• The International Journal of Costume Culture
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• 제2권2호
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• pp.1-13
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• 1999

This study aimed to give an updated description of general clothing behavior patterns of the Korean elderly women. 430 women over 60 years old residing in Seoul wre surveyed with a questionnaire asking about their daily practices of clothing selection, disposal, recycling, quantity and place of purchase, and their background variables. Data were treated to SPSS for descriptive statistics, Chi-square analysis, ANOVA and Duncan's multiple range test. The result revealed that the wardrobe of the Korean aged women is by now fully oriented toward the western style. The subjects disposed of their clothing mainly because of their body size changes and had elementary fitting problems unsolved. They had clothing recycling experinces and turned out to be inactive clothing consumers with differing shopping places according to the types of clothing items to be purchased. The subjects'age and income level had significant effects on various facets of their clothing behavior.

• 복식문화연구
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• 제16권4호
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• 한국의류학회지
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• 제41권3호
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• pp.433-445
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• 2017

This study uses a macro-viewpoint to investigate how female world leaders' clothing behaviors are different by nation and culture. This study conducted a comparative study on clothing behavior by cultural block in order to understand similarities and differences based on Hofstede's cultural dimensions theory. The findings are as follows. First, the clothing styles of female world leaders are categorized into classical suit style, national traditional style, and eclectic style. Second, classic suit style is more often found in countries characterized by high individualism, low power distance index, and low avoidance index. The style represents individual activity and rationality as well as trust towards women acting in men's roles. Third, a national traditional style is found in countries featuring high collectivism, high power distance index, and high uncertainty avoidance index. These countries share a culture that emphasizes harmony with the whole, rather than any one given part; consequently, clothing style represents a national identity (or the roles as a national member) rather than that of the individual level. Fourth, an eclectic clothing style is expressed in a mixture of classical suits and a national traditional style that depends on how much Eastern and Western cultures are reasonably compromised or Eastern tradition and Western culture coexist.

• 한국의류학회지
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• 제25권1호
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• pp.50-60
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• 2001

This study is to clarify the concept of \"Americanization\" among korean modern clothing culture by investigating magazines from 1920s to 1930s. The Americanization of modern clothing culture can be divided to New fashion, Sports-wear, and Cloth improvement. 1. New fashion, Western culture was the main stream of new fashion, and modern boys and girls could bear cultural privileged consciousness. And the spread of modern culture was so fast that exaggerated fashional preference provoked extravagancy and loss of individuality. 2. Sports-wear. Under the rule of Japanese imperialism, initial sports activity was encouraged to regulate colony by principle and order. Through the sports-wear, practicality of clothing, exposure of female body, and the concept of T.P.O.(Time, place, occasion) were introduced. 3. Cloth improvement. The capitalism and modern concept of \"time\" were introduced and promoted maximum productivity. And to increase productivity, imperialist educated conveniency of western clothes and inconveniency of traditional Korean clothes. These could affect Koreans to think themselves a sense of inferiority(uncivilized complex).ncivilized complex).

• 복식문화연구
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• 제4권2호
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• pp.187-206
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• 1996

The Purpose of this study is to analyze the clothing excavated in Xinjinag, concerned with the study of clothing culture in Central Asia. The results are as follows : A headwear is a corn hat or round hat, the material is field, fur or woolen textiles. For hair accessories, feathers or wooden pins were used. The corn hats of the Scythians and the Huns also had same design and did not change even after being influenced from the culture of Han Dynasty. A woman's hair styles was many strips of braid, a man's hair style was a braid or a topknot. Regarding the clothing, a woman wore pull-over type and a man wore caftan for a jacket. Both a man and a woman wore widened coat and trousers as well as felt socks and leather boots, and longer socks than boots are the characteristics of the clothing of nomadic horsemen. The textiles was mainly wool, but silk was used for coats, socks and gloves in high society imported from China through the Silk Road after the 2nd century B.C. Compared with Korea clothing, a corn hat, widened coat, trousers and leather boots are similar with those of Koguryo. The influence of western culture is shown in a man's short hair, animal design, W1-Kum, a woman's pull-over type and a round neckline.

