• 복식문화연구
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• 제14권2호
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• pp.299-309
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• 2006

This study was intended to analyze the wearing practices and the subjective fabrics preferences for men's dress shirts. It was performed by means of convenience sampling survey of male office workers wearing dress shirts who were living in Seoul, Geonggi, and Chungcheong area. Collected data were analyzed by frequency analysis, cross-tabulation analysis, t-test, and ANOVA using SPSS. The results were as follows: Most of the male office workers owned 5 dress shirts, and blue color dress shirts were preferred to white one. It was shown that most of the respondents wore dress shirts at the office almost every day with necktie. The preferred sensations of the dress shirt fabrics were the soft, wrinkle-free, smooth and dry ones. There were partially significant differences according to gender and age of male office workers in the wearing practices and subjective fabrics preferences of dress shirts.

• 한국의류산업학회지
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• 제14권2호
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• pp.165-172
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• 2012

The purpose of this study was to examine and analyze broadcasting station's image expressed in wearing dress color of male and female news anchors. The data were collected from replay video news(n=180) provided in each station's website during 2005-2010 year. The results were as follows. First, in the case of the male anchor, KBS was focused on the quiet and classic image and the gentle image. MBC was focused on the vital and urban image. SBS was focused on the dynamic and young image. Second, in the case of the female anchor, KBS was focused on the neat, soft, and feminine in S/S season, on the other hand the loud and flamboyant image in F/W season. MBC was focused on the vital and urban image like image of a male anchor. SBS was focused on the private image of a female anchor than broadcasting station's image. Through the results of this study, the image of the individual and companies can be symbolized by the color of dress.

• 패션비즈니스
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• 제4권4호
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• pp.135-151
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• 2000

The porpose of this research is helping product developments and establishment men's marketing strategies. This contents are divided into two parts; the dress shirt's wearing condition and the dress shirt's buying condition. The subjects of the research were male that aged 25-50 and their company is resided in Seoul. The conclusion of this research is summarized as below ; 1. Many consumers have wrong term recognition of dress shirt. Most of men know their dress shirt's sizing designation as casual method(ex, $\cdots$95, 100$\cdots$). Therefore it is happened fitness complains. Dress shirt's wearing frequency for a week is 1-2 days or 5days mostly. A number of dress shirt’s wearing period for one is 6-12 months. Dress shirt‘s wearing frequency fand wearing period varies according to their age, unmarried or married situation, scholarship, occupation. So the manufacturer of men's dress shirt grasps the factor's for their character. 2. The conclusion of dress shirt's buying motivation is need better than impulse buying. If company planning season event, the selling will be improved. Most of men buy their dress shirt by themselves. It means a lot of men are interested in their clothes comparing to old days. And men's favorite purchase place is a department store and agent. when they purchasing, the color and size is very important factor. But dress shirt's sizing designation is not yet established. Therefore the dress shirt's sizing designation is needed as possible.

• 한국의류산업학회지
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• 제14권6호
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• pp.983-991
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• 2012

The purpose of this study was to provide basic reference data for the development of slim-fit dress shirts patterns for a variety of body somatotypes. For this study, a survey was conducted on the actual product conditions of slim-fit dress shirts of domestic brands(Actual wearing and purchasing conditions, fit, design preferences). The survey was conducted on 135 men in their 20s~30s. PASW Statistics 18 was used for data analysis. The result of this study are as follows : Analysis of the actual wearing conditions of dress shirts indicates that consumers own an average of 1~2 classic-fit shirts and 1~4 slim-fit shirts. These are normally worn once or twice a week, and purchased mainly at department stores, agencies, direct sales markets or outlets. With respect to the purchasing factors, price and style were the main priorities. Surveyed consumers had the greatest preference for designs with a non-darted front and a darted back, a semi-wide collar and the color white. By classifying the surveyed by somatotype, Type B preferred designs darted on both front and back, Type A preferred designs with a non-darted front and a darted back, while Type Y preferred designs non-darted on both front and back. All somatotypes displayed a preference for semi-wide collars and the color white.

• 복식
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• 제50권2호
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.

• 한국의류학회지
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• 제22권8호
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• pp.1052-1059
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• 1998

The purposes of the study were to analyse the colors and, color combinations effect on the image perception using gestalt theory. The research method was a quasi-experimental with a between subjects design. The experimental materials developed for the study were a set of stimuli and a response scale. The stimuli was consisted of 17 drawings of females wearing Korean traditional dress, by using CAD simulation. A response scale consisted of semantic differential scales. The subjects were 1138 undergraduate students of Taejon city, Chungnam province and Chungbuk province. Their responses to the semantic differential scales were analyzed using factor analysis, ANOVA, Duncans multiple range test. Results were as follows; 1) The colors effect of blouse was significantly greater than the effect of skirt, and no interaction effect was found between blouse colors and skirt colors. 2) In bi-color combination dress set, the combined image of the two colors were compared to the image of the two mono color sets: No single principle was found, however, salient color (such as yellow) and unattractive color (such as green) seemed to act as central trait colors on the image perception. On conclusion the visual image of Korean traditional dress wearer was affected by central trait colors in bi-color combination, and this results support the gestalt theory with central traits.

