• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.143-155
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• 2014

This study focuses on Yusam, a military raincoat that was worn during the Joseon Dynasty. The purpose of this study is to review the types and management system of Yusam. Documentary records, paintings and relics were used as research materials. Yusam was recorded as either Yusam(油衫) or Yu-ui(油衣) in writing. It usually looked like a skirt and was worn like a cape, but there were differences in length. Some of them took the form of a short coat with half-sleeves and side slits. Research analysis results of Silrok, Ilseongrok and the archives of the military camp in the later Joseon are as follows: First, Mokyusam and Jiyusam coexisted as military raincoats. Mokyusam was made with cotton and perilla oil, while Jiyusam was made with traditional Korean paper, a cotton edging and perilla oil. Second, the differences between general Yusam and military Yusam include the material of the clothing, the materials for waterproofing, the color, and the manufacturer. Third, each military camp supplied soldiers with hundreds to thousands of Yusam. Military officers and King's guards wore Mokyusam because Mokyusam was higher than Jiyusam. Fourth, soldiers Yusam together with Yujeongeon, Chorip, Galmo, or Hwihang as a hat. Fifth, the higher the rank, the higher the price of Yusam and the longer the term of usage. On the other hand, as the rank got higher, the cost of the supplementary oil rose, while the duration of usage got shorter.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.797-807
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• 2010

This study investigates the effects of consumer brand identification and brand attachment to brand equity. 332 surveys were collected from male and female university students in Seoul. In each survey, respondents were asked to choose one favorite fashion brand that they often purchase and answer questions regarding brand identification, brand attachment, and brand equity. The results were analyzed using SPSS package 12.0 and AMOS 5.0 program and factor analysis, reliability analysis, and path analysis were conducted. After the factor analysis, 3 factors were found under brand identification, 4 factors under brand attachment, and 4 factors under brand equity. The Cronbach's $\alpha$ of brand identification was .84, the brand attachment was .80, and the brand equity was .81. The results of this study show that brand identification had a positive effect on brand attachment that had a positive effect on brand equity. Additional results show that both brand identification and brand attachment had a positive direct effect on brand equity; however, brand attachment had a higher effect on brand equity.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.122-136
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• 2007

All costumes used for dramatic effect delivers the character's individual data such as sex, age, social position, job, personality, and sense of values in the scene and leads the progress of drama as a media that describes psychological condition and image of the drama etc. symbolically. Therefore, it has a meaning of finding out the importance of film costume, recognizing the traditional culture through the expression and creativity limited to the age in expression, finding out the unique Korean beauty and succeeding it to the future generation. The film is the first costume drama in Korea, which is remake work of Lt;Les Liasions dangereuses, 1782> in the age of the King Jeongjo in Joseon Dynasty. And is comic costume drama that the story goes as a man of the noblest birth debuts as a filthy novel writer. Both films have remarkable grace, elegance and magnificence as having Joseon Dynasty on the background, and treats irregularities and dissipation hidden in the noble society that looks elegance on the surface. There are three aesthetic symbolism in films, naturalism neat beauty, traditionality expressed.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.28-41
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• 2006

The purposes of this study were to analyze 'well-being' lifestyle pursuits depending on consumer types and to classify female consumer types according to their 'well-being' awareness. This study also intended to examine the levels of consumers' participation in pursuing a 'well-being' lifestyle, and to find female consumers' characteristics related to well-being lifestyle. The results of study were as follows: First, female consumers were classified in terms of their lifestyle by using their participation in, and awareness of well-being concerns. The results were divided into four groups: society/family-oriented group, 'well-being' oriented leading group, trend-oriented material wealth pursuit group, and selt~centered/fashionable appearance-oriented group. Second, the results of examining characteristics by female consumer type in terms of their pursuit of a well-being lifestyle show that the 'well-being' oriented leading group had the greatest number of innovators and followers. Also, the trend-oriented material wealth pursuit group consisted of mostly medium level participants, and the self-centered/fashionable appearance-oriented group had the greatest number of 'well-being' lifestyle bystanders. With regards to practical participation group, significant differences were found in the sections of 'health', 'leisure' and 'whole', except for 'appearance management'. With regards to purchase experience of 'well-being' products, the health-oriented leading group was the highest participation level in the sections of 'clothes' and 'food', except for 'residence', in which the society/family-oriented group was the highest. Third, demographical characteristics within female consumer types classified by 'well-being' lifestyle showed that the society/family-oriented group had a high percent of. dedicated housewives in their forties or fifties, and the trend-oriented material wealth pursuit group has a high percent of married people in their twenties or thirties. Also, the self-oriented/fashionable appearance-oriented group had a high percent of unmarried. people in their twenties.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.886-902
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• 2016

This study investigated multidimensional body image, self-esteem, clothing benefits sought, and Body Image After Breast Cancer (BIABC) within surgical subgroups among breast cancer survivors. The study applied the questionnaire survey method and the main research was conducted through an online survey. The respondents included 207 breast cancer survivors between the ages of 30 and 59, each of whom received the Multidimensional Body-Self Relations Questionnaire (MBSRQ). Self-esteem, clothing benefits sought, examination, and demographic variables were measured using a 5-point Likert scale. The main results of this study are outlined below. For clothing benefit sought, six factors were formulated-pursuit of self-expression/social approval, function/health, compensation, femininity, fashion, and camouflage-and BIABC was defined by the four factors of body stigma/vulnerability, transparency, limitation and cancer concern. While MBSRQ and self-esteem did not show a statistically significant difference between groups differentiated by the surgical methods experienced, those who underwent mastectomies scored slightly lower than members of the other groups. Moreover, the reconstruction after mastectomy group showed the highest mean on self-expression/social approval, compensation, femininity and entire clothing benefits sought, followed by the lumpectomy group and mastectomy group. The lumpectomy group was found to have more positive BIABC than the mastectomy group. In particular, the mastectomy group showed a lower body stigma/vulnerability mean than the other groups. This study is meaningful in that it improves our understanding of the body image of breast cancer survivors and provides basic knowledge for developing products and marketing strategies for breast cancer survivors as consumers.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.158-167
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• 2013

