• 한국생활과학회지
• /
• 제24권5호
• /
• pp.677-686
• /
• 2015

This study is to survey the concept of ultralight down jumpers examine customers' knowledge about ultralight down jumpers, factor effect when purchasing them, and satisfaction level. The research method is to examine a survey of consumer evaluation about ultralight down jumpers using a questionnaire targeting 240 men and women in their 30s and 40s. The results of the study are as follows. The knowledge Customers have about ultralight down jumpers appeared low scores in most items; 62.1%9(2.28)) answered 'does not know' in the item of 'knows about the mixed composition rate of filler', 54.6%(2.49) answered 'does not know' in the item of 'knows about ultralight materials', and 52.5%(2.56) answered 'does not know' in the item of 'knows about filling rate'. The important factors to consider when purchasing were 'size and pattern'(4.34), 'color'(4.32), 'design and price'(4.30). About satisfaction, 66.7%(3.69) answered 'most satisfied' in the item of 'well-fitting(wearing) sensation' and 60.0%(3.63) answers 'satisfied' in the item of 'activity and easy-to-wear'.

• 한국의류산업학회지
• /
• 제5권3호
• /
• pp.227-234
• /
• 2003

The purpose of this study is to investigate how the Post-modernism social cultural pattern has been reflected in collar of costume. In the classes social, collar in costume is the expressive medium of ideology and status symbol such as Passium of ancian Ezypt and Byzantin collar which is examined religion belif. The conspicuous function of collar can be examed as the ruff collar, which is the expressive medium of self-confidence, but the whisk collar and the flat collar means decline the authorized conspicous function. In the cultural pattern of Post-modernism, collar in costume presents the coexistence of double-sides value such as androgyny, dividinism and eclecticism. For example, the tailored collar or shirt collar in women's suit with delicate materials express the self-confidence, energy and intelligence, and the round collar or the draped collar in men's suit with rough material express the sensibility and liberty. In the deconstructivity through breaking the basis form of the collar, callar can be transformed in to sleeve, cape or hat on occasion. In conclusion, the function of collar changes by the cultural pattern and expresses the spirit.

• 복식문화연구
• /
• 제12권2호
• /
• pp.262-278
• /
• 2004

The purpose of this study was to develop the sizing system fur women'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 women's right hand in the age group of 18 to 35 years old in Korea.

• 복식
• /
• 제67권3호
• /
• pp.15-30
• /
• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• 한국의상디자인학회지
• /
• 제13권4호
• /
• pp.15-28
• /
• 2011

This study will focus on research and analysis covering the period of time since the creation of the People's Republic of China to current day China, with an emphasis on 20-something year-old women living in Shanghai. In conducting this research, historical evidence of fashion was derived from books, photographs, and Internet resources pertaining to the specific periods of interest. Furthermore, each set of data has been organized in approximately decade-long segments that best reflect the transformation of Chinese fashion from 1949 to 2000. As a result of the countrywide emphasis placed on revitalization of the newly created Chinese state during the period of 1949 to 1965, detail to fashion was largely ignored, in preference to the successful upstart of a working economic foundation. This neglect of fashion is evident by the scarcity of new and daring styles during this period. The following the period of 1966 to 1977 ushered in a cultural revolution that was aptly demonstrated in the changing fashion tastes. When compared with the previous period, the blandness of clothing, authorized by the Chinese government clearly reflected the rules and regulations strictly enforced by a government mandate of conformity and obedience. These orthodox changes were so drastic, that women wearing these clothes could hardly be differentiated from men in the same style wear. After Mao Ze Dong's death in 1976 and the end of the sternest period of the Chinese Revolution, a new era of Chinese culture and fashion was made possible by a more lax and tolerant government. During the later palt of the seventies through the eighties, this new governmental policy fostered more openness and self-expression, both of which led to a newfound interest in expressing one's desires and personality through the clothes he or she chose to wear.

• 한국의류학회지
• /
• 제42권1호
• /
• pp.74-87
• /
• 2018

This thesis investigated majo and maja costumes of depicted in Francisco de Goya's paintings from the middle of 18th to the early 19th century, and presented the costumes defined as the upward flow from the lower classes to the upper classes. The study methodology selected those describing the maja and majo among the figure paintings, portraits and genre paintings by Goya that identify unique characteristics with the qualitative analysis of the cases of the upward flow with that affect the costume of the upper classes. The influence of the majo and maja costumes were outstanding in the shape of the outfits while the French style gown of the upper class women were one-piece dresses in shape, those of the maja were two-piece dresses that consisted of the upper and gather skirts. The costume was perfected by use of the mantilla or head kerchief, instead of the headdresses prevalent at those times. The majo's costume affected the men's costume of the upper classes in the shape of the outfits. Short coat and tight breeches were preferred to the loose ones as well as instead of a long coat. Rather than the wigs or tri-corn hat, the head kerchief and sash belt applied, which could be evidence of the upward flow as well as shows proof of the influence of majo and maja costumes.

• 한국패션뷰티학회지
• /
• 제4권1호
• /
• pp.42-50
• /
• 2006

This study used the questionnaire method to find out the golf factor comparison and purchase inclination according the golfers' demographic characteristics. The golf factor comparison according to the Gyeongnam golfers' demographic characteristics was performed with cross analysis and $X^2$ verification, the purchase inclination with T verification and analysis of variance. And the Golfs' factor relation according to total income was performed with cross analysis and $x^2-test$. The golfers' demographic characteristics showed a significant difference in gender, educational background and occupations. The participation purposes of playing golf for men were as a hobby, relations and business. And the participation purposes of playing golf for women were as a hobby and health. The higher age was, the more the golf career was for both men and women. In the factor of marital status, unmarried people play for a hobby and married people play for better relations and business. In the factor of gross income, male golfers varied in the gold career and monthly playing times. Female golfers varied in the golf career. Regardless of gender, the higher the income was, the more the golf career was. In the comparison of buy behavior according to the golfers' demographic characteristics, male golfers showed a significant difference in ostentation and fashion according to the monthly purchase of golf-wear. The group that spends more on the monthly purchase of golf wear was higher than the group that spends less on the monthly purchase of golf wear. Unmarried golfers showed more ostentation tendency that married golfers.

• 한국의류학회지
• /
• 제40권6호
• /
• pp.1116-1133
• /
• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• 복식
• /
• 제60권5호
• /
• pp.128-138
• /
• 2010

This study�s purpose is to contrive the national brand image, developing sportswear design and related-culture by using tiger which represents Korea used to design sportswear�s logo and design. For the method of study, illustrator CS3 was used to design three vests and three sports shirts for both men and women by characterizing tiger image from Korean folk painting tiger. Tiger appears commonly in paintings, folk tales and literature of Korea since ancient times. It was even used as a mascot of Seoul Olympic on 1988. Many global sports companies choose an animal that represents their brand to advertise such as Lacoste, le coq sportif and musingwear, wolsey. This study could provide example design adapting korean traditional patterns, also expects for culture advertising Korean traditional culture and developing designs of Korean fashion companies.

• 패션비즈니스
• /
• 제3권2호
• /
• pp.59-66
• /
• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.