• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 한국의류산업학회지
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• 제1권3호
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• pp.264-274
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• 1999

최근에 사용되고 있는 남성용 정장 중, 여름용 30종, 겨울용 30종 등 총 60종을 시료로 하여 이들의 온열특성 중 보온성(무풍시=0.2 m/sec 이하, 풍속시=1.2 m/sec)과 이와 관련된 물성, 즉 공기투과도, 무게, 두께 등을 측정 및 분석하여 앙상블 및 가먼트의 보온성을 예측하는 회귀식을 개발하였다. 그 결과로는 일반적인 남성용 정장의 물성으로 두께 및 무게는 겨울용이 높았으며, 여름용과 겨울용을 확실히 구별할 수 있는 인지는 공기투과도였는데 여름용의 공기투과도는 겨울용보다 약 3~6배 정도 높았다. 남성용정장의 온열특성을 보면 겨울용 정장의 보온성이 여름용보다 높았고, 풍속이 있을 때 앙상블의 보온성은 최대 30% 정도 감소하는 경향을 나타내었다. 또한, 정장상하의 물성을 독립변수로 하여 가먼트 및 앙상블의 보온성을 추정하는 회귀식을 개발하였는데, 회귀식분석결과, 정장앙상블의 보온성에 영향을 주는 인자는 두께, 무게, 및 사이즈로 나타났다.

• 복식
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• 제54권8호
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• pp.35-48
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• 2004

This thesis researches consumers' behaviors in Purchasing avatar fashion products depending on their motives and point of reference as the avatar fashion marketing is conducted. Also, it explores the correlation between avatar's fashion products and the point of reference by which consumers actually purchase casual wear. The results were as follows: First, Avatar's fashion product purchasing motivation is done through four classified dimensions, conformity, differentiation, fashionability, and substitution. The standard of Avatar's fashion product choice was classified by the symbol (Product name recognition) and two dimensions of aesthetics. Second. the more valued the aesthetic component of Avatar's fashion product the greater effect on the order the dimensions used in correlation in this case being substitution, differentiation, conformity, and fashionability. Should the consumer place greater value on the Product symbol the dimension order is affected in order by fashionability, conformity, and differentiation. Third, fashionability was a stronger consideration for women as opposed to men in terms of demographical feature. whereas symbol (Product recognition) was of greater importance to higher income people. Last, when aesthetics is considered to buy Avatar's fashion products it is favorably comparable to other casual wear lines. In other words, symbol is considered to buy casual's, it brings to the same result when buying Avatar's. Avatar's fashion product was great tool to research new casual wear line because of approving by the correlation to each other.

• 한국의류산업학회지
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• 제21권6호
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• pp.766-775
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• 2019

This study investigated the appearance management aspects of middle-aged male CEO's based on Bourdieu's class theory. We conducted in-depth interviews with male CEOs in their 40s and 50s to understand the characteristics of appearance management in terms of economic, cultural and social capital. We found that they acquire educational capital based on their parents' economic capital and form their own cultural capital as adults. They had the characteristics of Petit Brujois, which aimed for a higher class. The characteristics of differentiation based on appearance management identified three results came from solidifying one's class position: clothing management, diversifying and upgrading appearance management, and pursuing their own ideal image. The influence of social network and cultural capital was also observed in appearance management. This study explored the characteristics of discriminatory appearance management through an in-depth study of middle-aged male CEOs as well as contributed to understanding the context of capital and appearance management by applying Bourdieu's class theory. In addition, this study provides basic data that can be referred to a design and marketing direction for the men's clothing market by providing information on male consumers with high purchasing power.

• 한국의류학회지
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• 제27권12호
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• pp.1441-1452
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• 2003