• 한국의류학회지
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• 제33권4호
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• pp.611-621
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• 2009

As fashion is a visual symbol that reflects age and culture, cosmetics and beauty are other products of fashion that move the time. A dominant designer of 20th century Chanel does not merely stand for a design innovation of fashion industry that created a vogue. With liberation from corsets that cruelly exaggerated and suppressed female body, meaning of style in modern fashion could be found not only in clothing but also in make-up and hair style. Simplest possible comfort was aimed for, and philosophical concepts of minimalism, modernism and dandyism were incorporated with clothing, cosmetics, perfume, make-up and hair style to establish aesthetical concept of total fashion. Chanel thought of cosmetics as an accessory with essential role and although her philosophy on cosmetics and beauty is not as well known as her clothing style, the authors believe that understanding such philosophy will become an important stepping stone for accurately understanding Chanel style. The purpose of this study is to firstly illuminate the idea that cosmetic beauty can be studied with artistic and philosophical background in addition to its functional side and to secondly investigate the reason why Chanel style is being loved by women with such durability over time and space and with what tempo fashion is connected with cosmetic beauty culture and develops. Third, by studying the ways in which characteristics of Chanel's fashion philosophy are expressed in cosmetics and beauty culture, this study aims to accurately understand Chanel's philosophy on cosmetics and beauty. The meaning of this study can be found by showing the evidence that globalization of Korean fashion beauty culture can be achieved only when cosmetics and beauty culture moves with an intimate connection to clothing culture.

• 복식문화연구
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• 제8권3호
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• pp.477-485
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• 2000

The purpose of this study is to identify the influential factors of clothing conspicous consumption, and the relationship between these consumer characteristics and clothing purchasing behaviors. The influential factors of clothing conspicous consumption are defined materialism, sensation seeking tendency and demographic characteristics. And clothing purchasing behavior can be defined such as fashion leadership, impulsive purchasing behaviors, bargain sale purchasing, and the price and total pieces of clothing. The data were collected from 320 female students of university using questionnaire, and were analysed with frequency, %, multiple regression, ANOVA and Duncan test. Reresults can be summerized as follows. First, clothing conspicous consumption was not influenced to sensation seeking tendency but materialism. Second, the sensation seeking tendency, materialism and clothing conspicous consumption was proven to be partially related to the clothing purchasing behaviors. Third, the demographic characteristics have influenced on the sensation seeking tendency, materialism, clothing conspicous consumption and clothing purchasing behaviors.

• 복식문화연구
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• 제9권4호
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• pp.562-573
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• 2001

The purpose of this study was to investigate children and their mothers'purchasing behaviors for children's clothing. A self-administered questionnaire survey was conducted to 640 students(5, 6th graders) and their mothers in the elementary schools in Seoul; 517 were used for the data analysis. Most children wanted to have clothing when they feel not having proper clothing to wear. When parents purchased a clothing, female students more actively expressed her opinion than male students. The comfort was the most important criteria by children about new clothing, and children most complained of monotonous style for their clothing after using the clothing. Mothers usually bought children clothing in changing season. The most important evaluatived criterion was design. The lower level of mothers'clothing interest had less complain than other groups about children's clothing.

• 한국의류학회지
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• 제40권2호
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• pp.342-352
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• 2016

This study examined the fashion culture of 20-30s working women through clothing norm relationships in the workplace. A literature research was conducted along with qualitative research, in-depth interviews in order to understand the domestic working environment and fashion culture such as lifestyle and consumer culture characteristics of 20-30s working women. The results were: First, it showed that the increased number of members having various inclinations caused subcultures through an increase of women's economic activities and transition to a knowledge-information society in domestic work places that changed into a business casual that recognized employees' autonomy and diversity. Second, in the working place, clothing norms coexist as stipulated by statutes, company rules, and official documents as well as others implied by experiences of sanction against members. Workplace closing norms are classified into norms of exposure that draw attention to clothes and casual clothes. Third, it showed that factors pressuring clothing norms are classified as external pressures and by spontaneous self-censorship that cause conflict and confusion with working women's fashion according to the degree of pressure. Two kinds of pressure by others (or types of departments and members) were observed.

• 한국의상디자인학회지
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• 제7권3호
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• pp.53-61
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• 2005

With the acceptance of western culture, our traditional culture is in the crisis of disappearing. This is especially evident in the clothing and textile field. Therefore it seems essential to apply the traditional Korean aesthetics to our clothing. The purpose of this study is to reconstruct the types of design and analyse the characteristics of patterns expressed in traditional roof-tile. This study attempted to use the roof-tile patterns as motive for all tapestry and fashion design work to realize a creative expression of formative world through on-screen restructuring. The traditional roof-tile patterns were selected for this study because they must be the products created with our ordinary aesthetic values and techniques, and thus may represent our people's unique culture. After all, the expression for a work should be based not on simple representations of a given object but on restructuring of diverse unique forms according to worker's subjective senses. A piece of clothing with the expression of traditional and formative must combine traditional aesthetics of tradition and form. The application of traditional and formative value of Korean pattern in clothing made to be adaptable for wear in our everyday lives. Today there various attempts to combine traditional aesthetics with modem design. Also, the development of unique Korean design aesthetics within the clothing will allow for a distinct elegance that can be recognized by the world know about the Korean culture through the high standards of our clothing.