• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.856-865
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• 2010

Many efforts to develop the domestic fashion industry have continued under the influence of a rapidly changing fashion industry environment. The fashion industry has emerged as a future growth industry leading lifestyle and as a core industry for the culture biz. Since the 2000's the markets that combined party and fashion wear as a new cultural trend has grown and an in-depth study of design development for party wear is required. This study presents basic materials for design development for the future domestic woman character casual brand prior to the design development by analyzing design characteristics of domestic female character casual brands. In the research methods, nine brands were selected based on the discussion of ten fashion specialists and then the brand concept, target, configuration of items, price, and design characteristics were analyzed. The following conclusions were drawn from this study. First, each brand concentrated the main focus on establishing a clear and unique brand identity that meets the needs of consumers to enhance competitiveness in the woman's dress market. To enhance competitiveness, many character casual brands targeting women aged 20's and 30's (including BEART) held party wear goods exhibitions as the market for party wear has increased significantly. Second, according to study results of the selected nine brand designs, it was found that the style characteristic of each brand varies depending on concept. However, all nine brand designs developed various styles such as feminine and cute style making use of laces, ruffles, A line silhouette, colorful motifs, and a stylish style that used layers with various materials along with unique decorations based on romantic emotions. Third, seven hundred and thirty eight pictures of nine brands were analyzed by items without identifying brands. According to the result of the analysis, the percentage of items used by brands was as follows: a one-piece dress was 34.5%, jacket 25.7%, skirt and pants 15.5%, blouse and shirt 13.6%, and tops 10.6%. The result showed that one-piece dresses accounted for the highest percentage. Frill accounted for 16.6%, the highest percentage followed by ribbons at 16% in regards to detail and trimming.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.79-89
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• 2016

Middle-aged women, who are rising as the main consumers of modern society spare no cost in health care and enjoying cultural activities along with various changes in life styles. They are active in self-realization and taking care of their appearances, and the lifestyle changes of middle-aged women who prefer fashion of young and trendy sensibilities are becoming a important theme in the media such as dramas. The middle-aged women in dramas have social positions and economic power who contribute to the completion of the drama as a main character, and so their fashion styles are receiving attention. Also, they play the role of providing trend information and various fashion information, which even leads to sales of these fashion products. Hence, this study aims to derive design formative characteristics and fashion styles that current middle-aged consumers prefer and provide basic data for promoting the growth of the Korean fashion industry by analyzing the fashion styles in accordance with the life styles of middle-aged women in dramas who are becoming admired by middle-aged women. The analysis of the fashion of middle-aged female characters in dramas allows to examine the fashion styles per various situations in accordance with the life styles of middle-aged women, and furthermore in the domestic and foreign fashion industry, arranges an opportunity to form a new market for potential fashion exports aimed at foreign consumers who view Korean dramas.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.43-53
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• 1996

The purpose of this study was to investigate the actual condition of fashion sales related persons and analyze their different role recognition in women's Ready-To-Wear shops. A questionnaire was administered to 378 fashion sales related persons in department stores and individual shops. Data were analyzed by using crosstabs, $X^2$, t-test, Scheffe's test and ANOVA by using of SPSS PC program. The results of this study were as follows: 1. In the role of fashion salespersons, managers participated highly in the merchandise buying plan, actual merchandise buying and advertisement, and shopmasters participated in the management of salespersons and keeping good relation with customers and display. 2. There was significant difference according to the existence of shopmasters in sales promotion. Shops with shopmasters had regular sales and filed up customer cards. 3. Shopmasters and salespersons attached importance to fashion information, market information, sales result information, and managers attached importance to customer information, enterprise environment information in utilizing of informations. Managers considered customer survey very important but shopmasters and salespersons did not. Shopmasters, managers, and salespersons all attached importance to customers' preference survey as customers' information source. 4. There were significant differences in lifestyle survey, buying method survey, preference survey, street fashion survey, brand identity survey and advertizement effect survey of customers by the different roles of fashion salespersons. 5. There were significant differences in the degree of merchandise knowledge, service and after service in sales service recognition by the different roles of fashion salespersons.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• The Korean Journal of Community Living Science
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• v.15 no.1
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.9
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• pp.1308-1319
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• 2002

