• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.91-100
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• 2015

The purpose of this study is to analyze the style of check dresses shown in collections from 2011 to 2014 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in silhouette of block check dresses. The results of this study are as follows: 1) 120 check dresses shown in collections were composed of 57 straight silhouette dresses, 38 fitted silhouette dresses, 23 hourglass silhouette dresses, 1 barrel silhouette dress, and 1 atypical silhouette dress. And check pattern mostly used in the current collections a square pattern of block check, tartan check that is a Scotch traditional lattice pattern, a small lattice pattern of gingham check, over check that other check patterns are arranged on check pattern, star-shaped hound tooth check, glen check mixing small pattern and big pattern. The visual image for check dress differs according to changes in the check pattern and silhouette of the dress. 2) Main expressional words of visual images for block check dresses differ greatly depending on the silhouette of dresses. The visual images are ranked in the order of 'graphic', 'simple', 'hard', 'modern' for straight silhouette of block check dresses. The words of 'lively', 'girlish', 'feminine', 'cute' are ranked for hourglass silhouette of block check dresses. And the words of 'confident', 'feminine', 'modern' are marked down for fitted silhouette of block check dresses.

• Fashion & Textile Research Journal
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• v.17 no.1
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• pp.22-32
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• 2015

The purpose of this study is to investigate the aesthetic characteristics of check fashion of the 20th century and to analyze the formativeness for them shown in recent collections. The results of this study are as follows; 1) Before the First World War, check patterns were used for S silhouette dresses and hobble dresses. During the two wars, they were used for garçonne style dresses and military suits. Check patterns were used for mini style in the 1960s, uni-sex style in the 1970s, and power suits in the 1980s. Especially after the 1980s, check patterns have followed the fashion trend of each season and appeared in retro styles. Consequently, the aesthetic characteristics of check dresses of the 20th century are traditionality, ornamentation and eclecticism. 2) Traditionality of check fashion shown in recent collections was implied in the classic styles like suits with its grey glen check, avant-garde styles like boxy coat with its dark blue tartan check, and so forth. Ornamentation was shown in the modern styles like jackets decorated with block check colored white and black, casual styles like bomber jackets with hound tooth check colored white and black, and so forth. Eclecticism was reflected in the romantic styles like one-piece dresses with hound tooth check colored white and light blue, elegant styles like low-cut dress with its dark blue window pane check, ethnic styles like long cape with gingham check colored white and black, and so forth.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.80-92
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• 1999

The objectives of this study were to investigate the relation between personality(activity, emotional stability, and dominance) and clothing design preferences, and to examine the differences of clothing design preferences according to demographic variables of men. Subjects for the study were 255 male white-collar workers ranging in ages from twenties to fifties, in Seoul and Kwangju City, Korea. The men with higher activity of personality preferred the double jacket with 4 buttons, the combination of light color jacket and dark trousers, glen check pattern jacket, herringbone pattern jacket, light beige color dress shirts. The higher the emotional stability, the higher the preferences on diverse patterns such as fine stripe, plaid, hound\`s-tooth check, and small check pattern. The men with higher dominance preferred dark blue color suit, glen check pattern suit, and necktie of red circle, and disliked the necktie of gray circle. The men in their 20\`s and 30\`s liked the single jacket with 3 buttons, the suit of fine stripe and the necktie of gray circle more among three income groups. The higher the men\`s age and income were, the more they liked the conservative style such as a single jacket with 2 buttons. The men who reside in Seoul liked the suit of gray circle, the jacket and trousers of same color, the patternless jacket, and the patternless suit more than the men in Kwangju. Therefore, the men in methropolitan area preferred conservative clothing image. Fine stripe pattern and patternless materials were preferred when men wore jacket and trousers of same color, while glen check pattern was preferred as the pattern of jacket when jacket and trousers of different color. Male white-collar worker liked single jacket more than double jacket, and preferred the dark blue color suit and necktie, patternless suit, fine stripe suit, and the pale blue dress shirts generally. The present findings provide that the personality of male has influence on the clothing design preferences, and it is possible to infer men\`s personality by their attire.

• Journal of Fashion Business
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• v.3 no.3
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.

