• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.1
• /
• pp.26-36
• /
• 2011

The study analyzes the development of slim-fit formal pants patterns for middle-aged men. This study suggests a new pattern that complements the problems of the existing fit on the basis of the standard nude size for middle-aged men with lower garments through the analyses of one-tuck pants patterns from 5 popular brands. As a result, the waistline is lowered by 0.8cm out of consideration for the waist circumference. The crotch extension is reduced by 1.5cm, the back crotch length is revised, the center back waist point is raised by 0.9cm, and the hip line is straightened. The slim-fit is perfected of the new lines from the thigh to knee-line.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.1
• /
• pp.62-73
• /
• 2002

The purpose of this study was to develop men's formal jacket pattern for the Korean males of age 25 to 34 age with an average physique. Through the survey on seven industries of the ready-made men's wear, we investigated size systems and jacket patters presently practiced. From the fitting test of four patterns (three for ready-made jacket patterns, one for educational pattern) the moat favorable and comfortable pattern was selected. New experimented jacket pattern was based on it. The findings were as followed. 1) Survey of the domestic ready-made garment industries showed that each company classified its own manufactured goods according to its own size systems. 2) Anthropometric measurments of forty males for the subjects of lilting test were agreed to the survey of National Anthropometric of Korean(1997). These were also compatible to the standard size (100-88-175) of investigated industries. 3) Experimental jacket pattern was completed through the three times rectification and it gained higher ratings.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.8
• /
• pp.1276-1287
• /
• 2000

The purpose of this research is to analyze the clothing behavior according to the sexual difference, coeducational system, and three groups divided with the score of psychopathic deviate and masculinity-femininity. Data were collected with questionnaires. Samples were 699 boys and girls of middle school in Incheon area. The major findings can be summarized as follows: The variables of fashion-orientation, attention getting, satisfaction of cloth and modesty are significantly different from boys and girls, but conformity is not significant. The variables of attention getting, conformity, satisfaction of cloth and modesty are of significant difference among three groups divided with the score of psychopathic deviate. The variables of satisfaction of cloth, modesty, and fashion-orientation are significantly different among three groups according to the masculinity-femininity.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.18 no.5
• /
• pp.682-691
• /
• 1994

본 연구는 미국 CBS 뉴스에서 수십한 자료를 사용하여 라이프스타일이 남녀 의복행동에 미치는 영향을 조사하였다. 의복과 관련된 4가지 라이프스타일이 (레크레이션, 경제적, 편의적, 외모에 신경을 쓰는) 자료에 입각하여 고안되었다. 인구통계학적 변인과 라이프스타일과의 관계분석에 따르면, 여성이 남성보다 레크레이션, 편의적, 외모에 신경을 쓰는 라이프스타일을 갖는 경향이 높았다. 또한, 젊은층은 레크레이션, 경제적, 외모에 신경을 쓰는 라이프스타일을, 반면 저소득층은 경제적 라이프스타일을 갖는 경향이 있었다. 유행 인지도와 의복비 지출의 남녀 차이 분석층과, 유행인지도에서 여성이 남성보다 높았으나, 의복비 지출에 있어서는 남녀 차이가 없었다. 레크레이션 라이프스타일을 가진 남녀 모두 유행을 더 많이 인지하고 있었으며, 경제적 라이프스타일을 가진 여성이 의복비 지출이 높은 것으로 나타났다.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.28 no.1
• /
• pp.182-188
• /
• 2004

The purpose of the study was to provide scientific and accurate data of head shape for men. This study was carried out on 214 men and Factor analysis, Cluster analysis, Duncan analysis with 15 variables were performed using the data. A 3D scanner was used for visual results of head shape. The results were as follows. First, through factor analysis of the variables, three factors were extracted upon factor scores. The first factor described thickness part, and second factor described width parts and the third factor described vertical length parts. Four clusters represented characteristics of men's head types. Type 1 had a larger head thickness, type 2 had a smaller thickness and smaller width. type 4 had a generally larger head. In the distribution of the four clusters, type 1 was distributed 34%. Type 4 was distributed 23%. According to the results, type 1 of the more thick and narrow head was dominant among head types of men.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.28 no.2
• /
• pp.364-375
• /
• 2004

The purpose of this study is to analyze how the men＇s fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men＇s fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men＇s fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic fabric has a effect of minimalism of the last 1990＇s fashion, and wave hair of gentle image has a effect of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men＇s fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men＇s fashion has referance to fashion.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.27 no.3_4
• /
• pp.298-309
• /
• 2003

This paper was done to identify the types and the characteristics of street fashion of men living in world fashion-leading cities. 608 male photos taken on the main streets of 4 world fashion-leading cities such as London, New York, Paris, Tokyo were used as data. Photos were viewed by students and classified according to overall images and the common aspects of characteristic style. Fashion images of male were classified into 11 groups, which were suits, casual, hip-hop, rockers/punks, hippies, ethnic, western, military, new romantic, skirt, androgynous. Frequency distribution showed that casual image was mostly preferred and 1311owe4 by suit, rocker/punks. Military and hippies were least favored. In each category, almost every style looked unique and creative as a result of mixing and cross-coordination of different clothing items.

• Fashion & Textile Research Journal
• /
• v.17 no.3
• /
• pp.327-340
• /
• 2015

Male skirt is found in traditional costumes all over the world. Due to the development of tailoring skills in the early Middle ages, men started wearing breeches and pantaloons gradually distinguishing the different characteristics of menswear and womenswear. Since then, skirt became the strong representation of the female gender, symbolizing the feminism. However, under the influences of technological development and diversification in 2000s, gender identity has been diversely expressed in modern fashion allowing male gender to embrace different sexual identities. The purpose of the study is to analyze the nature of male skirts, which have been popularized in modern men's fashion through both the expressional elements and compositional elements. This study associates design elements of male skirt, gradually appearing in the contemporary men's fashion with the sexual symbolism and reinterpreted it's significance in the flow of the modern fashion. Reinterpretation of the gender image in costumes are considered to contribute to the cultural context and extension in diversity. These research results forms a basic foundation to expand in studies of men's fashion design and gender image of costumes through cultural contexts and it's changes. It is considered that this can lay groundwork to make various attempts at passing over the archetype of the gender image besides the continuous appearance of male skirt in the field of fashion design.

• Science of Emotion and Sensibility
• /
• v.8 no.2
• /
• pp.117-128
• /
• 2005

The purpose of this study was to clarify the effects of constituent characteristics and the mechanical properties by KES-FB system on the visual texture images and preference of men's suit fabrics. Twenty different kinds of black fabrics, which were used mainly for the spring and summer men's suits, were selected and the subjective evaluation of the visual texture images was tested. Sixty experts in department of clothing and apparel industries participated in the subjective evaluation. Factor analysis showed visual texture images were classified into 4 categories : 'bulkiness', $'extensibility{\cdot}rapability'$, 'flexibility' and 'smoothness'. All of relationships were established between the mechanical properties and the visual texture images except the relation between 'flexibility' and bending properties. The significant factors affecting preference were 'smoothness', compression energy(WC), fabric count and 'flexibility', As the fabrics had higher value for 'smoothness' and 'flexibility' , and lower ones for compression energy and fabric count, they tended to be more preferred.

• Journal of Fashion Business
• /
• v.25 no.4
• /
• pp.14-35
• /
• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.