The purpose of this study is to suggest fundamental information about wearing method and production of brassiere, which is suitable for physiological hygiene and efficient action for elderly women. The subject is 418 elderly women aged 50∼69 years old. Data is processed by a computer(SAS) and is analyzed by using frequency, percentage, x²-test. The main results of this study are as follows. 1. Elderly women'weight and breast size are higher thant their younger counterparts'in their 20's, but the older and poorer women with more children have smaller weight and breast. Most of the elderly women feel that their breasts are drooped or falling apart. I fact, those elderly women who gave birth to more children have more drooped and wider breasts. The major type of elderly women'breast is the 'drooped breast' featured more by those elderly women who have more children. 2. Most of the elderly women began to wear the brassiere for the first time in their 20's the older women with more children began to wear the brassiere earlier, while those less educated and poorer began to protect their breasts with brassiere later. Many elderly women wear the brassiere to be protected from dirt, noise or look more neat, but day tend to wear the brassiere not all day around but at certain times, older, less educated and proper women with more children tend to use the brassiere for etiquette and less often. This group of elderly women feel tedious, stage or uncomfortable for the brassiere. 3. Most of the elderly women know about their brassiere size. Such variables as age, education and income are correlated positively with the interest in and consciousness of the brassiere size. All in all, the statistical distribution of elderly women's brassiere size is very wide, while most of them use 90A, 85A and 95A sizes. On the other hand, the most popular size of the under bust circumference is 85∼90cm, while their primary cup size is A.
Being located in the east of the Mediterranean Sea, Cyprus used to play a bridge role of cultural exchanges between the East and the West during period of being occupied. As a consequence the fact that the style of costume might be changed at certain levels during the time is broadly accepted. Basic structure of Cypriot men's clothes during the late of the 19th century to the middle of 20th century is composed of\circled1 baggy trousers(vraka) \circled2 shirt(chemise) \circled3 jacket(ziboune/zibouna) \circled4 waistcoat(yilekko) \circled5 headdress(fez, kourouklin) \circled6 accessories. General composition of women's wear is \circled1 pantaloons(vrandzin) \circled2 shift(poukamiso) \circled3 outer garment(sayia, foustani, Amalia, costume) \circled4 waist kerchief(mandili tis koxas)\circled5 boots(podines)/pumps(goves) \circled6 scarves and accessories. As reviewed above, although men's clothes are still worn on a day to day basis, women's wear continues to exist only for festivals or as a tourist attraction. It was understood that this was an accepted consequence of 20th century modernization and reformation.
Articles from The New York Times and magazines including Consumer Digest, Journal of Home Economics, Scholastic, Time and Woman's Home Companion were analyzed in this study and focused on the following research questions: How did the social situation influence American women's adoption of pants during World War II? How were the social opinions of women's adoption of pants? How did American women's adoption of pants and the social opinions on women's pants represent the process of change in the definition of femininity during World War II? Women were encouraged to wear pants in work places because many women had to work in defense industries and farms. Women had to wear pants during the winter to keep warm in order to conserve oil, rubber, and other materials. In addition, wearing men's clothes became a fashion trend among college women during this period. However, practicality was often not the primary thing alone to consider in women's fashion. Femininity was still important in women's fashion. There were criticisms over the women's adoption of pants. Regulations against pants were imposed on women, while there were women who wanted to dress like ladies even at defense industries. An abrupt change in women's gender roles and the increased adoption of trousers aroused social ambivalence about the traditional definition of femininity. Even though many women returned to their homes after the war, the social demand of practicality in women's day-time clothes during the war offered women the experience of comfort and practicality in pants. These experiences contributed to paving the way for more women to adopt pants and helped establishing a new definition of femininity after the war.
