• 복식
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• 제56권9호
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.

• 대한가정학회지
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• 제17권3호
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• pp.13-21
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• 1979

The purpose of this study were : (1) to analyze the commercial sizes in Korea , (2) to investigate the designs and materials of one-piece dresses, and (3) to ascertain the prices and tendency to sale of dresses. A questionaire and the interviews with some producers were used for this study. The questionaire was made with many items after the pretest. For the statistical analysis, 99 dresses were used among 141 dresses which were examined. The observation of ten observers was made in markets(group A), department stores (group B), and commercial agents of manufacture (group C). The period of observation was from April 10 to May 4 , 1979. The results of this study indicated that : (1) According to makers , the commercial sizes in Korea were different. The sizes were based on only waist in group A , body measurements in group B, and either of them in group C. (2) In dress style, the box dresses were popular in three groups. (3) The type of sleeve in group A, B and C showed in following order : set in sleeve > dropped shoulder > raglan sleeve. (4) The most necklines were finished with collars. The shirtwaist collars were popular in group A and C and the flat collars in group C. (5) In dress material , cotton/polyester was popular in group A, wool in group B, and silk in group C. The use of natural fiber and color in three groups decreased in following order : C>B>A. (6) The prices of dresses were from 10,000 to 35,000 won in group A, form 23,8000 to 49, 800 won in group B, and from 12,500 to 90,000 won in group C. (7) In case of group C, the elements which had influence on sale were color, design, and price.

• 패션비즈니스
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• 제24권1호
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• pp.1-14
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• 2020

Based on the trend of pluralization and globalization the collapse of national borders now is a manifestation of mixed and compromised cultures and societies. It is also emerging as a hybrid fashion in fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. This study aims to analyze the current state of Chinese fashion design and present its direction by grasping the characteristics of hybrids in the works of rising Chinese fashion designers in the era of pluralization. The research method was literature review and empirical research. According to the selection criteria of new fashion designers, 6 new fashion designers of 5 fashion brands were selected and their total 458 points works were analyzed. The analysis results are as follows. First, most of the time trade-offs were 'past and present' trade-offs that express Chinese traditional culture and the image of the past with modern design. The trade-offs between 'present and future' is expressed by mixing print patterns, colors and light with fractal art. Second, spatial trade-offs was expressed in the way of expressing Chinese themes in the composition of western clothing, expressing the Western themes in oriental colors, and inspired by Japanese culture expressed by deconstructionism, Third, the gender mix mainly used dark embroidery on women's clothing, while the men's wear showed a delicate feminine charm with a surreal pattern on thin and transparent gauze fabric.

• 한국의류산업학회지
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• 제23권5호
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• pp.624-633
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• 2021

This study was intended to compare the comfort of wearing each type of commercially available bralette. The trial wearing experiment was conducted on five women in their 20s who wear an average Korean bra size of 70A. The experimental bralettes were of four types: a bralette with both hooks and pads and a bralette without both, a bralette with hooks but no pads, and a bralette with pads but no hooks. The wearing test results are as follows. First, in terms of functional satisfaction, the padded bralette provided the greatest satisfaction in supporting the chest from the bottom up and bringing it to the center, and the bralette without the pad provided the least satisfaction. In addition, the level of convenience of attaching/detaching was about twice as high in the bralette with hooks than those without hooks. Chest compression was found to be greater in bralettes without hooks than in those with hooks. In terms of the pressure on the shoulder strap and on the lower chest band, it was found that bralettes with hooks had a greater sense of pressure than those without. In the appearance characteristics test, the unpadded bralettes scored higher than the padded one in the matter of feeling embarrassed, because in unpadded bralettes, the nipples were exposed underneath the clothes . This study is meaningful in classifying the design of the bralette and evaluating the fit for each design in the absence of prior research on the bralette.

• 한국의류산업학회지
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• 제21권4호
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• pp.412-419
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• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• 한국안광학회지
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• 제13권3호
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• pp.65-71
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• 2008

