• 한국의류학회지
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• 제24권5호
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• pp.724-735
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• 2000

The objectives of this study were to identify the dimensional structure of female impression formation based on silhouettes and necklines of wedding dresses, and to analyze the effect of silhouettes, necklines, and perceiver's gender on impression formation. The experimental design was 3$\times$6$\times$2 (silhouettes$\times$necklines$\times$gender) factorial design by 3 independent variables. Samples were 432 males and females. Four factors derived to account for the dimensions of impression formation. These were attractiveness, neatness, feminity, and prettiness. Dome silhouette had a positive effect on impression of attractiveness. Bell silhouette increased the impression of femininity and prettiness. Tubular silhouette had a negative effect on the impressions of attractiveness, femininity, and prettiness. Neckline had a significant effect on impression of attractiveness and negative on prettiness. Sweet-heart neckline has a positive effect on impression of attractiveness and negative on prettiness. Off-shoulder neckline increased the impression of prettiness. Round neckline decreased the impression of attractiveness. On the interaction effect according to the neckline and perceiver's gender, the men perceived high-necklines to be more feminine than did women, while the women perceived off-shoulder necklines to be more feminine than did men. There was interaction effect between silhouette and neckline on prettiness. In dome silhouette, heart-shape neckline was perceived to be prettier than the others, while in bell silhouette, off-shoulder neckline was perceived as prettier than the others.

• 복식문화연구
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• 제28권4호
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• pp.463-479
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• 2020

The purpose of this study identify the types and characteristics of Hanbok worn in lunar new year parade and Korean parade in New York over the past three years. As for the research method, I first collected domestic news articles, overseas Korean news articles, and literature reviews about the history of the Korean parade in New York and the events of each year. Second, I conducted a case study on Hanbok worn in the six parades from 2017 to 2019 using photo data collected through direct surveys, 'YouTube' video footage and news article photos. Third, I interviewed people related to the New York parade about the route of buying and renting the Hanbok in the New York area. The types of Hanbok shown in the Korean parade in New York can be largely classified as ceremonial, performance, and daily costume. There were 65 ceremonial costumes in all, with men wearing Dallyeong (official's robe) and Gorlyongpo (dragon robe) and women wearing Dangui (woman's semi-formal jacket), Wonsam (woman's ceremonial robe), and Hwarot (princess's ceremonial robe). A number of performance costumes were also worn by the Chwitasu bands, Nongak ensembles and fan dancers. Finally, of the 210 daily Hanbok, most men wore Baji (pants) and Jeogori (jacket), and women wore Chima (skirts) and Jeogori. The parade attempts to showcase the beauty of Hanbok, but the costumes repeat year after year, which can feel monotonous to onlookers. This research can be used as a reference to effectively utilize Hanbok in future Korean cultural events.

• 복식
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• 제57권3호
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• pp.1-13
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• 2007

The Purpose of this study is to analyze the kinds and positions of tattoo patterns on the body in tattoo-related internet communities and professional web sites. for this purpose, 1,892 tattoo patterns were analyzed by sex(man and woman). The results were as fellows; First, animal patterns(30.2%) occupied most, followed by character patterns(24.1%), geometric patterns(13.0%), natural patterns(10.3%), plant patterns(4.7%), mixed patterns(2.5%), and artificial patterns(2.2%). In patterns, dragon(10.3%) occupied most, followed by star(8.7%), trival(8.6%), woman(7.6%), skeleton(4.9%), and letter(4.8%). Second, men's preference to pattern groups included animal patterns(30.8%), character patterns (28.3%), geometric patterns (14.6%), and natural patterns(6.0%). Among patterns, dragon(13.4%) was the most frequent, followed by trival(10.9%), woman(10.7%), and skeleton(7.1%). Women's preference to patterns groups included animal patterns(31.4%), natural patterns(17.3%), character patterns(17.2%), geometric patterns(10.5%), and plant patterns(10.0%). Among patterns, star(15.3%) was the most frequent, followed by butter- fly(10.5%), elf(9.2%), and dragon(9.2%). Third, the positions of tattoos on the body included upper arm(26.6%), shoulder(10.8%), back(10.5%), the wrist(10.0%), the calf(7.5%), back bottom(7.0%) and the breast(6.3%). While men's preference to pattern positions included upper arm(38.2%), the wrist(13.7%), back(10.5%), the calf(9.4%), and shoulder(8.0%), women's preference to positions included back bottom(17.7%), shoulder(15.5%), back(10.5%), front bottom(8.2%), and the breast(7.8%).

• 복식
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• 제57권4호
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• pp.126-142
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• 2007

The second part of this study is to typify plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and ultimately to infer sexual ideology codified in modern fashion by a framework of this study, the socio-semiotic model. From this, sexuality represented in modern fashion was typified as follows: in women's fashion Traditional Femininity, Glamor Femininity, Androgynous Femininity, Babydoll Femininity and Genderless sexuality, while in men's fashion Traditional Masculinity, Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity and Genderless sexuality. The conclusion of this study is as follows: First, modern fashion has been changed from a means expressing gender and class into a sign vehicle representing the new ruling system of age and sexual desire. The binary oppositional sexuality on center of man in the 19 C capitalist period has been gradually pluralized towards the post-capitalist period. Next, mainstream society in Korea is still positioned in the traditional heterosexuality, keeping the vertical power relationship between man and woman even in the post-modern period. However, the fact that both Traditional Femininity and Androgynous Femininity acquire the position of dominant femininity connotes the change of modern femininity. Finally, plural sexuality represented in modern fashion has family resemblance and it shows contextual flexibility within contemporary period as well as a historical context. As a result, sexuality floats with a specific historical and socio-cultural context, and fashion as a material culture represents a masquerade as a identity vehicle, which constructs and de-constructs sexuality at the same time.