Outdoor wear, which is typically worn for outdoor activities, has become a style that is worn on a daily basis, much like ordinary clothes, through recent megatrends. There are new approaches to outdoor wear with high-fashion brands and designers recently taking part in the trend. This indicates that outdoor wear has already reached high-fashion, no longer making it just a megatrend or daily fashion. Therefore this study aims to find new features of outdoor looks and designs, through the latest women's ready-to-wear collections from 2014 to 2015. The study will focus on mega collections, which have shown many new approaches, and searches to change and development the present day outdoor look design, by using the word 'outdoor look' which is explained as a 'style' in a broad sense, and using it a general term of 'clothes'. High fashion brands have pursued changing their styles by mixing their designs with outdoor wear's variety, functionality and details; attempting new approaches and challenges. Due to these updated changes, the outdoor look is thriving and becoming part of high fashion. Looking forward to future new approaches and the development of the outdoor look will help catapult this type of 'style' into a new category of modern fashion.
오늘날 스포츠는 현대인들의 라이프 스타일의 변화로 자신의 건강을 도모하고 즐거움을 느끼기 위한 하나의 수단으로 자리 잡게 되었다. 스포츠 선수들은 경기를 통하여 대중들에게 즐거움 전할 뿐 아니라 자국의 긍정적인 이미지와 가치를 전파하는 국위선양의 역할까지도 수행하고 있다. 테니스는 대중들에게 인기도가 높은 종목으로, 여성 테니스 선수들은 다양한 스포츠 기업의 테니스 웨어를 착용하고 전 세계의 대중들에게 디자인을 알리고 있다. 본 연구는 스포츠 웨어 및 테니스 웨어에 관련된 고찰과 함께 최근 5년간 4대 메이저 테니스 대회에 나타난 여성 테니스 선수들의 테니스 웨어를 토대로 의상 디자인 요소별 내용분석 연구를 실시하여 여성 테니스 웨어의 디자인에 관련된 특성을 파악하는데 목적이 있다. 이는 향후 테니스 웨어의 디자인의 방향을 모색하기 위한 기초자료를 제공하는 데에 의의가 있다. 본 연구의 결과, 첫째, 실루엣은 활동량이 높은 테니스 선수들의 신체적 움직임을 고려하여 활동성을 높이는 역할을 수행하는 것으로 분석되었다. 둘째, 색상은 전통적인 테니스 대회의 규정 및 명시성을 강조하고 선수들의 원활한 경기 운영을 고려하거나 그 해 유행하는 색상의 접목을 통하여 테니스 웨어의 다변화된 경향을 반영한 것으로 나타났다. 셋째, 소재에서 문양이나 장식은 테니스 웨어의 심미성을 강조하기 위한 수단으로 활용되었으며, 테이프는 여성의 신체미의 강조, 또는 신체의 움직임이나 부상을 미연에 방지할 수 있는 보조적인 역할을 수행하였다. 또한, 스폰서 로고는 문자와 이미지를 혼용하여 테니스 웨어의 가슴 중앙에 위치시켰는데, 이는 스폰서 브랜드에 대한 명시성을 높이기 위한 마케팅 전략의 일환이라 해석할 수 있다.
The aim of this study is to define the concept of the matchless, and its social and cultural origins. I shall also define the different types of Matchless style, the respective characteristics of each style, and the distinguishing features of this style in domestic street fashion. In order to do this, 1 have referred to several published studies and a number of Web-sites of Korean fashion information companies for my research. The results of this study are the following; 1. The concept of matchless is a positive way of self-expression by coordination, created by consumers who attach great importance to their image and to developing their individual style. Also, this concept constitutes a new approach to code which reanalyzes existing styles with a new sensitivity. 2. The social & cultural origins of matchless are the expansion of fear of war and terror, and economic depression, the extension of the 5-day workweek, interest in 'Well-being', and the phenomena of cultural diversity. 3. The types of Matchless are Style Matchless, Theme Matchless, Texture Matchless, Season Matchless, and Complex-Layered Matchless. 4. The distinguishing features of Matchless in street fashion are the distinction of formal & Casual wear's Matchless, the creation of a new Look in Sports & Casual wear's Matchless, the development of a new coordinated, layered look, the immense popularity of Denim, the new fashionable versions of Military style, and the renaissance of the Romantic Feminine Look.
