• Journal of the Korean Society of Costume
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• v.35
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• pp.181-193
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• 1997

The objectives of this study were to classify bedclothes purchase motives and to examine how bedclothes purchase mo-tives and design preferences very accord-ing to age and income. Samples were 217 housewives residing in metropolitan area. Questionnaire included 17 Likert type items of bedclothes pur-chase motive measure 12 items of color preference 7 items of pattern (floral geo-metric abstract stripe plaid polka dot, and paisley pattern). The results of the study were as fol-lows. 1. 5 factors of bedclothes purchase mo-tives were derived by factor analysis ; F .1 'design': F 2. "brand' ; F.3. 'deficiency'; F. 4. 'fabric' F.5. 'economical reason' 2. Subjects perceived design and utility area to be important motives for bed-clothes purchase. 3. Cholor preference of bedclothes was in the order of white pale blue pale green and pale orange. Pattern preference was in the order of stripe plaid solid color floral and polka dot pattern. The combi-nation of patterned fabric and solid color fabric was liked better than the combina-tion of analogic color and the combination of contrasting color. 4. The women in their 20's liked navy blue red stripe plaid pattern and solied color better than 30's and 40's . 40's liked abstract and paisley pattern better then 20's and 30's 5. Low income group lied navy blue and solid color fabric more than the mid-dle and high income group and liked ab-stract pattern less than the middle and high income group. 6. Women in their 20's perceived design to be important motive more than 30's and 40's. 30's perceived brand to be im-portant motive than 20's and 40's 7. High income group perceived design to be important motive more than the middle and low income group. Low in-come group perceived brand and fabric to be less important motives than the middle and high income group, The present findings provide that age and income had a significant effect on bedclothes purchase motives and design preferences of houesewives. The results that white color and the combination of patterned fabric and solid color fabric were liked best indicated that women prefered clean image and chacteristics de-sign of bdeclothes.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.11 s.158
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• pp.1519-1530
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• 2006

This study has surveyed and analyzed in 2005 S/S domestic men's street fashion by using the Web-SFAS system that was developed and completed in the earlier research. Total of 270 men who were sensitive to fashion were surveyed around 5 nationwide cities and 9 commercial zones. The analysis results of the questionnaire and image survey in 2005 S/S for each commercial zone was shown as follows. 1. The most interest in producing fashionable shape when they go out was in the order of clothes>hair style>shoes and it was found that the proper reason for visiting the commercial zone was to meet with friends>watching movies>shopping etc. 2. T-shirts were most preferred as upper garments and as for bottoms, blue jeans were preferred. Black, gray, and white colors were most preferred and blue color was most preferred primarily due to the preference for blue jeans. The color image was proven mainly modem and light tone, comfortable and casual items were preferred. An active comfort casual image emphasized with activeness by coordinating comfortable T-shirts or shirts with blue jeans were most preferred in 9 areas. 3. A clear difference was confirmed in color by commercial area. Blackish color was most prevalent in Daehakro whereas simple color was mostly shown around Hongik University area. Bright and unique colors such as green and violate were dominant at Dae-Gu Dongseongro, and basic colors such as white and black were preferred in Masan Hapseong-dong and Changwon Sangnam-dong. Through the results of nationwide street fashion survey, the each commercial zone has unique characteristics in fashion trend even in the same city, rather than the regional difference in Seoul and local city.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.887-898
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• 2000

Mourning & funeral ritual means a various kinds of ritual procedures which begins at the time of death, buried and created a graveyard, a manner of wearing funeral garment being mourning the death, finally go back to everyday life. Our mourning & funeral custom was burial at first time. After going through the era of the Three kingdoms, The unified Shilla and Korea dynasty, cremation method has been prevailed. However, based on Chu-tzu celebration in Chosun dynasty, the burial custom has been widely spread again. Nowadays, due to effective land utilization issue, excessive cost for burial and the change of thinking for cremation, the cremation is recognized as remedy of righteous funeral system. At this point, a shroud following existing burial custom burdens considerably for quality, price, size and design of it. Accordingly, it needs anew style of shroud corresponding to cremation system. As an alternative, the shroud is required simplification and standardization ; Firstly, in size, a shroud should be larger than plain clothes and differentiated in small, medium and large. Secondly, the material of a shroud would be white cotton, which can keep from pollution during burning time. Thirdly, it unifies the item. In case of man, 바지(把特, those are trousers), 저고리(赤古里, Korean-style jacket) and Durumagi(周衣, Korean topcoat). In case of woman, 치마(赤　, those are skirt), 저고리(赤古里, Koran-style jacket) and Durumagi(周衣, Korean topcoat).

• Journal of Fashion Business
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• v.20 no.3
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• pp.1-16
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• 2016

The purpose of this study is to analyze the differences in color, pattern, and texture of functional materials of outdoor clothing according to new senior women's psychological comfort. The data were collected from 163 female respondents aged 55-64 living in Busan. The results of the study are as follows. First, both the high and low psychological comfort groups preferred soft material the most. The high psychological comfort group particularly preferred soft textures and highly evaluated textured material in general. Second, both groups mostly preferred plain patterns while the high psychological comfort group preferred the dot pattern more. Third, in terms of colors, the high psychological comfort group preferred navy and purple, while the low psychological comfort group preferred brown. As to achromatic colors, both groups preferred black the most with the high psychological comfort group preferred gray and white more than the other group. Fourth, the high psychological comfort group preferred colors and patterns of clothing that made one look the most slimming, while the low psychological comfort group strongly preferred colors and patterns of clothes. Therefore, our results suggest that new senior women have a strong interest in outdoor clothing, not only in terms of textile functions, but also having interest in textile designs. In particular, the new silver women value psychological comfort in colors more than patterns of textile design.

• International Journal of Costume and Fashion
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• v.3
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• pp.1-11
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• 2003

This study aims to recognize the value of traditional culture and to create 'Korean style rest costume' i.e. in-door clothes for comfort's purpose designed for hotel or other tourist accommodations with its own image. In so doing, national pride and identity will be exalted for Koreans, while an opportunity of cultural expose will be provided for foreigners through the symbols of Korea, which will contribute to the international introduction and representation of Korea. First, this study investigates the external characteristics in forms and structures of Korean style rest costume. Second, questionnaires regarding consciousness of Korean style rest costume and preference in design are distributed to the hotel guest and staff-both domestic and international- to be fir out. Lastly, designed rest costume representing Korean image, based on the results of the survey. Upon investigation, users and employers both preferred two piece style which is separated to upper garment and lower garment. While employers preferred short sleeve, users preferred long sleeves. In colors, employers preferred blue while users preferred white. In garments, both of. the employers and users preferred cotton, towel and cotton flannel. In addition, when introducing rest costume, it will be efficient to distinct the strategy between natives and foreigners, and also distinguish where the rest costume will be used.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.54-66
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• 2012

This research analyzes the late Joseon's variously developed characteristics of women's underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today's outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

• Journal of Fashion Business
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• v.17 no.6
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• pp.158-175
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• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• Journal of Fashion Business
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• v.17 no.6
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.