• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.79-98
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• 2014

As men are interested in fashion and beauty and invest for himselves nowadays, the scale of men's cosmetic businesses is showing steadily tendency. The purposes of this were to offer data to establish a marketing strategies learning follows: The findings of this study were as follows: First, according to the survey on men's consideration of their look, it showed their high interest in it. 29% respondents carry cosmetics in their hands normally. Second, Men's level of skin management knowledge is quite high according the survey. Third, The largest group of respondents are obtaining information about cosmetics through mass media. therefore, there will be necessity for cosmetic firms to aggressively pursue positive publicity strategy various of mass media. Fourth, Regarding purchasing behavior, 53.2% buy cosmetics in person, who outnumbered the others who don't. In the case of men who don't buy cosmetics by themselves, spouses or girl friends purchase cosmetics on behalf of them. Fifth, as a result of examine the demand level for men's cosmetics, the men, who answered that it is appropriate a lotion and toner is priced between 10,000 won and 30,000 won were the largest with 51.1%. Men who answered that beside the basic cosmetics such as toner and lotion that use, they will purchase sunscreen in the future. Men sho recognize the most important task needed to be improved in men's cosmetics is higher quality, with 25.9%.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.131-143
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• 2003

This treatise deals with the profitable suit image design of middle-aged men by examining visual effects in physical design. The sample of this study is people who lives in Kwangju, the Republic of Korea and 20-50 age's men and women. And it is very variety in each population statistics factors the differences of associate design visual effect which considering the difference of sex and age group, numbers of button, a figure and material pattern. Firstly, look into the associate design visual effect by sex and button number. In men's group, the style with three buttons was the most attractive and that with two buttons was the least attractive. In 50's group, the style with two buttons was the least attractive and those with 1.3 and 4 buttons were a little attractive. Secondly, in the difference of associate design with sex and shape, men's group was considered that standard type was the most attractive shape, women's group was thought that lean and standard types were the most attractive shape. So we can know that the attractive shape is different with sex. In the difference of association design with age and shape, 20's considered that standard type was the most modernistic and fat type was the least modernistic. 30's considered that lean type was the most modernistic and 50's thought that fat type and standard type were the most modernistic. Thirdly, see the sex and material pattern. In familarity, men's group considered that stripe pattern was more familiar than checks and plain patterns. And they considered that striped pattern and plain was more manly than checks. In sex and material pattern, 20's thought that plain was the most attractive, stripe was the next, and checks was not attractive. 40's estimated that plain and stripe were more attractive than checks. 50's judged that stripe was the most attractive material. Thus. the attraction is different with ages and material patterns.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.639-651
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• 2020

This study utilized data to classify and characterize the body types of plus-size adult men aged in their 30s and 40s. Diversity is an important factor in the era of inclusive design, and discussion about size diversity to include the plus size should be accommodated. Data from 493 adult men classified as obese (with a World Health Organization criterion ≥25 BMI) were used for the analysis. The results of the study are as follows. Six independent factors were extracted using factor analysis for cluster analysis, which were then classified into five types. Type 1 (29.01%) was identified as body type I with the smallest degree of obesity. Type 2 (15.4%) was identified as body type Y with wide shoulders and a thin waist. Type 3 (14.2%) was the largest body volume (body type O), while the fourth (19.27%) identified as body type H has a large height and upper body. Lastly, type 5 (22.11%) has a long lower body and a slim abdomen, referred to as body type X. This study presents a basis for the development of various clothing sizes utilizing the body shape characteristics of plus-size men in their 30s and 40s. Follow-up research is needed to develop patterns for plus size men and to design various products.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.494-510
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• 2013

The purpose of this study was to develop unique men's pullovers using the patterns of Baekje tile, brick, and gilt-bronze shoes. As the method of the study, it was reviewed of the literature about Baekje traditional patterns and the knitting techniques. The development of pullover design was used TexPro design CAD program. The manufacture of pullover were knitted by Shima Seiki computerized knitting machines and Brother manual knitting machines. The results of study were as follows. First, the patterns of Baekje tile, brick and gilt-bronze shoes were suited to develop as motif for men's pullover. Second, men's pullover using Baekje traditional patterns were able to maintain the identity of Korean traditional culture and express the originality of design. Third, pullover was chosen three styles and was developed four design. Each pullover design was applied four colorway. Forth, pullover products were made by wool 100% yarn or cotton 47%/acrylic 53% mixed yarn. The patterns were expressed by knitting techniques of floating jacquard and birds-eye jacquard. Luxurious knit fashions were produced. Consequently, through the men's pullover development utilizing Baekje traditional patterns was showed the superiority of the local traditional culture, which is further emphasized by the current globalization. It also confirmed the possibility of the development of high value-added knitted fashion products to meet the needs of modern people to pursue individuality.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• Journal of the Korean Home Economics Association
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• v.31 no.1
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• pp.193-210
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• 1993

