• 패션비즈니스
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• 제13권1호
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• pp.17-33
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• 2009

The purpose of this study is to find the character of Cleopatra (69 B.C-30 B.C) by analyzing materials about Cleopatra, and to figure out symbolism and costume presented in movie . Costume of the main character, Cleopatra, compound the type of Egyptian traditional clothes, the change of it, and the trend in the 1960's. And, the symbolic meaning of it is also reinforced by adding ancient Egyptian myth to it. This kind of symbol is usually represented in Cleopatra clothing, especially in weaving pattern, embroidery, and ornament. And color of the clothes not only have their on predominance, but also can have their meaning fade away by mixed with each other, and also the shape has relation with the meaning of color. To sum up, the color and pattern of ancint Egyptian Cleopatra as alive formalize the power that come from coherence with the sun god in the center, which a used to maintain the power of the king. Costume in movie also contained color and pattern as a symbol of religion to symbolize the absolute power of king. These kinds of symbols are reemerging through historical recurrences and exotic interests.

• 한국의상디자인학회지
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• 제8권1호
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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.

• 한국의류학회지
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• 제31권1호
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• pp.68-76
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• 2007

The purpose of this study is to investigate change of mechanical and physical properties, shape behavior and hand value in weft knit when rib stitch and milan stitch are combined. The knit stitches used in this study are plain stitch, half milan rib stitch, milan rib stitch, $2{\times}1$ rib stitch, $2{\times}1$ half milan rib stitch and $2{\times}1$ milan rib stitch. We analyzed physical and mechanical properties(tensile, bending, shear, compression, surface properties, thickness and weight) of the knit stitches and calculated their primary hand value and total hand value through translational formulas using the KES(Kawabata Evaluation System). The results are as follows; In evaluation of mechanical properties and hand values of knit stitches, plain stitch had the highest flexibility and the lowest T.H.V. as women's winter knit wear. Since $2{\times}1$ rib stitch had too high elongation in one direction, although it had the highest T.H.V, it needs to be careful when plain stitch and $2{\times}1$ rib stitch are applied for women's winter knit wear. Since Milan rib stitch and $2{\times}1$ milan rib stitch had high T.H.V. similarly, it is considered that they are suitable for women's winter knit wear. Specially, when Milan stitch is combined with $2{\times}1$ rib stitch, its shape stability and fullness are contained and flexibility is added on it. Therefore, $2{\times}1$ milan rib stitch can be also applied for women's winter knit wear.

• 한국의상디자인학회지
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• 제20권4호
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• pp.117-130
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• 2018

As women wear shoes for a long time due to aesthetic elements and working environment, many women experience discomfort and deformation in their feet due to their shoes and the production of comfortable shoes is becoming an important issue. The purpose of this study is to investigate the factors affecting the grip of shoes by foot type, shoe design, and wearing attitude of shoes. Through this, we suggest solutions for foot discomfort due to wearing shoes and help to prevent foot related diseases. The study results are as follows; first, a wide foot, square-type, and high or low arch (hollow foot or flat foot) among foot shapes influenced the fatigue and pain of feet, and big feet over 250mm-long, wide feet, square-type feet, and high-arch feet (hollow foot) had an influence on distortion and side effects. Second, among the characteristics of wearing shoes influencing foot discomfort, the higher the shoe heels were, the narrower the surface covering the feet was (pumps and mule), and the shoes with high front heels and narrow back heel area, the shoe wearer had a higher possibility of experiencing fatigue and pain and even had not only fatigue and pain but also side effects when she wore pointed shoes. Third, a shoe wearer experiences fatigue and pain if she wears shoes for a shorter period of time, stay stood while wearing shoes for a short time, and wears shoes that are bigger or smaller than the actual shoe size. Fourth, fatigue and pain experiencers and distortion and side effects experiencers all responded that they change into other shoes to deal with foot discomfort and that they directly massage their feet.

