• 복식문화연구
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• 제6권4호
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• pp.203-212
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• 1998

During the Baroque Ages, the underclothes of both sexs developed a new significance. They ceased altogether to be merely utilitarian in function, and were exploited, to a striking degree, to indicate class distinction and sex attraction. Up to this period, as e have seen, the underclothes of men and women had very much the same significance, but from now on there is a division. The male garments are designed mainly to express social rank, the female mainly to attract. The man's shirt is an integral part of the visible costume of the find gentleman. After 1660, The fashion portrayed by the men, exhibiting the shirt extruding between the bottom of the waistcoat and the top of the breeches is still more remarkable and significant. The period is important in that it was the last time that the male attempted to give his under clothing an erotic suggestion. It was their experience that silk and linen garments next to the skin were less liable than wool to harbour lice. Until the era of physical cleanliness opened a century later, woollen undergarments were rarely worn. the nineteenth century accepted cleanliness as a sign of class distinction.

• 복식문화연구
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• 제7권5호
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• pp.56-67
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• 1999

At the turn of the 19C, the first development, spreading to the all classes that peculiar attitude of mind associated with the term prudery. The second changes of habit which affected both sexes and their undergarments were the novel idea of personal cleanliness. Drawers appear to have been of two lengths, short, when worn under breeches, and long when worn under pantaloons and trousers. The dandy wore corsets for beauty. In the early part of the 19C, the differences between day and evening style came to be accentuated. Not only the beau, but the soldier and hunting man were addicted to stays. The high standing collars of the early 1800s became fairly low in the middle of the century. in mid of the 19C, a woolen under-vest was worn next to the skin and studs were an usual fashion. At about 1850 the bottom of the shirt was cut in a curve. For evening dress the elliptic collar was introduced.

• 복식문화연구
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• 제6권1호
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• pp.136-148
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• 1998

This is a study on the change of the Medievalmen's underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Throughout the Middle Ages, the underclothing of both sexes possessed characteristic inherited from earlier times. Its function was purely utilitarian. It was not used to express class distinction and only very indirectly to enhance sex attraction. The idea of underclothes was associated with the idea of the body's sinfulness. Underclothes could also symbolize the discipline of humility. To appear clad only in underclothes was a voluntary form of selfabasement often practised by pilgrims. The notion that underclothes might express the spirit of the changing times, in sympathy with the outer clothing, did not enter the medieval mind. The length of the shirt was less than that of the modern garment, especially after the middle of the fourteenth century. The sleeves were somewhat full, without cuffs, and cut straight. During the second half of the twelfth century, when braies become definitely an undergarment. In the fourteenth century braies became shorter and shorter and the shirt could no longer be tucked in but hung outside over the thighs. After 1340 the costume on the surface somewhat resembling modern 'tights', began to reveal display the shape of the male leg as a form of sex attraction. By the close of the Middle Ages, braies had become less like loincloths, and more like modern bathing trunks. The peasant and laborer did not attempt to keep pace with the changes of fashion but, continued, as a rule, to wear the long braies of their forefathers. The higher ranks how this garment reflected the changes of the mode of outer costumes.

• 복식문화연구
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• 제8권2호
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• pp.261-271
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• 2000

In order to investigate the function and feature of western men's underclothes in the second half of the 19C, in this study, the historical changes of western men's underclothes are compared the first half of the 19C with the second half of the 19C. In the second half of the 19C, the useful function to ease for body was important. In the 1860's, for day-shirt, the tucked panels was disappeared and the front was pain. But the evening dress-shirt continued to show an expansive front tucked. Coloured shirts was used for country and sporting occasions. Ready-made underwear was used. In the 1870's, the plain breast was introduced and the Gladstone collar was used. Paper collars and dickeys were unfashionable. The drawers was composed a gusset at the back of the waistband. The dress of one generation was became the livery of the next. In the 1880's, a new feature was one stud and the use of pique for the breast. Coloured shirt was composed of stripes across the breast. In the 1890's, height of the collar steadily increased. The coat-shirt and regatta shirt became popular. The nice choice of shirt, collar and tie was a matter of supreme importance .The social status of the white shirt was further threatened by fancy coloured shirts. The mode of relaxation affected sports shirts. By the close of this period, both sexes accepted the hygienic rule of wool next the skin.

• 복식
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• 제40권
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• pp.171-180
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• 1998

This is a study on the Men's Underclothes of Renassience Ages. The changes associated with the Tudor regime were sufficiently profound to afect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction. In order to attract still greater attention, the edge of the shirt was ruffled at the neck, a decoration which soon developed into a separate accessory, the ruff. The waistcoat, which originally was an under-garment, was shown, when the doublet was taken off, en deshabille. Thus we see that for men in the sixteenth century the undergarment was no longer an obscure drudge, but was promoted to serve in the general mode of expressing what the whole costume so extravagantly announced ; and likewise to share in that extreme degree of the social superior. The pinched waist of both sexes was not so much for sex attraction, but to signify social superiority. In the period under considera-tion, then, from the Tudors to the end of the Jacobeans, the new function of underclothes was much the same for both sexes ; to exploit the grandeur of the costume as evidence of rank, and only by that indirect method to add to the wearer's sex attractions.

• 복식문화연구
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• 제6권3호
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• pp.217-227
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• 1998

Male underclothing during this period preserved in the shirt its former qualities though somewhat diminished. The habit of leaving much of the waist coat unbuttoned to display the fine quality of the shirt was more than evidence of social ranks : it appears to have had its attractions to the other sex. But in other respects man's underclothing was sinking into obscurity. This was due, in a great measure, to the closer fit of his suit, designed to exhibit the shape of his legs in breeches and stockings, leaving little opportunity for the display of garments beneath. With the latter part of the eighteenth century man's underclothing ceased to serve for sex attraction, a function on it has never regained, while continuing -in the shirt front and cuffs- to indicate class distinction, until, in modern times, that too has disappeared. The term 'smart' was coming into vogue to indicated the well-dressed man, and for at least a century after, the word implied tightfitting garments which, of necessity, reduced underclothing to a very subordinate function, so that only the shirt front survived for display purpose. Artificial calves was introduced by the Macaronis its purpose was to accenturate the captirating shapelines of the calf of the leg appearing below the tight breeches of the period.

• 감성과학
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• 제7권4호
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• pp.1-6
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• 2004

본 연구는 동서양 문물 이미지 사진에 대한 여대생의 선호도와 패션잡지에서 의류광고 사진에 등장한 모델의 동서양 국적에 따른 소비자의 긍정적/부정적 인식 정도의 영향을 조사하고자 하였다. 100명의 여학생이 설문에 응답해 주었으며 20개 사진이 자극물로 제시되었다. 자극물은 주택, 실내, 식품, 미인도, 음료수로 하고, 패션 광고사진으로는 남성복 정장, 여성복 정장, 여성복캐주얼, 여성복 속옷, 여성손목시계 등으로 하여 동서양 모델 사진을 각 1점씩 선택하였다. 여대생들은 간식과 미인도에서는 서양이미지보다 동양이미지를 선호하였으나, 패션잡지의 의류광고 사진의 광고에는 모든 경우에서 서양모델이 사용된 경우에 긍정적인 인식정도를 나타냈다. 이러한 사실로서 여대생의 서양이미지에 대한 인식은 긍정적이며 이것은 의류제품 브랜드의 소비자 선호도에 영향을 미칠 것을 추측할 수 있었다.