The purpose of this is to analyze the aesthetics characteristics of our modern sports fashion, and thereby, discuss them in the light of the overall mentality or the 20th century, and thus, present the conditions or sports fashion design meeting modem people's divers aesthetics values and desired. Modern sports fashion sues can be categorized into futurist sports style, erotic sports style and American sheet sports style. And the 20th century mentality characterized by changes of lifestyle, identity and aspiration has influenced the aesthetic features of such sports fashion sues, which can be summed up as follows; first, the futurist sports style applies the functional items and details of active sportswear to design, while heralding a positive and hopeful message of technology and future by using the material of hi-tech functions and senses. This sports style was affected much by shift from social status, attraction and wealth to demonstration of state-of-the-art science, pursuit of functionality in terms of shapes and materials, convenience through See combinations of sportswear items or design elements. Second, the erotic sports style based on minimalism attempted to express the erotic body beauty indirectly by exposing some parts of body or using the material pressed against the body. This sports style was closely related with the changes of sexual identity such as neutral sexualism, bi-sexualism and homo-sexualism. Lastly, the American street sports style was born from black Americarns' sports and dances. This spors style pursues “youth” beyond TPO concept As mass media and commercial sports developed, the young generation copied sports stars' uniforms or fashions to share honor, wealth and youth with them. In sort, the American sheet sports style was affected much by the so-called “heroism”. Such a changed object of aspiration influenced the aesthetic characteristics of American shot sports style directly.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.28-44
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• 2012

The aim of this research is to examine the tendency of national tastes reflected in global SPA brands based on the theories of Gans' taste culture and Bourdieu's cultural capital. In this study, the leading global SPA brands such as H&M, ZARA, GAP and UNIQLO can be considered as a representative taste culture as well as an icon of popular culture in the $21^{st}$ century global fashion and also the aesthetic taste of each brand differentiated from their national aesthetic values based on socio-cultural backgrounds. H&M represents fashionableness, practicality and environmental friendliness based on naturalism, democratic humanism, and functional practicality of Sweden. ZARA emerges as the most trend oriented brand as well as customer centered on the basis of cultural diversity, passion and glamorous artistic sensibility of Spain. GAP shows American iconic style, which is the functional sports casual wear, originated from American leisure culture and mass production. Lastly, UNIQLO represents high-tech functionalism and practical simplicity based on Japanese delicate workmanship and simple, concise lifestyle while relatively does not much follow the fashion forward trends. Consequently, the national taste has been proved as a solid foundation to identify each global brand. This should be the key component also applied to Korean global brands for developing their concepts and strategies more successfully based on our own national aesthetic taste.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.75-88
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• 2007

Nowadays, geometrical form expressed on costume is recognizing as a part of modeling art, at the same time is working to develop it. Also the geometrical form is affording the coinciding lifestyle and sensitivity of customers keeping their pace. As a result, our study is researching on the geometrical form that is used in the pattern, silhouette, and detail of the costume to show the texture in sense of touch and the effect of optical illusion used in variable designs, in order to present the expansion our capability of infinite development included in the study of costume. Specially, geometrical form included in sports wear is very effective since the geometrical form includes short and simple beauty as well as practical design. Thus, this study is wishing to know if satisfying the practical and psychological urge of present human beings may be applied to the golf wear market, which is a type of sport that geometrical form is sent in the fastest way in domestic market. Also we are urged to know what type of design technique is the geometrical form nowadays used and changed to discriminate the artificial commerce and improve the identity of such unique brand. The source of this thesis is wishing to investigate the specialization and the most effective geometrical shape and preference of each type in domestic golf wear goods that applied geometrical goods in $2002{\sim}2006$ and analyze its way of expression.

• The Research Journal of the Costume Culture
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• v.20 no.6
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• pp.923-936
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• 2012

Apparel companies define their target customers to integrate consumers' needs into their product development processes. The sizing standards play a significant role in ready-to-wear garment business. Consumers' body build and sizes are different according to gender, age, and body type. The consumers' morphological feature of the one geographical area has changed with immigration, aging, and lifestyle change. In this study the way of defining body types in the standard garment sizing systems published in USA., UK, Germany, Japan, and Korea were compared. The results of this study show that most of the systems classified the body types by the index value. The chest-waist drop value was used for men's body type classification. Women's body types were defined by hip proportion. The hip-bust drop value was used for it. German and European garment sizing systems provide a wide range of men's body types. US men's garment sizes are developed for very conservative body type. US women's garment sizing system has had clearly defined women's body types. The Misses body types projected in the US garment sizing system had changed as women's waist girth got bigger compared to the past. In 2011 the US Misses sizes were divided into Curvy Misses size and Straight Misses size by the hip-waist drop value. The Curvy Misses sizes have smaller waist girth and larger hip girth than the Straight Misses sizes.