• 복식
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• 제64권3호
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• 복식
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• 제59권4호
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• pp.143-154
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• 2009

The purpose of this research is to investigate elderly, middle-aged female consumers' design and material preferences for lounge wear and after understanding senescent women's propensity to purchase lounge wear. The subject of research were to those living in the Seoul and capital region and 612, which did not comprise missing values, were collected and used for data analyses. All the age groups including those in their 50s and 60s prefer jacket and pants styles the most and these styles are the most favored as lounge wear as well. Those in their 50s and 60s prefer a round neckline the most while those in their 70s favor a V neckline the most. Analyses of sleeve styles of senescent women show that all the age groups favor a straight set, or a sleeve design, the most. Although the aged people investigated in this research have relatively high purchasing power, it is found that they tend to buy low priced lounge wears. Reviewing all of the above-mentioned results, the prices of garments for senescent people will be set in consideration of their economic level, so that good quality commodities may be produced and sold at different prices.

• 대한치과보철학회지
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• 제36권5호
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• pp.738-747
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• 1998

The purpose of this study was to compare the positional stability of removable dies using several dowel pin systems. The removable dies were made by using five dowel pin systems: single dowel pin(Group I), single dowel pin and prepared groove on the die base(Group II), two-single dowel pin(Group III), two separate parallel dowel pins with plastic sleeves(Group IV), double straight dowel pins with metal sleeve(Group V). Special aluminum mold was made for specimens, and the dies of specimens removed and replaced thirty times with universal testing machine. Horizontal and vertical shift of dies was measured by Olympus monocular scanning tunneling microscope(STM5). The results were as follows: 1. The vertical shift was larger than the horizontal shift in all the other groups except Group I. 2. Single dowel pin system(Group I) was the most unstable of five dowel pin systems. 3. Double dowel pin systems with steeve(group IV, V) were the most stable of five dowel pin systems. 4. This study indicates that excellent horizontal positional stability is attainable with use of additional groove on the die base or double dowel pin. and excellent vertical positional stability is attainable with use of sleeve.

• 복식문화연구
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• 제11권1호
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• pp.75-87
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• 2003

The objectives of this study are to consider the shape for children's Saenghwal Hanbok and to analyze the trend up to date. Conclusions are described as follows: 1. Children's Saenghwal Hanbok was found in magazine about Hanbok from 1994. The design was various, for it was influenced by adult's Saenghwal Hanbok. From 1997, design of children's Saenghwal Hanbok was come to stay in a revival mood. 2. The Jeogori shape for children's Saenghwal Hanbok was as follows: Git was used several traditional git and western color from the initial to the recent period: Dong-Jeong was not attached in the initial period, but mostly attached with its ends sauare from 1997; Seop was not attached or transformed in the initial period, but attached in a traditional way (trapezoid-shaped) or a new way(rectangle-shaped) from 1998. The front was fastened on the right chest; the sleeves wert long or above-elbow or three quarter sleeve; Baerae was a curved shape in the initial period, but changed into a near-straight line with a slight curve; Jin-Dong line was straight for boys, but curve or not to be tot girls; Pocket was attached for boys, not attached for girls.

• 복식
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• 제52권8호
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• 한국의상디자인학회지
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• 제22권4호
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• 복식문화연구
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• 제31권3호
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• pp.379-393
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• 2023

In this study, a survey focusing on the status of clothing interest, inconveniences resulting from clothing, preferred design items, etc. was conducted on 364 elderly women to suggest aesthetically and functionally appropriate indoor wear design for at home elderly women aged 60 years or older. The survey results showed that in general, the respondents' interest in clothing was high, and more respondents in their 70s or older had difficulty in the action of opening and closing. With respect to considerations when purchasing clothes, color was considered more important than design as respondent's age increased, and size was regarded as the most important factor especially among those in their 80s. The preferred top styles were T-shirts and blouses among those in their 60s and 70s, and T-shirts and shirts among those in their 80s. The preferred sleeve lengths were "below the elbow" and "above the wrist" in all age groups. The preferred sleeve hem type was "tightening" in all age groups. The most preferred bottom styles were "straight-leg pants" and "elastic waistband." This study suggests the design items of indoor wear, including top, bottom, and overgarment for warmth, appropriate for elderly women at home based on the survey results. The study results are expected to serve as basic data necessary for the revitalization of the clothing industry for elderly women.

• 한국의류학회지
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• 제13권1호
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• pp.35-42
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• 1989

The purpose of this study is to assort Sim-Eui form in Chosun Dynasty Period, so that we considered pictures of Sim-Eui in literature, portraits, and Sim-Eui. The results obtained are as follows; 1. Considering that United Sinla Period was related deeply to Tang Period, it is assumed that Sim-Eui was already transmitted in United Sinla Period. 2. Sim-Eui form was assorted roughly into two group, Straight line collar Sim-Eui (Gik-Ryeong Sim-Eui) and Sguare collar Sim-Eui (Bang-Ryeong Sim-Eui). The former was made to closs collars but not similar to carpenters sguare (Gop-Ja). The latter was made by Bek Gyum-Han at the begining, by the way it was not used widely. Then again Chun-Hu made the Sguare collar Sim-Eui in 19 c, it was used widely with Straight line collar Sim-Eui. 3. Sim-Eui in $\ulcorner$Ga-Rye-Bu-Chuei$\lrcorner$ was similar to those days Chullick, that verifies the Sim-Eui's influence on Chullick. 4. There was new simple Sim-Eui in $\ulcorner$Sa-Rye-Jip-Yo$\lrcorner$, it was similar to large sleeve's Durumagi, Heng-Eui. 5. Sim-Eui was sustituted by Gik-Ryeong Eui, Dap-Ho, Dan-Ryeong, Do-Po, Heng-Eui.

• 한국의상디자인학회지
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• 제14권2호
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• 복식문화연구
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• 제16권5호
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• pp.937-954
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• 2008

The Gollyongpo was worn by the King and the Crown Prince in Joseon dynasty as an ordinary wear. The research on the Gollyongpo is focused on the historic record of Joseon dynasty, Joseonwangjosillok. This study will analyze literature, paintings and relics. First, I have researched Ming's(China) representative document daminghuidian, and excavated relics from the tomb dingling. I examined the usage and characteristic, through various remaining literature data, artifacts and paintings. The Gollyongpo was worn for the various ceremonies as well as an ordinary wear. According to the periode, the style and color had changed. The King wore the red Gollyongpo with 5 clawed dragon pattern, the Crown Prince wore black one with 4 clawed pattern, and the eldest son of the Crown Prince wore black one with 3 clawed dragon emblem. After the Daehan Empire, the Emperor wore gold outfit and the Crown Prince wore red outfit. Sonyongpo recorded in the Gungjungbalgi is concerned as Gollyongpo with narrow straight sleeve, one of the Sejong University Museum's Collection. There is some Possibility that the Gollyongpo painted in Bongsado is woven with dragon design, I would leave this matter for next research task.