오늘날 지체장애인의 수는 후천적 원인으로 인하여 점점 증가하는 추세에 있다. 이에 본 연구는 훨체어를 사용하는 하반신마비자 중 성인남성을 중심으로 인체계측을 통해 적합성이 높은 바지를 개발하는데 목적이 있다. 연구 결과는 다음과 같다. 1. 인체계측 결과 하반신마비자들은 정상인과 비교했을 때 허리둘레 및 배둘레에서 유의한 차이를 보여 새로운 치수체계가 필요로 함을 알 수 있었다 또 자세 변화에 따른 둘레항목의 치수 변화와 피부 신축율에 의해 허리선의 변화가 고려되어 평상시의 휠체어에 앉은 자세에서 계측한 항목으로 원형이 설계되어야 할 필요가 있다고 분석되었다. 2. 연구원형은 기성복화 하기 위한 방법으로 먼저 기준치수(98-102)를 선정하고, 원형 각 부위는 절대치로 수치화 시켜서 제시하였다. 뒤밑위길이선은 허리선에서 8cm 늘이고 앞밑위길이선은 허리선에서 6cm 줄여 앉은 자세에서 편안함을 확보할 수 있도록 하였다. 기준치수의 경우 바지길이 107cm, 밑위길이 26cm, 밑위선 28cm, 엉덩이둘레선은 밑위선 위로 8.5cm, 바지부리는 10.5cm이고 외관과 기능성 평가 결과 대부분의 항목에서 우수한 평가를 받았다. 3. 계측 대상자 계측치를 근거로 치수의 출현율을 고려하여 연구 치수체계를 기본 신체부위인 앉은 허리둘레와 앉은 엉덩이둘레의 순으로 적용하여 총 7개의 치수로 설정하였다. 기준치수(98-102)의 연구원형을 마스터 패턴으로 하고 구체적인 원형 부위별 절대치로써 치수 차를 검토하여 연구 그레이딩 룰을 설계하였으며 기준치수 보다 작은 사이즈 88-93과 큰 사이즈 108-111의 적합성을 검증하였다.

• 복식
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• 제25권
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• pp.183-199
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• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 한국의류산업학회지
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• 제11권2호
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• pp.286-292
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• 2009

The purpose of this study is to analyze the pattern of the present flight suit, to select variables of human body and key dimensions for making pattern of the flight suit, and to decide the most appropriate size of human body and rate of ease for designing an overall flight suit. For analyzing the pattern of flight suit, we used "M95Special" (men ; chest circumference 92-97 cm ; height : above 177 cm), which was indicated as the standard of the Ministry of National Defense. We analyzed general appearance and the actual dimensions of the pattern of the flight suit. As a result of analyzing the pattern, flight suit was front-opened overall style which had a flat collar with rounded edges, two-pieced sleeves with lower height of the sleeve's cap, 3cm-width belt on the waist and 8 pockets. To decide the most appropriate size of human body, we selected 20 variables of human body in the 359 variables of the Size Korea by referring the previous studies. The 20 variables of human body were 9 circumferences (chest, waist, hip, neck, armscye, wrist, thigh, knee, and ankle), 9 lengths (stature, back interscye fold, waist back, crotch height, crotch, body rise, arm, outside leg and total), and 2 breadths (biacromial and chest). We drew out the size of 20 variables from the Size Korea and US Army anthropometry data and decided the most appropriate values from the drawn data for applying to the pattern of flight suit.

• 한국의류학회지
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• 제31권3호
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• pp.331-342
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• 2007

The objective of this study is to provide the basis to planning the design of commercial products and effective image coordination for various situation in investigating the existence of Tattoo with an examination of fashion sensibilities and emotions as well as in analyzing Tattoo fashions which have an effect on the unique image coordinations in the fashion collection. Stimulus pictures have collected from fashion photographs appeared Tattoo expression released on the fashion collection and selected 35 pieces of pictures out of total through the analysing process in many times. Valuation tools have used with 19 pairs of adjective as fashion sensibilities valuation tool and 13 questionnaire as emotion valuation tool. Data has been collected from August 30th to September 17th on the subject of 20's men and women who live in Busan city area and those data has been analyzed by using SPSS statistics package program. The summary and conclusion of verified outcomes on this study are as follows: 1. Main factors of fashion sensibilities about Tattoo fashion are composed of three factors, such as Attractiveness, Visibility, Maturity and those factors have explained by 60.9%. On the other han, the fashion emotions are composed of negative emotion and positive emotion and explained by 66.3%. 2. The image of Tattoo fashion has shown four groups; Sexy, Romantic, Grotesque, Natural. 3. The positioning according to the image of Tattoo fashion has interpreted that X-axis as Grotesque-Romantic, Y-axis as Simple-Dazzling according to design features.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.

• 한국의상디자인학회지
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• 제17권2호
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.