• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.201-217
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• 2014

There is likely to be a fit problem when women aged in their 30s-40s purchase down-age clothing from brands that target women in their 20s. To identify the part of the lower body that causes the fit problem, the sizes and types of lower body of women in their 30s-40s were compared with those of women in their 20s. The data for this study was from the 2010 Size Korea survey of body measurements of 1675 female adults in their 20s-40s. To examine differences in the average sizes of the lower body between women in their 20s and 30s-40s, descriptive statistics and t-tests were conducted. Factor and cluster analysis were used to classify body types by age groups. On the whole, compared to women in their 30s-40s, women in their 20s were found to be higher for all height items and smaller for size, thickness and width items. The result of the Glycemic index analysis showed that the body type of women in their 20s was generally larger than that of women in their 30s-40s. In addition, women in their 20s had a large drop value compared to those in their 30s-40s, whereas flatness of body cross section was bigger in the group of women in their 30s-40s. Four factors related to the lower body type of female adults in their 20s-40s were identified in the factor analysis, and three categories of body type were identified by cluster analysis. A Type 1 individual had abdominal obesity and chubby lower limbs, Type 2 had short legs and slightly chubby lower limbs, and Type 3 had long legs and a skinny lower body. A significant number of women in their 30s-40s were included in the Type 1 group, which was the least common category for women in their 20s.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.81-96
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• 2006

This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.155-172
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• 2015

This study analyzed the change pattern of Korean male body size in their 40s-60s and their current body shape based on the research materials of the 5th(2004) and 6th(2010) conducted by Size Korea. The purposes of this study are to make the related fashion industry recognize the changes of Korean male body size in their 40s-60s and suggest basic materials for clothing design that reflects such trend. As a result of analyzing changes of male body size in their 40s-60s by age, it was found that height, length, breadth and weight decreased across most of the items as the age increased. As for circumference, as the age increased, waist circumference (natural indentation), waist circumference (omphalion), and abdominal extension circumference increased, while other items decreased. In relation to the depth, as the age increased, hip depth and armscye depth decreased, while chest depth, bust depth, waist depth (natural indentation), and waist depth (omphalion) increased. Analyzing the change pattern of Korean male body size in their 40s-60s according to measurement year, height size increased in the 6th year across most of the body part items compared to the 5th year. It means that height of body parts related to body height increased in overall. As for circumference, most items showed decrease, which means that Korean male's body shape in their 40s-60s gets slim gradually. While the breadth of the chest decreased, the depth of the chest increased. which is assumed due to the increase in exercise according to high interest in health in a society. It will be possible to design proper clothes for consumer body type and trends if we design clothes that afford multilateral attention to the patterns, design, or material in clothing design by applying the aspects of Korean male body size in their 40s-60s and body type change.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.125-139
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• 2016

This study looked into how Colleges of Education around the country about how they are composing the curriculum to achieve the goal of Home Economics Subjects' national teachers training, how National Teacher's Examination's questions are set and which correlation is between university's curriculum composition and National Teacher's Examination questions and they were mainly focused on clothing area. For this study, 11 Colleges of Education's Home Management Major's curriculum and clothing area of Home Economic Subjects' National Teacher's Examination's questions from 2010~2016 were analyzed, and it will be summarized in the following. First, in College of Education's Home Management department, clothing area is organized with minimum of 4 to maximum of 12 different subjects. 'Textiles and Care for Textiles' and 'Design for Clothing' which is needed for the very basic subject completion for certificate to become a Home Economic Subject's teacher were included in all the university's curriculums and depending on the department's characteristics, 1~10 extra subjects were composited. Second, there were 34 questions on the exam of National Teacher's Examination in Home Economic subjects, and the results were 10~12 out of 80 each year according to the record of recent 7 years which is from 2010 to 2016. In the Clothing Area, 31 questions included various materials such as pictures, graphs, dialogues, explanations, examples and others, and 19 questions had more than 2 data overlapping. Third, as a result of looking into the correlation between the questions of Curriculum of Clothing Area of College and National Teacher's Examination, there were most questions from the curriculum of basic subject of completion. This means, 18 questions were related to 'Textiles and Care for Textiles' and 'Design for Clothing' and there was 8 questions related to 'Construction of Clothing' which was the second most. The result of this study will help effecting setting exam questions for Home Economic Subject's National Teacher's Examination and Home Management's Curriculum of Clothing Area College being amended.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.47-57
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• 2007

