5cm for the stature and was irregular for the chest and waste circumference. Consequently, 8 sizes were proposed for upper garments and 9 sizes were proposed for lower garments.

• Korean Journal of Human Ecology
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• v.24 no.4
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• Journal of the Korea Society of Computer and Information
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• v.25 no.5
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• pp.117-126
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• 2020

In this study, a 3D simulation program was used to produce a bodice prototype of a middle-aged male in their 40s and 50s and then analyze the appearance evaluation and airgap, sectional view, color distribution through virtual wearing to compare and analyze the differences between patterns. Through this, it was intended to provide basic data necessary for pattern development to companies that manufacture and produce clothing for middle-aged men. As a result of analyzing, J pattern was analyzed as the most suitable body shape pattern for middle-aged men. E pattern was too tight and L pattern and N pattern had too much spaces. However, J patternt was analyzed that correction was necessary in setting center back and center front length. The aging phenomenon in which the back is slightly bent forward and shoulders are also inclined is expected to appear, so it is necessary to adjust the front-to-back length, shoulder angle, and shoulder length. It is considered that after developing the research pattern by modifying J pattern, it is necessary to develop a body shape prototype for middle-aged men through actual clothing experiments on middle-aged men.

• Journal of Fashion Business
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• v.15 no.1
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• pp.171-184
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• 2011

This paper is purposed to clarify that an increase of the matter of concern about men's fashion in the mid-1980s was coincided with rapid change of images for men and diversification within the context of economy, society, culture and to analyze the characteristic of each fashion and the meaning. Findings are as follows: 'New men' played a key role creating and communicating the new male image through the media, as a new masculine appeared in the middle of 1980s. Especially it was spreaded into with British as a center between the generations of young men described as a white-collar worker about the ages from 18 to 35 specifically and appeared by the cultural background in accordance with the spread of consumerism, materialism and post modern feminism and the development of men's fashion. There were 2 types of fashion styles for 'New men' image on the media in the mid-1980s. The First is 'power suit look style' which is self-conscious, including 'corporate formal suit look' and 'soft & sexy suit look'. The Second is 'extravagant body conscious style' which characterize the decolletage and androgynous, including 'tough sports look' and 'sexy skirt look'. Lastly, the 'New men' image means a man as a visible object and a man in the image world.