This study analyzed wearing conditions to develop an optimum sports brassiere for women in their 50s. A total of 35.9% of the women exercised three times a week and 51.1% had been exercising for more than 2 years, and 58.5% exercised for 30 minutes to 1 hour each day. Regarding the question of whether women wore a sports brassiere when exercising, 54.8% of the respondents answered 'No'. 73.9% of the respondents found a sports brassiere stuffy. The most important factors in purchasing a sports brassiere were wear comfort and functionality. In particular, more exercise demanded greater functionality. When purchasing a sports brassiere, the price range was the highest for 84.3% of the respondents at less than 50,000 won, and 45.2% preferred achromatic colors. A total of 47.9% preferred the length of the sports brassiere to be about 5 cm from the bust; however, the respondents who exercised more preferred shorter length sports brassiere. A total of 57.6% of the respondents preferred the width of the shoulder strap to be 1-3 cm; however, respondents who exercised more preferred the shoulder strap to be more than 3 cm wide. Most respondents preferred the sports brassiere to have a moderate degree of compression at the front breast area.
In the middle of economic and mental riches in the 21st century, the importance of well being and the pursuit of happiness are emerging as the new trend. Thus the lifestyle that values comfortable and practical naturalness and intrinsic merits has come to influence the human life rather than the old showing-off and formal desire. In addition to this, the spread of the five day week has given more leisure time, which has led to the increasing interest in health and leisure. The interest in sports has skyrocketed since the successful holding of the 2002 Korea and Japan World Cup event. All these changes to the lifestyle have contributed to the fusion of luxury wear and sports wear. As the result of the consumers in the 21st century having more classified and upgraded way of living thanks to the settlement of the above-mentioned lifestyle and the enlargement of the leisure sports culture, there has appeared the wellness kin, who value the importance of life and the nature and believe in the idea that they can reconstruct the environment in the way they can enjoy their lifestyle and pursue happiness. They favor healthy fashion items and think much of exercise, nutrition, and rest. They pursue the natural and comfortable style, whose ideas came from simple exercises such as health training and yoga and the easy and comfortable look observed at resorts. Their fashion style can be divided into three of fitness fashion, yoga fashion and resort fashion. First, the boxer fashion is characterized by the relaxing design and practicality. The major items of the fashion include running shirt-styled upper clothes, training pants, hooded shirts and sneakers. Simple and comfortable look should be induced from the combination of the items. Second, the yoga fashion was motivated by the comfortable yoga wear. It advocates stress-free spirit and comfortable and stable naturalism. Along with the advantages of the good feeling to wear and the functionality to help exercise better, the yoga fashion gives the wearer enough room to move around in, using the unique lines. Third, the resort wear refers to the kinds of clothes you tend to wear at the beach and the park. There are various kinds of the resort look; bathing suits, the beach wear you can wear with the bathing suit, the resort evening wear, the full-side look that you try on top of the bathing suit and is made of the same material of the bathing suit, and the marine look, the symbol of the summer. In short, the study attempted to investigate many trends occurring as the result of human recent increasing interest and concern in the quality of life, and the impacts of them on the fashion world. This kind of research that examines the background of the times and society will help to grasp with the fashion trends of the present and the future. And more studies should be conducted on the development of new and original design in clothes fashion, which reflects the characteristics identified in this kind of research.
This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.
The purpose of this study was to find whether hemline cycles exist and whether hemlines show greater within-year variability over time. Utilizing US Vogue data from 1950 to 2013 on hemline length of women's daywear, total 2102 day-dresses or skirts on full fashion pictures were analyzed. The skirt length was divided by the total length of figure in the picture which was measured from shoulder to ankle. Aggregated yearly means smoothed by means of three-point moving averages were used to provide a better indication of the long-term direction of movement of the hemline. Within-year hemline variability was smoothed by the way of three-point moving average as well. The data showed five cycles on hemline change processes. The first cycle took 21 years from 1950 to 1971, which was the longest period and had the biggest hemline changes. The second cycle was the shortest from 1971 to 1977, in which hemline moved between below-knee length and midcalf. The hemline in the third cycle moved between midcalf and miniskirt. The third cycle took 16 years from 1977 to 1993. The forth was a short cycle from 1998 to 2001, and hemlines moved moderately between below-knee length and above-knee length. The fifth cycle has been on going since 2001, and the hemline has been getting longer after 2007. The within-year variability of hemlines was bigger in 1980s than previous years and was steadily increased.
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