• 복식
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• 제61권7호
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• pp.101-109
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• 2011

The present research aims to suggest the design of a new direction that copes with the changing environment. For example, the design for outdoor wear can be made through various methods that allows it to be worn for anytime and anywhere. Also, the research aimed to seek a development direction of outdoor wear design with environment-friendly expanded function that handles unpredictable environmental changes. The analysis of this research is as follows. First, it can be said that the trend of the outdoor wear design according to climate and environment changes is a design that seeks an efficient and rational role in functional aspects such as complex multi-functionality and minimum decorations as well as enhancing economic efficiency. Second, the outdoor wear design provides the optimal climate for the human body even in a continuously changing artificial environment. Its easy and comfortable function also helps to keep defense from possible risk elements. Lastly, this research seeks interactions among design, the body and environment. It also tries shape change using buttons and zippers, etc. according to expansion of a structural form of clothes as multi-functionality and versatility tools, and seeks a design form that can be reconstructed. The research that geared toward environmental changes should be further progressed in order to produce apparel that have efficient adaptability of any climate situations.

• 복식
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• 제61권5호
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• pp.93-105
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• 2011

This research is aimed at examining the characteristics of the fun fashion design in the emotional consumption era from a broad perspective, and it is meaningful in the sense that it presents the ideal direction for the development of fashion products that can satisfy the changing desires of the consumers today and tomorrow. For this, the documentary study and practical case study have been executed. This paper examined the two aspects of the fun definition when it comes to the characteristics of the fun fashion design that are manifested in the emotional consumption era. First, fun fashion design that is presented by designers from the consumers' position manifests in the form of deviation from the every day life rules, use of the child-like expression mediums and unexpected turning, fun fashion design when it pertains to the deviation from the every day life rules is expressed freely, adopts object and forms it, and mixes in the alien elements, fun fashion design when it pertains to the use of child-like expression element is manifested in the form of child-like expression, child-like expression of the form, child-like drawing, introduction of the child-like object, character and graffiti. Moreover, fun fashion design of the unexpected turn is expressed with illusion and storytelling. Next, fun fashion design from the participants' position is a design created by the active participation of the consumers. As the producers who participate actively in the product design process, design is modified by the design of participation and users so that the users can enjoy it. Likewise, it is manifested in the form of design of participation.

• 패션비즈니스
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• 제8권4호
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• pp.68-79
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• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.

• 복식
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• 제64권4호
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• pp.106-117
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• 2014

The purpose of this study is to provide basic information for the development of well-fitting and comfortable brassieres for women in their 30s, based on the classification of breast shapes by utilizing 3D body measurement data of women in the age group. The result of processing the measurements from the 3D body scan data through RapidForm 2006 shows that while the vertical body measurements decrease, the horizontal measurements, which indicates the degree of obesity, increase proportionally with age. Also, the relevant measurements for upper breasts increase proportionally with age, while the measurements for lower part of the breasts decrease as the degree of sagging increases. Four composition factors of the breasts were identified through the factor analysis: Factor 1 is the level of volume in the breasts and the surrounding area; Factor 2 is the position of nipples and the shape of upper part of breasts; Factor 3 is the position and vertical length of the breasts; Factor 4 is the shape of lower part of breasts; and Factor 5 is the shape of inner part of breasts and degree of width between both breasts. The breasts have been categorized into three distinctive shapes: Breast Shape 1, Breast Shape 2 and Breast Shape 3. According to the results of the cluster analysis, the largest percentage (36.68%) of women in their 30s falls into the category of Breast Shape 2 with small volume and flat upper breasts, followed by Breast Shape 1 (32.66%) with large volume in the upper and lower parts of breasts, and large side to side area, and Breast Shape 3 (30.65%) with average volume and width between breasts.

• 복식
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• 제60권8호
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• pp.100-117
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• 2010

The cosmetics industry is executing the experiential marketing strategy, which focuses the brand experiential experience for the connection with consumers and differentiated strategy for the company's brand image, according to the expansion of quality service, which increasingly consume a diverse experience. Among these, the low-priced cosmetics market is trying a variety of experiential marketing to provide positive experience of their product and their brand through a unique service or event to stimulate the motions of young woman, who are changing rapidly, and is actively utilizing the means of marketing to form brand equity for these experiential marketing. Therefore, this study is to find out the effect of customer experiential on the brand equity through a variety of experiential marketing of low-priced cosmetics brand and based on the result, we were able to find out that the experiential marketing is also used as important means of marketing for low-priced cosmetics market to secure the brand equity and to maintain long-term relationship with the customer. This is expected to provide strategic and practical implications to the cosmetic marketing managers for customer management and this will recognize the importance of customer experiential in cosmetic marketing and suggest proper marketing strategy plan. In this study, the multiple regression analysis was mainly uses to find out the influence between the variables for low-cost cosmetic brand but we're hoping to execute a study, which directly and indirectly covers the complete path by using the various parameters, which can be effected on the brand equity.