목적: 본 연구는 시중에서 유통되고 있는 완성품 돋보기와 안경원에서 조제가공된 돋보기의 광학적 중심점간의 문제점을 비교하여 눈에 미치는 영향을 연구하였다. 방법: 연구대상은 +1.00D에서 +4.00D까지 11개의 범주로 나누어 측정하였으며, 광주시 광산구에 사는 안질환이 없는 40세 이상의 남녀로 안경테 사이즈를 세 그룹으로 나누어 광학적 중심점과 광학적 높이를 측정하였다. 결과: 광학적 중심점은 57 mm에서 80 mm 범위 사이에 있었으며 대부분 61 mm에서 65 mm(64.6%) 사이였다. 광학적 중심높이 오차는 1 mm에서 8 mm 범주에 있었으며 4 mm가 공통범주(23%)에 속하였다. 완성품 돋보기는 불규칙한 사이즈를 가지고 있었다. 조사대상들은 거의 대부분 75.5%(151명)가 시중에 유통되는 완성품 돋보기를 사용하고 있었다. 대상자 151명을 조사한 결과, 완성품 돋보기의 광학적 중심점과 장용자의 P.D 사이에는 4 mm의 공통된 오차가 있었다. 더구나 광학적 중심 높이와 착용자의 O.H 사이에는 3 mm에서 4 mm의 오차가 있었다. 151명의 완성품 돋보기를 사용하는 사람들은 모두 피곤함을 느끼고 있었으며, 53명(35%)은 돋보기 착용 후 10분에서 20분 후부터 피곤함을 호소하였다. 이러한 조사를 바탕으로, 우리는 돋보기에 있어서 광학적 중심점 오차시 발생되는 프리즘 값을 발견할 수 있었으며 이는 완성품 돋보기가 착용하기에 충분하지 않다는 것을 나타낸다. 완성품 돋보기는 렌즈 굴절력과 상관관계가 있다는 것을 알 수 있었으며 또한 독일 RAL-915 규정을 따르지 않는다는 것도 알 수 있었다. 결론: 우리가 조사한 바를 기초로 할 때 완성품 돋보기는 우리의 시생활에 많은 위험적인 요소를 품고 있으며 안경사는 광학적 중심점을 토대로 정확하게 조제가공된 돋보기를 소비자에게 반드시 권하여야 할 것이다.

• 복식
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• 제64권1호
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• 대한가정학회지
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• 제25권2호
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• pp.39-54
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• 1987

One's Clothing Satisfaction, has a great influence on his role behavior in a society. Especially, as for the teacher's and the professors whose role is teaching, it can not be too emphaszed. Above all, high school girls and college women are the most likely to be influenced by their teachers' clothing behavior, to whom they pay their respect in every way. From this point of view, this study was aimed at explaining, the correlation between the teachers/professors' clothing behaviors and the learning efficiency. On clothing behaviors assessed 30 items related with the learning efficiency, selected from the instruments of preceding studies, and modified by the factors dealing with modesty, color, and design. The questionnaires were composed of two major categories: those for students and for teachers/progessors. The subjects of this study were included students and teachers/professors of high school and universities in Seoul. The data were analyzed statically by mean, standard Deviation, and F-test. The results of this study were summerized as follows; 1. The clothing behaviors of the teachers/professors influenced on the learning efficiency. Namely teachers' clothing satisfaction is in direct proportion to them teaching efficiency and students' learning efficiency. 2. Among the clothing behavior variables, modesty had a great influence on the learning efficiency, especially as for that of teachers more than professors. 3. The influence of the teachers'/professors' clothing behaviors on the learning efficiency showed no significance between high school girls and college women, but some significance between the grades of collegians. 4. As for the teachers'/professors' clothing behavior, male teachers/professors gave priority to design and female teachers/professors to modesty, color showed no significance between them irrespective of age. 5. As for the clothing behavior variabels, both the teachers/professors and the students showed some significance. In class the teachers/professors highly responded to their own clothing behaviors than the students. 6. According to priority the most favorable clothing colors for male teachers/professors are navy blue, gray, indigo blue, and black, and the most disgusting ones red, mud yellow, violet, pink, and green. The most favorable clothing colors for female teachers/professors are beign, white, pale yellow, and black, and the most disgusting ones red, mud yellow, and yellow and yellow according to priority. It is that teachers/professors should wear modestly and in color harmony to invite the desirable students' will to study. Teachers'/professors' colorful appearance and heavy toilet bring about a drop in the students' will to study.

• 복식
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• 제22권
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• pp.159-176
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• 1994