The cotton fabric armour for lower class soldiers can be found from the historical records of the mid-Joseon Korea. And the records show that the form and the structure of the armour was modified in the late 19th century in order to provide better protection from gunshots for the soldiers in the midst of the invasions from the West. This is a survey and research of the only artifact of the cotton fabric armour remaining in Korea - for its form, dimensions, and design. Using the historical records as reference, we can confirm the structure and characteristics of the cotton fabric armour of the Joseon period. This cotton fabric armour, preserved in National Museum of Korea, is a vest-type armour made of 30 layers of cotton. On the right shoulder, there is a button for tying knots and strings were tied under both armpits. On the surface of the cotton fabric armour there were some characters and patterns stamped in black. Presently, this artifact in Korea is the only specimen relic of its sort, but there are some other related relics in foreign countries including helmets and belts. Continuous researches would help extend the scope of armour study beyond the traditional researches that only focuses on the armours of the officials, thus helping us to understand the military costumes in traditional Korea.

• Fashion & Textile Research Journal
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• v.14 no.4
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• pp.588-596
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• 2012

This research was intended to design an experimental girdle with thermal insulation function for adult women in their 20s. The design of the experimental girdle was based on the pattern of commercially available girdle. The final pattern of the experimental girdle was established according to the drawing equations determined based on the result of appearance evaluation. The equations were (waist circumference${\times}0.88$)/2 for waist circumference, (hip circumference${\times}0.77$)/2 for hip circumference, and (thigh circumference${\times}0.85$) for thigh circumference. In order to develop a heating device, the most effective fabric heater was adopted based on the experiments about the number of caron fibers, heater size and attachment site. Three heaters-one with a size of $14.5{\times}9.5$ cm, and the other two with the size of $8.0{\times}15.0$ cm-were attached to the areas corresponding to the lower abdomen and the hip, 5 cm below the waist. A heater was developed by connecting these heaters to a controller, 2 batteries (7.4 V 2000 mAh lithium polymer batteries) and a switch (for mode conversion between high/medium/low temperatures). The heater was integrated into the inside of the girdle, so that attachment and detachment were possible without the change of appearance. The tentative configuration plan was proposed for the development of a functional smart girdle with an excellent thermal insulation effect.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.333-338
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• 2014

This study identifies the effects of sodium sulfate and surfactants in the papain treatment of wool fabrics using L-cysteine and EDTA as activators. The research method involves the use of 2% L-cysteine and 7% EDTA as activators at optimal conditions, papain treatment of wool fabrics with the joint use of sodium sulfates and surfactants, and measurements of the weight loss rate, tensile strength, and whiteness. Results showed that for both 2% L-cysteine and 7% EDTA, the maximum papain activity appeared at 0.5% sodium sulfate concentration. In both cases, the papain activity was enhanced at sodium sulfate concentrations lower than 0.5%. In contrast, the papain activity declined at sodium sulfate concentrations higher than 0.5%. The joint use of EDTA with 0.5% sodium sulfate was proven to be very effective in improving the papain activity. The joint use of 2% L-cysteine with 0.5% sodium sulfate appeared slightly effective in improving the activity but resulted in excessive decrease in the tensile strength and whiteness, compared to improvement in the activity. The joint use of surfactants, in the case of L-cysteine, interrupted the papain activity and decreased the tensile strength regardless of the surfactant type and concentration. In the case of EDTA, however, the joint use with 0.1-5% non-ionic surfactants, 0.1-0.5% anionic surfactants, and 0.1% cationic surfactant appeared to improve the papain activity. The maximum papain activity was observed when 0.1% of surfactant was used, regardless of the surfactant type. The nonionic surfactant was the most effective in improving the papain activity.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.1-15
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• 2010

A Korean knot is one of the ornamental elements that our ancestors used intimately in their daily lives, and the diverse forms and structural features of the Korean knot have sufficient creative and aesthetic value for it to be recognized as one of beautiful products that was relished by individuals of the times. Starting from two strands, Korean knots make unique forms as they are overlapped or plaited, crossing each other in many ways. The forms of Korean knots were given names such as "nabi maedeup"(butterfly knots) and "gukwa maedeup" (chrysanthemum knots), in reference to things in the surrounding environment that were perceived as being similar in their appearance. It is considered that with their unique structure, such Korean knots may provide a good motif for creative design. As well, it is believed that combining the traditional beauty of Korean knots with a contemporary sensibility will lead to the creation of truly forward-looking design. Against this backdrop, this study aims to inquire into and analyze the formative characteristics and aesthetics of Korean knots, with an eye to their use in future design. In addition, it aims to help to put such historical knotting practices into practical and functional use in the future, through a study of previous uses of historical knotting practices with a modern sensibility. It is thus expected that this work will contribute to the inheriting and development of traditional culture, and ultimately to enhancing the status of Korean design in the world.