• 한국의류학회지
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• 제19권5호
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• pp.747-764
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• 1995

The purpose of the present study were 1) to identify the dimensional structure of impression formed of a female figure, 2) to analyze effects of several elements of apparel design on impression formation of the figure in suit. The experimental materials developed for this study were a set of stimuli and a response scale. The stimuli consisted of 60 drawings made by identical manipulations of 3 indepndent variables in 3 clothing styles(suit, dress and pants with blouse). The independent variables were (1) five clothing colors (red, blue, yellow, white and black), (2) two lengths(short/long) of suit skirt, dress, and pants (3) two types of blouse and dress collars (shirt collar/ribbon collar). The 7-point semantic differential response scale to measure the dependent variables (formed impressions of the female figure) was composed of 37 bipolar adjectives. Further- more, two open-ended questions were used for interpretation of the reponses. The study proceeded in three independent experimental part was based on the 3 clothing styles using a 5(color)$\times$2(length)$\times$2(collar) factorial design. Subject were 200 female undergraduate students reandomly assigned to one of 20 combinations in each part of the experiment. The data were analyzed by factor analysis, 3-way ANOVA and Multiple Classification Analysis. Five factors emerged to account for the dimensional structure of impression of the female figure in specific attire. These factors included three basic dimensions of impression identified as potency, activity and evaluation, confirming the results of previous studies. Result from open-ended questionaire supported the theoretical perspective of Schneider, Hastorf and Ellsworth on the procedure of impression formation.

• 복식문화연구
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• 제28권3호
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• pp.299-312
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• 2020

The purpose of this study is to create a shirt sloper suitable for an elderly male body shape by producing virtual models using a 3D-virtualization program, making a torso prototype using the Yuka CAD system, and employing 3D simulation to virtualize and calibrate the model. First, the following three types of obese dummies are implemented through the CLO 3D program: Type 1 exhibits body fat in the lower body; Type 2 exhibits an obese abdomen; and Type 3 displays a balanced form of obesity. Second, for the design of the shirt pattern, the waist back length (measured value+1), back armhole depth (C/10+12+3+0.5~1.5), front armhole depth (back armhole depth 0~1), front interscye (2C/10-1+0.5-0.5), armscye depth (C/10+2+3.5+ 0.5), back interscye (2C/10-1+1), front chest C (C/4+2.5+1), back chest C (C/4+2.5-1), front hem C (C/4+2.5+1(+2)), back hem C (C/4+2.5-1(+2)), cap height (AH/3-5), and biceps width (Front AH-1, Back AH-1) are calculated. Third, the virtual attachment of the shirt pattern is resolved by increasing the front and back armhole depths, and the front and rear wrinkles are improved by adding a back armhole dart. The front hem lift and lateral pull caused by the protrusion of the abdomen are amended by increasing the margin of the chest, waist C, and hip C, with the appearance improved by balanced margin distribution in the front, back, and side panels. The improved retail pattern with an increase in the front armholes C was balanced on the torso plate.

• 한국의상디자인학회지
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• 제17권2호
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• pp.63-78
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• 2015

The purpose of this study is to compare the style of clothing by type of the Goguryeo and Xianbei Tribe based on the examination of the literature centered on the historical relationship between Goguryeo and Xianbei Tribe. The research results are as follows. First, it was found that both the apparels of Goguryeo and Xianbei Tribe had hemp cloth with the V-neckline with the blocked front part and hemp cloth with the open front that is worn by overlapping the straight collars of the upper garment. Both men and women wore the garment of the straight line collar that is worn by folding towards the left or right, or upper garment of the round shaped collar. Women wore an upper garment with short sleeves on top of the upper garment of Korean traditional clothes while men wore pants for the lower garment, and women wore skirt and apron with triangular cloth decoration on top of the skirt. Second, Goguryeo Anak Tomb No. 3 mural painting(year 357) shows that apparel worn by the lady who is the wife of the owner of the tomb is similar to the apparel worn by the lady in the lacquer painting for folding screen of the Sima Jinlong Tomb ancient painting on the woman of chaste reputation in terms of the form and structure.

• 복식
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• 제61권10호
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• 복식문화연구
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• 제20권1호
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.