• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.1-14
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• 1996

The purpose of the study is to analyze the dresses appeared in Nogultai. In the analysis of this study names and kinds of fabrics, colors, motifs, places of production and names of dresses were examined. In the study various kinds of fabric colors and motifs of fabrics were appeared in Nogulta. Also a variety of silks such s brocade, damask, plain silks, ra, silk gauze, hemp cloth, cotton cloth, wool and fur were found. Colors of fabrics were of blue, green, indigo blue, red, light blue, brown, yellow, black and white were described. Mostly cleouds, flowers and mixtures of floral designs were used in silk brocades, Walrus was motif the only animal revealed in silk brocade. Nanching, Hanchaw, Suchaw were famous production centers of silk damasks, silk gauge and silk ra. Also Shantung and Suchaw produced good quality plain silk. Various kinds of coats, waded coat, wadded short coat, inner jackets, vest trousers, winter cap were included. Also accessories such as belt, cap, boots, socks, money belt, pouch were described. In addition, cosmetics, cosmetic kits and names of semi precious stones were mentioned. Seasonal garments differed according to kinds of fabrics and materials used. Wadded coat, wadded short coat, vest, winter cap and wool socks appeared as winter wear.

• CELLMED
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• v.7 no.3
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• pp.12.1-12.6
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• 2017

The purpose of this study was to analyze the effect wool in patients with chronic obstructive pulmonary disease. The study was conducted experimentally on 53 patients with chronic obstructive pulmonary disease attending the chest diseases polyclinic of a hospital located in Erzurum. A randomized selection method was used to categorize patients into two groups; a treatment (n = 27), and a control group (n = 26). Patients in the treatment group (pre-test measurements were taken) wore wool vests for a period of three months, while patients in the control group wore cotton vests (placebo) for the same duration; post-test measurements were taken for both groups at the end of the three-month period. The Medical Outcomes Study Short Form 36, the St. George's Respiratory Questionnaire, and pulmonary function tests were used to collect data. Results concluded that there was a significant decrease (p < 0.05) in the overall score of the St. George's Respiratory Questionnaire, and the symptom, effect, and activity mean scores, while there was a significant increase (p < 0.05) in the SF-36 physical functioning, general health, bodily pain, role physical, vitality, role emotional, social functioning, mental health, physical and mental component summary mean scores of patients in the treatment group. Results of the study concluded that the symptoms, activity, disease effectiveness, and quality of life improved in patients that wore wool vests.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.340-358
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• 2017

The purpose of this study is to fundamentally examine the vests of the robes "Daeraebok" and "Soraebok" of the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korea to Japan. Among the collections of different robes of the Korean Empire which belong to various universities and institutions, only the vests were surveyed. The shape of the vests in the Korean Empire were single-breasted and double-breasted. Most V-necklines and vests with a shawl collar look like a tailored collar, where the collar outline was shaped like a notched and picked collar, which is a mix of the step collar and roll collar of the 19th century. The rear center line was not flat, but inclined to a triangle. All vests of the robe Daeraebok were equipped with gold buttons, and those of the robe Soraebok had black satin buttons. The tailoring characteristic is that the front has a different material (dark black wool) from the back (black silk). This characteristic is expected to be an important basic piece of information in the restoration and reproduction of the vest, which was worn during the imperial period, especially to reveal its shape, characteristics and composition. This characteristic can also be used as data of cultural contents based on Korean modern history.

• Journal of Fashion Business
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• v.3 no.2
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.133-145
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• 2023

Competition is intensifying as the golfwear market grows and expands rapidly due to the influx of MZ generation golfers, so it is necessary to plan knit golfwear products suitable to consumer needs The purpose of this study is to contribute to product planning by analyzing knit design factors according to the brand image of golfwear. First, the top five sales brands surveyed by Apparel News were selected. The selected brands were G-Fore, PXG, Malbon Golf, Titleist, and Mark & Lona. Knit products sold by the selected golfwear brands were investigated based on design factors, such as image, item, stich, yarn, color, and pattern to analyze knit design factors according to brand image. G-Fore's modern classical image was influenced by pullovers, vest items, 100% wool, color contrast, intasha stich, and monotone colors. PXG's sporty modern image was due to a mixture of rayon and polyester in jumper items, while Malbon Golf's American casual image applied character patterns and intasha knitwear. Line points, plain knitwear, and monotone colors were analyzed as design factors for Titleist's modern minimal image, while Mark & Lona's classic casual was analyzed as knit design factors, such as check patterns and jacquard knitwear. Differences in knit design factors according to brand image can be identified.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.