This study focused on the properties natural dyeing and natural material and on the development of functional material for well-being in apparel industry. Comus officinalis Siebold et Zuccarini is used as natural dyeing material which had been reported that have curable effect for unbalanced immunity, geriatric diseases like urinary tract system, diabetes, hypertension, arthritis, tinnitus, hyperhidrosis and women's diseases like hypermenorrhea. And this material also has anti-cancer effect so that can restraint cancer cells. 3 kinds tester of cotton, wool and silk are dyed by boiled with each dye (flower, fruits, bark of tree) as first dyeing and dried in the shade. These testers are done by post-mordanting method. Aluminium Potassium(Alk(SO4)2), Cuprie Sulfate($CuSO4{\cdot}5H2O$), Stannous Chloride($SnCl2{\cdot}2H2O$), Ferrous Sulfate($FeCl2{\cdot}4H2O$), Titanium Sulfate 24% aqueous solution(Ti(SO4)2) are used as mordants. Dyeing results of Comus officinalis Siebold et Zuccarini flower and bark are shown as yellow color series. And dyeing result of fruits is pink color series. Silk shows the best dyeing property. As the point of view for dyeing property, Ti, Sn, Fe would be the properchoice for mordant. Following results are extracted in this study. Yellow color is resulted in dyeing with Cornus officinalis flower as non-mordanting condition. Yellowish red color is come from dyeing with Comus officinalis fruit as non-mordanting condition. Grayish yellow tone is resulted in dyeing with bark as non-mordanting condition. Orange tone color with Ti-mordanting, green tone color with Sn-mordanting and gray tone color with Fe-mordanting is resulted respectively. However light-fastness of Comus officinalis(flower, fruit, bark) is very low as 1 or 2 level in non-mordanting condition, Comus officinalis flower dyeing is turned out 3 or 4 level and fruit dyeing is 4 or 5 level, bark dyeing is 2 or 3 level with Ti-mordanting respectively. Eventually Comus officinalis fruit has the best light-colorfastness property among all of dyes. dry cleaning colorfastness of Cornus officinalis(flower, fruit, bark) is good as 4 or 5 level in Ti-mordanting condition, perspiration-colorfastness of Cornus officinalis(flower, fruit, bark) is good as 4 or 5 level in Ti-mordanting condition, With these results, this study could conclude that dye-ability, colorfastness problem is getting better after mordanting process and practical usage would be possible.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.139-147
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• 2008

This study aims to investigate and analyze sewing methods according to the shape of the inner collar among women's jeogories in order to understand such sewing techniques, which has emerged during modern Korea, and has utilized diversly for the shape of the jeogori's inner collar and as part of the inner collar. The study was conducted on relics possessed between 1900 to 1990, or 515 pieces of jeogories. Jeogories were classified into single-layered and double-layered jeogories according to the shape of their composition. Inner collar shapes of jeogories have also been categorized. It was found that single-layered jeogories comprise 49 inner collars with shapes identical to those of the outer collars. Double-layered jeogories comprise of the following three types: 43 pieces of godae close, 18 pieces in which the inner collar of the outer bodice are cut without a connecting line and the inner collar of the godae and inner bodice are suspended, and 405 pieces in which the share of the inner collar is identical to that of the outer collar. From the shapes of inner collars mentioned above, the following sewing methods have been derived: 1. To sew the inner collar of single-layered jeogories, a seaming technique had been used. 2. Among the inner collars of a double-layered jeogori, godae close was sewn with only a short part of the godae by using a lining, and then finished with overage and blind stitches. Godae close was a covenient way to attach inner collars, and also saved much time. 3. Inner collars with shapes identical to the outer collar are divided into two groups: those with outer collars cut out fellowing the cloth without seam and shifted towards the linings and used as an inner collar, and those with outer collars made of outer linings and inner collar of inner linings. To sew the collar, paste and needlework had been employed, where the methods of needlework were divided into blind stitch, overage stitch, and catch stitch. In sewing with paste, only godae was blind stitched or overage stitched, and the remainder had been painted with paste or the collar had been finished with heated soldering iron after the entire inner collar was painted with paste.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.217-228
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• 2014

The purpose of this study is to grasp inconveniences and improvements by examining wearing condition and satisfaction of protective clothing targeting 114 Korean farmers and to suggest basic data for enhancement of pattern and wearing satisfaction of protective clothing by understanding problems of pesticide-proof clothing through comparative analysis on the size of its commercial products. Most of male subjects were in charge of spraying pesticide, whereas female were most likely to play an assistant role to hold the hose of pesticide applicator. Both of female and male subjects were very aware of the harmful effect of pesticide on human body and tried to take off the clothes immediately after spraying it to reduce possible damage caused by pesticide. As a result of examining wearing condition, the farmers avoided wearing protective clothing because that it feels hot, stuffy, and uncomfortable to move. This hesitant response of wearing the clothing was not shown significantly in case of female subjects who play an assistant role for spraying. Although the farmers wore protective equipments such as mask or gloves in a proper way as compared to protective clothing, they seemed to choose alternative way rather than best way to block pesticide completely. The satisfaction regarding to the fitting of protective clothing which the subjects showed low in all items of upper-lower clothes except waistline. It is necessary to improve the functionality such as relief from heat stress and convenience for movement rather than design or economic in protective clothing development. As a result of comparing the size of five kinds of commercial protective clothing, the farmers got confused to choose the product since designation method of size across companies showed a significant difference in an identical clothing size. In addition, the sizing system developed on a basis of a well-built man has become a hindering factor in wearing satisfaction of female farmers.