The purpose of this study was to investigate the effect of age, physical type and job on preference for color and fabric motifs in men's clothing design. Color preference measures consisted of clothing styles painted in CAD. Preference for fabric motifs was assesed by stripe fabrics in size, width and strength. All of the preference measures were devised specifically for this study. Furthermore, items on Hight and Weight for physical type, age and job of subjects were included I the questionnaire. Data were obtained by self-administered questionnaires form 243 men (25-54 years old) in Seoul. Analysis was by chi-square (X2), frequency, and percentage. The results obtained in this study were as follows : 1. Color preference was not affected by age and physical type, Job was related to coordinate color of men's clothing. 2. Preference for width of striped motifs was affected by age and job. 3. Preference for strength of fabric motifs in men's jacket was affected by physical type.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.11-25
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• 2015

This study analyzed features in contemporary men's collection to provide data for characteristics of kitsch in men's collection. The research method was to see background of the concept of kitsch through the domestic and international publications, the Internet, paper. Five designers' collections that have characteristics of kitsch were selected. The range of collection is from the 2000 S/S to 2011 F/W in Men's collection. The results are as follows: kitsch characteristics could be classified by amusements, inappropriateness, satire. First, exaggerative amusements in men's collection appeared exaggerated form, large size, which is ridiculous at the same time. Infantile amusements represents the image of a pure concentric matching accessories such as toys to the children express. sensual amusements reveals the sexual instincts and desires and people can feel satisfaction through sensual amusements. Second, inappropriateness is characteristic of kitsch to escape from normal life. Clothing does not fit the body and destroyed the design or design of this feature appears. It looks clumsy and strange. Inappropriateness characteristic in men's collection can be divided into inadequate performance and sexual inappropriateness. Third, satire can be divided into resistant satire, imitative satire, and popular satire. Resistance satire with anti-social tendencies through their clothing is achieved by expressing their needs. It was affected by sub-culture like Hippie or Punk. Imitative satire is to imitate other culture, customs and race. It is to resolve complaints through the consumption of things in disparities of wealth and materialism in the society. Popular satire is to express emotions that are free using materials that can recycling like can, bottle or paper.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.49-59
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• 2018

The purpose of this research is to study the semantic characteristics of men's cosmetics brand names by analyzing 51 brand names in the domestic market, so as to find ways to develop strategic brand names. In order to investigate this area, the study looked at the Interbrand Company's Name Spectrum, and the results are as follows. The men's cosmetics brand names turned out to be freestanding brand names, descriptive brand names, and associative brand names, in that order. The freestanding brand names were found to be the initial combinations of the words that have the desired benefits in the concepts of the pertinent brands; in other words, coined brand names that were made by synthesizing words such as nice men, naturalism, eco-friendly plant-derived materials and ideal skin. Associative brand names are generally used to express the effect of enhancing brand awareness by considering the phonetic image of the word or prompting a masculine and favorable image. Descriptive brand names use language symbols such as men, homme, man, monsieur and gentle to represent specific business and product categories for men, and also use stem, plant, flower, skin, beauty, moisturizing, tosowoong and so on to provide the properties and beneficial information related to the products. In conclusion, the men's cosmetics brand names embody an important factor that symbolizes the concepts, functions or features of the brand, and there is a need for men's cosmetic brands to develop more unique and distinctive brand names to promote their brand names as constitutional factors that can build brand power and strengthen brand image.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.1-13
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• 2007

Black has played a more important role in the history of fashion than other colors. In general, black was regarded as a color of negative images. However, as people have recognized the aesthetic value of black color, they have expressed unique and various images of black through the medium of clothes. This study was based on both theory research and actual survey, where survey sheets were distributed to collect data. For data analysis, SPSS 10.0, a statistics software, was used, and frequency, pecentage, t-test, ANOVA test, and Duncan test were adopted and analyzed. The survey was conducted on 608 men over 20 in Seoul, Gyeonggi Province, Gangwon Province, and other areas for two months from May 20, 2005 to July 25, 2005. The analysis showed the following results. First, Dignity was the mostly cited image of black color among men followed by modernity, sorrow, feminineness, abstinence, and sensuality. Second, Men showed different responses according to their age. In sum, men more strongly recognize abstinence and sensuality in black dress as they become older. Marital status significantly affected men's recognition of black dress in terms of abstinence and sensuality. Abstinence was more strongly recognized by married men than single men. In addition, married men pointed out sensuality of black dress more frequently than single men. In short, married men tended to recognize abstinence and sensuality more easily than single men. Education level clearly affected men's recognition of dignity, modernity, and abstinence in black dress. In sum, as men got higher education, they tended to increasingly recognize dignity and modernity in black dress. In conclusion, this study has proved that black dress has unique aesthetic values and reflects various images according to age, marital status, education level.