This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

The purpose of this study is to research on the actual condition of production and selling in silver apparel market. For the questionnaire, 19 women's wear brands which were in higher ranking of sales in boutiques and madame-zone of department stores were selected. Pattern makers of each brand were questioned about 40 items for this research. The results of the questionnaire were as follows: 1) According to the result of the survey on the made-to-wear production of 19 ready-to-wear manufacturers, there was the gap was in ages between the target and the real consumer. Consumers of these brands were older and aged more broadly than their target ages. 2) Most of the consumers of silver-zone has thick waists, common heights, fat shapes. Custom-made clothes are ordered in many cases because of the big abdomen(50.0%) and H-shape(58.3%) of a somatotype. The body size variation of user population is needed for a good fit. 3) All brands(100%) of this research are using KS standards in the label of clothing, but they don't use these data in their production by reason of unawareness and distrust about these data. These inconsistency between the label and the real size of products may cause a confusion when consumers buy ready-to-wear. 4) Silver apparel manufacturers have need of anthropometry information and dummy(78.6%) suitable for their target consumers to increase their satisfaction about their apparel fit.

In 21 century, the ubiquitous environment is advanced fast through the so-called digital convergence. This research experts what is the next generation of traditional fashion product purchase behaviors. The purpose of this study is to analyze the fashion product purchase decision making in the development stages of ubiquitous environment. The quantitative Investigation was executed for 487 collegians and the data were analyzed with Frequency, percentage, ANOVA, Duncan test and multiple regression by using SPSS win version 10 package. The results of this research were as followed: First, in the 1st stages of ubiquitous developmental environment, using internet pc or mobile phone was analyze the difference between fashion shopping orientation group and purchase restricted factor Second, as a result of the factor analysis of the ubiquitous 2nd stages, four lower dimensions were made: giving information; wearable effect, buying facility; interest from purchase. as a result of ANOVA, there were any differences between fashion shopping orientation group and ubiquitous 2nd stages. Third, in the 3rd stages of ubiquitous developmental environment, there are differences between fashion shopping orientation group and ubiquitous 3rd stages. And the result from regression analysis of the ubiquitous 2nd stages and 3rd stages showed that buying facility factor in increasing need recognition, wearable effect factor in fashion information acquisition, giving information factor in have a intention to buy in ubiquitous #3 rendition are most influential.

The purpose of the study was to demonstrate how to recreate spencer jacket in the empire style in an attempt to apply this historic style to theatrical costumes and other high fashion items in modern times. The study was carried out through 2 steps. (1)Block patterns of spencer jacket of its basic design were developed through draping based on the design characteristics mentioned above. (2)Spencer jackets of three designs, which were the typical designs of each category have been made of velvet to find out more specific structural characteristics. The structural characteristics of Spencer jacket in draping were as follows: (1)Jacket length position was suitable 9cm below body's bust line and neckline should be enlarged front & side neck point 2cm, back neck point 1.5cm. (2)Cut out the front bodice after CF line moved 1cm outwards and bust dart amount should not exceed 2-3cm. Shoulder point moved inwards. (3)Side back grain line was parallel to princess line of the back bodice. Add 0.5cm ease to the under arm of the front and side bark bodice, it was good for the activity of arm. (4)Armhole line was trued as maintaining to across back width 14-15cm at least. Shoulder line was to connect from the point 2cm depart shoulder point along armhole line to point 2cm side neck point along neck line. (5)Sleeve length was suitable 70cm, cut out the bias direction to move forwards the grain line from shoulder point. Puff position was good from the 2cm depart shoulder point to shoulder line.

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

The purpose of this study is to figure out the types and characteristics of golden decoration technique out of various techniques of expressing patterns on the costumes. This study reviews both costumes decorated with gold in the relics of Chosun dynasty and literatures focused on domestic and Chinese documents and records. The types of decoration technique using gold include JigGeum (brocade technique), InGeum (gold powder and flake attaching technique), and GeumSaJaSu (embroidery technique). The JigGeum is weaved using golden thread instead of silk thread in order to express patterns. The InGeum technique is to attach gold or silver powder or thin gold or silver flake on the surface of the fabric. The GeumSaJaSu technique is to embroider with gold thread on fabrics. 82 pieces of costumes made using gold in Chosun dynasty era are analyzed. The results follows; In terms of types of technique, is shown to take the majority; JigGeum (43.90%), InGeum (30.49%), GeumSaJaSu (23.61%). Looking at the patterns used by the types, plant pattern and letter pattern are mostly used for both the JigGeum and the inGeum. In terms of the characteristics by their uses, the InGeum is used for court dresses (52%). It is also used for ordinary dresses (12%) and for other purposes (36%). It is mostly used in the court dresses in the late period of Chosun dynasty era. The JigGeum is used for ordinary dresses (47.22%), for court dresses (44.44%) and for other purposes (8.34%). It is evenly used for court dresses and ordinary dresses.