This study's purpose is to find the ancient costume of the folk song's words on Dunhuang manuscripts in the background wass-carvings sculptures and several art works. Dunhuang had played the part of major route between ancient China and Europe. It is located on kam-suksong the west of China. 1. In the aspect of costume arrangement hair Styling is represented by Naegagyo, Wangyesa, Kyongburak, Bonkwyun, Pogurak, Chonsonja, Namgaja, Tongson-ga, Ojesa, Chanboja in Dunhuang manuscripts. tugue is sim-ilar to Sabyokkwanja in Naegagyo as of that time these kinds of Kwan-ja was very popular. It was told that emperor's wife concubine and maid of honor would wear kwnaja favorably. And the kinds of Tugeu is PuyongKwyunkye, Aangunkye, Chunkye from Kyuwanjon except Sangunkye, Ounkye in Dunhuangsa. 2. Jangdaegy is guoted from Kyuw-anjon -A series of the chinese history book-tells us about women's make-up . The narmes of make-up are Hongjang Unjan--g, Yiljang chwejang, Tam-ajang Murgjang, Sanagjang, Light-make up are referred in Naegagyo is included as packjang Besides we can find other make-up skills Huphwaro and Rujang from the Kaewonch onbon-wisa which was Yangkwibi's episodes. We can find the a corpus of song's words about cosmetic custom in Kor-ea. Which is 'Haecho' folk song in the souther-en costal regions 'Jinggum' folk song in Kim-hae regions and so on.... It's words is similar to Dunhuangsa in China. 3. Bichun inherited to China with India Bud-dism art in the middle of Dunhuang wall-pain-tings is one of the important Buddist saint. Sometimes it is painted with Giakchun Its arms of fly-dnacing in heaven with colored belt on body has almost the form of play on the musical instrument, We can see seasily the form in the painting of Buddist ser-mon. It was progressed and changed with the background of chinese traditional culture. When Dang's period came the color was chan-ged lighting dark blue has rhythmical and viv-id power of life. 4. Among the corpus of song's words which express the singers' system and rites of their tradition or habits. Dunhuang manuscripts des-cribes on behalf of the folk song's words in tra-ditional costume. This is following: (1) Naegagyo o sabyokwanja o Chyrasam o Rashang (2) Wangyesa o Sokryugun o Costume for fisher man (3) Bungajang of the chanboja o Ajang (4) Pongkwyun o Chongui (5) Tongsongs o Junofore (6) Namgaja o thin-Rasam (7) Yuchungnang o Hongsam o Sokryugun : The color of red costume (8) Kyongburak o Hongrasam o Sokryugun : Costume for charming woman Therefore traditional costume could be extracted according to the Dunhuang folk song's words out of culture such as learning rit-es three-obedience four-virtues and in-struction. As the same time it reflects ancient China's characteristics directly. I would endeavor to development for the history of the costume furher creative design and participat-ed in research activity with concerns forward continuously.

• 한국의류학회지
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• 제29권12호
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• pp.1535-1545
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• 2005

신축성 소재 여성용 바디수트 원형 설계에 관한 선행연구에서 개발된 바디수트의 진동둘레길이 항목을 적용한 소매원형 제도방법이 제안되었다 본 연구는 선행연구와 연속적 맥락에서, 첫째, 신축성 소재의 물성을 고려한 패턴축소율의 적용을 제시하고 둘째, 그에 따라 개발된 여성용 바디수트 소매원형의 제도방법의 단계별 서술을 통해 교육 및 산업분야에서의 사용을 목적으로 하였다. 본 연구를 위하여 광범위하게 사용되고 있는 기존의 소매원형 제도방법을 우선, 선정하여(i.e. Joseph-Armstrong: T1, Shoben & Ward: T2, Esmod: T3 그리고 Joseph-Armstrong 절충식 : T4) 분석하였다. 그 가운데 소매의 앞 뒤차가 반영되지 않는(i.e. T1) 것과 반영되는(i.e. T2, T3 그리고 T4) 방법으로 나누어 구분하고 그에 따른 바디수트 소매샘플을 선행연구와 동일한 신축성 소재$(wale: 50\%/course: 70\%)$를 사용하여 제작한 후, 5인의 전문평가단을 구성하여 그 외관과 동작적합성을 평가하였다. 외관평가에서 관찰된 항목은 앞, 옆, 뒤 바디수트 소매의 여유분, 중심선의 위치와 소매길이, 그리고 바디수트 몸판과의 조화정도의 총 13항목이었고, 쾌적성 평가에서는 전방수직, 측방수직, 측방수평 3동작을 통해 실험의의 동작적합성을 평가하였으며 최종적으로 외관과 동작성이 적절히 조화된 바디수트 소매원형을 제안하는 과정을 거쳤다. 외관평가에서 T3>T4>T2>T1 순서로 우수하게 평가되었으며, 동작적합성 평가에서는 T1>T4>T2>T3의 순으로 평가되어, 외관적으로는 여유분이 적어 당겨 보이는 이유로 점수가 낮아도 쾌적성에서는 오히려 죄어주는 것이 안정감이 있다고 분석되었다. 따라서 외관과 쾌적감의 균형을 고려하였을 때 최종적으로 T4,즉, 소재의 신축성에 따른 패턴축소율(전체소매길이 : 1.0RR, 소매산높이 : 0.7RR, 팔꿈치둘레: 0.9RR)이 반영되고, 진동둘레에 제로 이즈량을 부가하였으며, 앞뒤차가 반영된 바디수트 소매 원형 제도방법 이 제안되었다.