• 복식
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• 제41권
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• pp.207-223
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• 1998

The purpose of this study is to abstract the image from black dress, which has been favored by many people regardless of the times and examine it throughout the history of drss and thereby clearly define the images that black limplies in dress. Color image is a visual symbol, an image that forms through a combination of visual stimulus created by color, coupled with all the external factors related to it. Black is a one-dimensional color, of which the impact is subjective to its energy, which depends on light reflected on the object, and its texture. Therefore, black projects different images, depending on its surroundings. In general, black has had negative connotations in the Western culture. In dress, however, it has implied other various images different from the general negative ones. By combining general images of black and those exprssed in dress, major images of black were categorized into dignity, elegance, eroticism, asceticism and tragedy. Dignity is a category similar to the sublime. Dress with dignity has sharp contours and is generally made of velvet or silk which can be characterized by their splendor and voluminous-ness, exaggerating the body of a person wearing it. Such costume is mostly found in powerful countries in history such as Burgundy Court in the 15C, Spain in the 16C. Netherlands in the 17C. Elegance evokes grace and beautifulness. It includes elegance, grace, beauty and dandyism as subcategories or silk. Good examples are dandies' black costume and Ladies black and white dressees in the 19C. Eroticism is an image which expresses sexual attractiveness. Costume with eroticism is made of velvet or silk, which project sumptuousness through reflection. Such costumes expose parts of the body or are tightly tailored in order to emphasizes body contours. Asceticism means restraint from physical and mental desires. Costume with asceticism makes a person wearing it look smaller by covering the whole body. Puritan's black dresses and Bourgeoisie's black suit are good examples. Tragedy is anguish. sorrow. Black costume with grievous feelings such as mourning dresses is made of lusterless textile concealing most of the body except for the face.

• 복식
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• 제20권
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• pp.93-104
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• 1993

The purpose of this study is to clarify the adap-tation of traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress rep-resent a symbol which is connedted with the na-tional character and the evvironment. But it is hard to examine closely because color preference are transformend with the times. This study is framed within the limits of the next themes : the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Elements and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui spite of the occasional prohibition. Since the color of the dress represen-tatived the signs of the social class and the power, over the eighty persent of the common people put on the Beak Eui : ramie and flax fabrics that has it's own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integ-rity, the constancy, the elegance, the simplicity.

• 한국의류학회지
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• 제22권5호
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• pp.597-606
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• 1998

The purposes of the study were 1) to evaluate the visual image of colored Korean traditional dress for woman 2) to analyze the colors and, color combinations effect on the image perception using gestalt theory. The research method was a quasi-experimental with a between subjects design. The experimental materials developed for the study were a set of stimuli and a response scale. The stimuli was consisted of 17 drawings of females wearing Korean tradinational dress, by using CAD simulation. A response scale consisted of semantic differential scales. The subjects were 1138 undergraduate students of Taejon city, Chungnam province and Chungbuk province. Their responses to the semantic differential scales were analyzed using factor analysis, one-way ANOVA, Duncan's multiple range test, 1-test. Results were as follows; 1) The image of the stimulus was consisted of the 4 different dimensions.(sociability, evaluation, visibility, attractiveness) 2) Clothing colors had significant effects on image perception of the evaluation dimension, visibility dimension and attractiveness dimension in the mono-color set. The blue showed the most positive image on the evaluation dimension, and the yellow and the gray showed negative image on the same dimension. The yellow showed the most salient image and the gray showed the least salient image on the visibility dimension. The red showed the most attractive image and the green showed the least attractive image on the attractiveness dimension. 3) In hi-color set stimulus, the perceived image was influenced by color combinations. The yellow blouse-the red skirt set showed the most sociable image on the sociability dimension. The blue blouse-the green skirt set showed the most positive image on the evaluation dimension. The yellow blouse-the red skirt set showed the most salient image and the blue blouse-the green skirt set showed the least salient image on the visibility dimension. And the red blouse-the yellow skirt set showed the most attractive image on the attractiveness dimension. On conclusion the visual image of Korean traditional dress wearer was affected by dress colors and color combinations.

• 복식문화연구
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• 제7권5호
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.