This survey was performed to gain basic information for the development of new protective clothing of high acceptability in pesticide splaying among small size farmers. The rate of protective clothing wearing was low during pesticide spray although they understand its necessity. The reason for this low acceptability was related to the heat stress and reduced work efficiency deriving from wearing protective clothing. Instead of wearing they tend to carry out spray work while the ambient temperature is not to high. In the similar context, they rather intend to spray in consideration of weather condition instead of wearing protective clothing in the future. However, they are willing to purchase protective clothing if desirable products are developed: the clothing need to be efficient in both protection and work performance; the fanciness in design is not a requisite. This survey result will provide information necessary for the direction of new protective clothing development.

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

Human hair could be damaged by various physicochemical conditions and treatment. Permanent and decoloring treatment were the most serious factor on hair damage. The new permanent wave lotion containing Permeation enhancers such as Cremophor EL, Transcutol and propylene glycol based on cysteine permanent wave lotion were prepared. Efficiency of permanent wave and hair damage following pH of permanent wave lotion and addition of permeation enhancer were investigated. PH of solution, wave efficiency, loss of protein from hair, morphology of hair by SEM and solubility of alkaline solution were evaluated. The addition of Cremophor EL and Transcutol with ethanol increased permanent wave efficacy and decreased hair damage effectively. They diminished permanent wave lotion's pH and augmented permanent wave lotion's penetration compare to cysteine permanent wave lotion. new permanent wave lotion containing permeation enhancers such as Cremophor EL could be a good candidate for a new permanent wave lotion.

As modern society set in, lifestyle has been changing largely; leisure activity has been expanded and family activity became important. Changes in the lifestyle caused big changes even in fashion industry. Instead of suits, coordination using clothes easy to wear was extended and the need of family look was also raised. Despite the need and marketability of family look, however, family look style clothes depend on the manufacture by orders on the Internet and few brands have been developed unlike the activation of family restaurants or family fast-food restaurants. Thus, this study examined design of family look style T-shirts applying Korean image as one of measures to activate fashion brands of family look. This study purposed to find out self-conceit and identification of our culture by recreating family look as cultural tourism products applying Korean traditional patchwork wrapping-clothes and natural dying techniques and to globalize the products as high value-added ones containing differentiated Korea-style originality. In particular, as Interest in natural dying has been raised because of serious environmental problems and extension of wellbeing culture, products applying natural dying have been developed actively. At this point of time, the development of family look style T-shirts applying natural dying will contribute largely to planning globalization of our brands by developing products with more polished and globalized design.

The purpose of this study is to understand continuity and discontinuity of the neoclassic style in early twentieth century fashion modernism. Researching relations in fashion between eighteenth to nineteenth century and twentieth century, the theory of 'linked solution' suggested by Kubler and Broadsky has been accepted. The results of this study are as follows: In early twentieth century fashion, continuity of the neoclassic style is considered as presentation of geometric form based on anatomical truth of the human body and moderation of decoration. Also simple construction to present practical purpose of the dress in honesty were continued. On the other hand, discontinuity of the style is found in the imitation of men's classic tailored suits and standardization of sizes and styles. These are considered to reflect such early twentieth century sociocultural contexts as equality of the sexes and mechanical aesthetics. Hopefully this study will contribute to the broadening of insight in fashion connecting traditions.

The purpose of this study is to analyze the image of color combination in fashion design. For this study 14,121 color samples were collected from 116 fashion brands selected by the market segmentation based on the results of the previous studies. The brands have high market share and brand recognition in each segmental market. The color samples were measured by spectrophotometer and analyzed by the Munsell's H V/C and CIE $L^*a^*b^*$ value. The representative colors of each market were selected concerning the tensity in CIE $L^*a^*b^*$ color space and the distance between the color samples. h4 a result, 2,213 representative colors were chosen. These color samples composed top and bottom color combination samples by the program 'Item Comparator' that calculated the color differences$({\Delta}E^*)$. Top includes the items such as blouse, shirt, and coats, bottom includes the items such as skirt and pants. The color combination samples were divided into two groups. In one group ${\Delta}E^*$ was less than 30, and In the other group ${\Delta}E^*$ was 30 or more. For investigating the image of color combination, 480 rotor combination samples were classified. The image adjectives for the survey from preceding studies and brand dictionaries were 'classic', 'modern', 'feminine', 'casual', and 'romantic', which have highly preferred in women's wear brands. The result of the study is as follows; For 'classic' 'image, YR, and greyish tone were generally preferred. In the color combination of 'casual' image, the samples with PB color and greyish tone were preferred. For 'feminine' image, RP was preferred as a top color, R, RP, P were preferred as a bottom color. For 'casual' image, PB was preferred as a top color, PB, B were preferred as a bottom color. For 'romantic' image, RP was preferred as a top color, R, P were preferred as a bottom color. The bigger the color differences between the color combination samples were, the more remarkable the image of color combination samples was.