• Science of Emotion and Sensibility
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• v.19 no.4
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• pp.71-82
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• 2016

As times change rapidly the lifestyle, personality, and values of men have changed diversely. Not only have preferences for men's clothing changed, men's fashion market has also grown, and novel, non-preexisting styles have come into place. Also, there are many studies on sensibility of women's fashion while studies on sensibility of men's fashion are insufficient. This study categorized common styles for men in their 20s into 7 different representative samples and investigated consumers' sensibility evaluations for each representative sample. Style 1 (suit), style 2 (rider jacket + skinny pants), style 3 (blouson + straight pants), style 4 (cardigan + half pants), style 5 (military jacket + straight pants), style 6 (loose fit jacket + skinny pants), and style 7 (baseball jumper + straight pants) were prepared in the evaluation questionnaire. The study compared male and female interest and knowledge of men's fashion, evaluated the sensibility difference depending on the men's fashion, analyzed whether there is a difference between preferred men's clothing and actual wearing of the clothing, and examined the preferred style in relation with the lifestyle. The results are as follows: First, men's fashion was diversified and subdivided, and interest and knowledge about men's fashion was greater for males than females. Second, sensibility of men's fashion had significant differences depending on the style, and it did not depend on genders. Third, there was a clear difference between the most favored style by the 20s and the actual style they commonly wear; the favored style and the actual worn style were consistent 66.1% of all the cases, inconsistent 33.9% of those. Style 3 had the highest preference and the actual wearing rate, and style 5 was the least preferred and worn. Fourth, the more extroverted lifestyle rather than introverted one, the more it was likely to prefer diverse styles.

• Journal of Fashion Business
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• v.11 no.2
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• pp.155-171
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• 2007

This research aims to present the corresponding dimensions of China men's clothes on the basis of size specification of Korea men's suits. The results of this study, with the cooperation of Sejung Company exporting men's clothes to Ningbo City, Zhejiang Province in China, are as follows: 1. Based on the drop standard of KS K 0050, the body types of Chinese men in their 20s were classified. A body types were 55.77%, Y body types were 32.16%, B body types were 11.55% and BB body types were 1.51%. 2. According to the criteria of ready-made dimensions of normal body type suggested in Korea Standards, and in consideration of the basic distribution reality of body dimensions, representative 5 sizes were selected. 3. Research jackets by different sizes were produced and went through wearing tests. The means of 1st wearing test were 3.86, 4.09, 4.09, 3.57, and 3.69. The mean of 2nd wearing test of 88-73-170 size was 4.32. 4. The corresponding size specification of China men's clothes based on those of Korea men's suits were presented here, showing product sizes and physical items in detail.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1417-1426
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• 1997

본 연구의 목적은 노년층 남성과 여성의 자아존중과 기성복만족에 대한 신체만족도의 관계 및 남녀의 차이점을 알아보는 것이다. 나이 55세 이상의 미국 남부에 거주하는 302명의 남성과 여성에게 설문지가 배부되었고, 50명의 남성과 58명의 여성이 자료분석에 이용되었다. 신체만족도는 신체 5 부위(얼굴, 하체, 신장, 체중, 토르소)로 나뉘어 측정되었고, 자아존중은 Rosenberg의 자아존중 척도가 사용되었으며, 기성복에 대한 만족은 기성복의 맞는 정도와 스타일에 대하여 측정되었다. 그 결과 노년층 남성과 여성 모두에게 있어 자아존중은 신체만족도와 관련이 있었지만 남성보다 여성에게 있어 자아존중은 신체만족도와 더 깊은 관련이 있는 것으로 나타났다. 또한 신체만족도와 기성복에 대한 만족은 노년층 남성과 여성 모두에게 있어 관련이 있었으나 여성이 남성보다 체중에 대한 만족이 기성복만족과 더 깊은 관련이 있었다.

• Proceedings of the SOHE Conference
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• 1997.12a
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• pp.29-32
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• 1997

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.117-124
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• 2016

This study considered about freaky design of men's wear in Edo period, and also compared and analyzed it to modern men's wear. The purpose for this study is to contribute to the development of modern men's wear by this analysis. Edo period was a male dominated period, so culture of showing off their powers appeared in their fashion as symbols of skulls, monsters or tattoos. Kabuki culture used this kind of social background and it incited the actors roles and clothes to become more famous. 2016-17 F/W, 2017 S/S modern men's wear expressed more various freaky design, so it was able to be classed as shapes, pattern, materials and total coordination. Edo period just expressed freaky design by symbols however, freaky design in modern men's wear is showing more various expressions. This study can conclude that freaky design usually shows weird, peculiar, scary and dampish images. Also freaky design showed in the persuit of various choices including parade of power in modern men's wear.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.222-239
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• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

• Journal of Fashion Business
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• v.8 no.5
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• pp.100-114
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• 2004

This is a basic study for developing educational dress forms of male adults' pattern making. While examining the reality of each university's men's wear education and the production of male dress forms, this paper found the following findings: 1. Survey of Dress Forms Used by Men's Apparel Companies The men's apparel companies had dissatisfaction with domestic dress forms but satisfaction with foreign-made ones. In general, among the unsatisfied items were wide discrepancy in male Korean body sizes, unfitting domestic somatotypes, lacking dress forms for those in the 20s, and no diverse forms per body type. To be specific, unsuitable hip and shoulder parts as well as weak fixing parts were pointed out. Every apparel companies found it necessary to develop male dress forms based on Korean male adults. When they are developed for sale, they will be highly utilized in the order of fitting, pattern making, male design research, and somatotype research. 2. Survey of Education for Men's Wear in Fashion Dept. of University 61.54% of the investigated universities had some teaching as far as men's wear were concerned. Application areas of male dress forms were such as pattern making (53.85%), fitting (41.38%), and design research (5.77%). As to the degrees of utilization, 73.08% predicted them high.

• Proceedings of the Costume Culture Conference
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• 2000.09b
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• pp.58-58
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• 2000

• Proceedings of the Korea Society of Costume Conference
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• 2000.05a
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• pp.33-33
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• 2000

• Proceedings of the Costume Culture Conference
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• 2005.04a
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• pp.144-146
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• 2005