• Journal of the Korean Society of Costume
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• v.35
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• pp.281-292
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• 1997

Tatan is a symbol of kinship and belonging in Scotland and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots it has been borrowed repeatedly by fashion. The pattern compositionof Tartan check is formed as a typical cross stripes that vertical line and hrizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spec-tacle that various all kinds of colors is dyed in cloth is second to name. Today we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour style and de-sign. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best-known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly jist as the bagpipes also European flourished Due to geographical and cultural circumstances Scots were able to develop and enhance tartan and its remarkable individuality ensured its sur-vival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots. Lowland and High-land providing a powerful form of national cultural and personal identity. Whether tra-ditional or a recent creation whether tra-ditional or a recent creation whether a symbol of nationality or a substitute for nationhood tartan is no mean achievement.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1260-1269
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• 2003

This paper endeavors to examine the most suitable formal dress design for mid-aged men who lives in Kwangju, the Republic of Korea. Visual effect in associate design is considered with adjustment, figured and the body type. There are partly similarity differences in associate design visual effect by one's shape and clothes design. Firstly, in thin type, striped figured suit is the most attractive. Single adjustment suit with striped figured tend to be attractive, young and modernistic. Single adjustment without figured is felt the mellowest. Secondly, in standard type, the suit without figured is perceived the most attractive and masculine. The suit with striped figured is looked more young. Single adjustment suit without figured is the most attractive and mellow also single adjustment with figured is felt the youngest. Double adjustment without figured is felt mellow and with striped figured is felt the most modernistic and familiar. Also double adjustment suit with check figured is felt more modernistic. Thirdly, in pyknic type, the solid figured and striped figured of the suits are felt more masculine and single without figured is thought attractive. Single adjustment with check figured is common image. Also, double adjustment with stripe figured is perceived attractive. In conclusion, the adjustment, number of button and figure are very important facts for the clothes for giving whole visual effect of men's suit.

• Journal of Fashion Business
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• v.24 no.5
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• pp.125-139
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• 2020

The fashion industry that perceived the severity of environmental pollution, has sought various methods of sustainable fashion. However, most of the businesses paid attention to the development of materials using industrial waste, or vegan material. Thus, this study aims to present the methods for improvement in creativity for inversely developing the design from patterns and present new approaches by applying the contrarian development of proto to class under the limited condition of material concerning general design, selection of material, and production of sample. In the case of three student teams enrolled in the first semester of the second year, the fabric and used clothing donated by industry were used as material. The whole cut for cutting a single fabric in connected state, and Zero Wastes Design within a rectangular frame of fabric, upcycling of used clothes, and cutting out of Geometric Form are suggested. The team(A) produced a zero-wastes coat and whole-cut Pancho that could be variously represented. The team(B) produced two kinds of asymmetric dress by utilizing used check-patterned shirts through upcycling. The team(C) utilized the fabric in geometric forms such as rectangle, trapezoid, and atypical figure by drawing design within donated fabrics. The items were a dress, blouse, and skirt. Consequently, an opportunity for both academia and industry to present more concrete methods for sustainable fashion and deeply perceive the sustainable fashion is presented along with novel methods for creation by carrying out the composition of pattern and design at the same time.

• Fashion & Textile Research Journal
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• v.12 no.3
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• pp.265-271
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• 2010

This study aims at academically organizing fashion coordination methods for interview image-making, which have been attempted through seminars in companies and universities, through empirical studies including previous studies and surveys conducted by groups of experts. The methods of this study include theoretical considerations through literature and empirical considerations such as one-to-one interviews and surveys of groups of experts in the areas of fashion and interview. Through these methods, this study examined elements of image-making characteristics of fashion for an interview, which are required for an interview, by investigating and analyzing interview image-making. As a result of the examination, the characteristics of proper clothes for an interview are as follows; Items of clothes: tailored, tuxedo, Chanel, Eton, blazer jackets, button-down and dress shirts, shirt waist, bow, Gibson blouses, tight, A-line, gored, pleats, flared skirts and straight, boot-cut and ankle pants. Color: achromatic colors including white, gray, black, navy, pink and yellow. Patterns: solid, stripe, and basket check.

• Journal of the Korean Society of Industry Convergence
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• v.25 no.5
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• pp.757-764
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• 2022

Recently the car tuning has become a trailblazing and creative culture that expresses the personality of the owner. In this paper, the "Car-Vatar", which is the compound word formed from the words "Car" and "Avatar", has been developed to investigate car tuning on the metaverse engineering platform. The Car-Vatar has been developed as a web-based vehicle dynamic simulation service for providing information about car tuning. That has been focused on investigating diverse vehicular performances, such as acceleration, braking, handling and fuel efficiency, according to the tuning vehicles and tuning parts on the virtual engineering platform. The Car-Vatar platform has provided two major services; one is real-time 3D tuning information system for the dress-up and performance-up tuning parts, the other is diverse vehicle dynamics system for the performance-up tuning parts. To check the validation of the Car-Vatar platform, the comparison between virtual simulation results and driving test results has been discussed on various driving environments.