• 한국가정과학회지
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• 제5권1호
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• 복식
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• 제63권3호
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• pp.61-77
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• 2013

The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

• 한국의류학회지
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• 제27권11호
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• pp.1198-1207
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• 2003

The purpose of this study was to develop customized necktie design according to Korean adult male's body characteristics. For this purpose, experimentations of visual sensory evaluation on visual stimuli which show a man's wearing various neckties were carried out. The subjects were students(n=130) majoring in fashion and design related area and experts(n=6). The data were analyzed by ANOVA, duncan test, pearson's correlation coefficient, cross tabulation using spss pc/sup +/ program. Also statistic of Korea adult men's body measurements(1997) were analyzed and used to decide appropriate necktie length according to the customer's various height. The results were as follows: First, there were significant difference in visual sensibility on the stimuli showing 1) relative location of belt and necktie, 2) neckties with various length using golden ratio to the experimental model's height. Therefore, the need of producing neckties with different length according to customer's various height were verified. Second, neckties with three different length(140cm, 145cm, 151cm) were suggested for the groups of 160cm-height, 170cm-height, 180cm-height according to Korean adult male's body characteristics and aspect of production.

• 패션비즈니스
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• 제25권4호
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• pp.36-60
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• 2021

This study aimed to provide basic data for establishing a sizing system for menswear by investigating body size changes and body shapes in adult men in their 30s to 50s. Data on 52 different upper body categories collected from 4,314 people during the 5-7th Size Korea surveys were analyzed. The waist height, hip height, torso and arm lengths, and torso and upper limb circumferences increased while the arm joint sizes decreased. According to factor analysis, factors 1 and 2 referred to 'the horizontal size of the upper body and limbs' and the 'torso height and upper limb length', respectively, while factors 3 and 4 represented 'shoulder size' and 'upper body length' respectively. In clustering analysis, types 1 and 2 were 'short and fat' and 'tall and thin,' respectively, while types 3 and 4 represented 'tallest and chubby' and 'shortest and small' respectively. Torso length increased in the 30 to 40s in type 1 while torso circumference increased in the 30s and late 40s in type 2. In type 3, shoulders got bigger in the 30s. In type 4, torso circumference increased in the early 30s, and torso length increased in the late 40s. 'Thin' was a typical body shape in the early 30s. Among early 40s men, distribution evolved from 'small' to 'thin.' In the late 40s, while the percentage of 'small' decreased, the ratio of 'obese' increased. In the 50s, 'small' was the most common.

• 한국의류산업학회지
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• 제7권3호
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• pp.301-308
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• 2005

The purpose of this study is to design men's clothing pattern that supplemented the problems of body shapes, by grasping the physical characteristics of middle-aged men and classifying their body shapes through comparing measurements after carrying out the human-body measurement targeting 120 middle-aged men at the age of 35-49 in full. As to the technical-statistic analysis of the measurement items, it could be seen that the middle-aged people who are the research target, have the obese body shapes. As a result of carrying out the factor analysis by the measurement analysis, it was derived the totally five factors such as thickness and width, stature and height, weight and girth, the bust length, and the shoulder shape. The total communality is 78.47%, and as a result of the cluster analysis by the factor score, it was classified into three clusters. Type 1 is the body shape with the great stature, the waist region a little obese, and the biggest thickness, width and girth. It is a flat body shape with the narrow shoulder and the smallest difference between the breast width and the waist width. As type 2 is the body shape that is small stature and is relatively not fat, it is the shape with the biggest difference between the breast width and the waist width and with the wide shoulder. Type 3 is the body shape that belongs to the middle of type 1 and type 2, has the upper-part body longer than other body shapes, and has the developed breast region with the biggest bosom width and bosom thickness.

• The International Journal of Costume Culture
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• 제4권2호
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• pp.77-85
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• 2001

The purpose of this study was to classify the somatotype around a upper body of 30's men. The subjects were 202 working men aged from 30 to 39 and the data of 33 items including computed items were analysed by factor analysis and cluster analysis. Re results were as follows: As a factor of somatotype in evaluating males in 30's, the horizontal area represented the chest circumference at scye and the breadth items, the vortical region indicated hit length posterior, front length, back length, the breadth difference and the length difference. The somatotype by cluster analysis was classified with 3 type. Type I as the Roher's index 1.21 indicating the smallest in the circumference and weight item was classified as the thin and long featuring bending somatotype. Type 2 with the Rohrer's index 1.35 showing the mid-group between type 1 and 3 had the highest distribution rate as the balanced featuring the standard somatotype. Type 3 as the rohrer's index 1.40 was the largest physical condition group in the obesity featuring the turning over somatotype.