• International Journal of Costume and Fashion
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• 제3권
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• pp.89-105
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• 2003

The purpose of this study is to classify sleeves that play an important role in upper-garment designs and that can be presented in diverse shapes by meaningful era. Also, characteristics and trends of sleeves are analyzed to provide a basis for development of design on modem woman's dress. To examine formation and construction of sleeves, literature review and empirical examination were conducted, focusing on patterns of woman's dress presented in literature. This study is to concentrate on the period, the Renaissance to the 19C. In this study, characteristics of sleeves are analyzed by each era according to its shapes and construction. By analyzing the shape of sleeves and the characteristics of the construction of sleeves, the following conclusions had been reached. 1) Sleeves evolved from single, draped garments into dimensional shapes which were manipulated to reflect the changing trends. Considering the comfort and ease of movement have always been very important in clothing design and the construction of sleeves throughout the ages has consistently been able to provide the comfort that wearer demanded. 2) Shape of sleeves varies a little in each period, but recurring trends in fashion led to similar design in sleeves being repeated. Also, instead of a dramatic change in the construction of sleeves, each period had its own unique technique to add freshness by using a variety of ornamentation.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 복식
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• 제36권
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• pp.1-23
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• 1998

The origin and structural development of Do-po have been studied with a consideration of the back piece of Do-po in this paper. This study found that Do-po was in this paper. This study found that Do-po was originally imported from China. This paper reports that an earlier record on Do-po is found in an epitaph(1564) than the record found in S njoSilnok(1607) which is conventionally known as the earliest record on Do-po. The structure of Do-po has been widely known as an“attachment of J n-sam”on slitted back piece of the outwear. However, this study shows that Do-po has been formed by inserting the gusset of the front piece into the back piece of the outwear Jik-nyung. This change can be considered as the economical and practical needs to save the cloth or by the aethetical need of simpler clothing. This study also classifies the shape of gussets largely into nine classes according to the temporal development in the shape of gussets.

• 복식문화연구
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• 제23권2호
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• pp.242-253
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• 2015

The aim of this study was to use a 3D human body scanner to analyze the cross section of different body parts when a girdle is worn. Two types of girdles were selected as experimental garments: a standard type girdle (Garment A) and a high-waist type girdle (Garment B). Their sizes were 88 (S) and 94 (M). Ten female subjects in their twenties who wear girdles sizes 88 (S) and 94 (M) participated the experiment. Their bodies were scanned three times with the 3D human body scanner, before and after wearing experimental girdles. The data were collected by overlapping the cross sections of the 3D scanned body shape data. The space length was measured from the overlapped cross sections. The results show that human body silhouette are changed after wearing the compression type garments and the amount and place of the body change is different by style of garments. First, the waist girth shape became rounder. Second, there was a definite difference in space amount at abdomen girth between two types of girdle. The abdomen area was pushed toward the front after wearing the standard type girdle (A). The high-waist type girdle (B) pushed abdomen area toward the back. Third, there was clear difference at the hip area after wearing two types of girdle. The hip area pushed toward the front with the standard type girdle (A) and pushed toward the back with the high-waist type girdle (B).

• 한국의류학회지
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• 제15권4호
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• pp.393-403
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• 1991

The purpose of this study were to explain the difference in body dimensions and body shape between the early in the twenties and the late in the twenties and to get information clothing construction. Subject were 483 Korean males, which were extracted from men's physique investigation on June to August in 1989, consisted of 149 aged $19\~24$ and $25\~29$. T-test and factor analysis were applied to 52 measurement items and 58 indices. The Result of the study were as follow; 1. As regards $19\~24$ aged group, they were taller their waistband level was higher than the late in the twenties. Upper arm and thigh were thick in comparison with trunk. As the difference between shoulder and waist in dimension was great, they showed reverse triangular silhouette. As regard $25\~29$ aged group, their body from variation between individual was greater than that of 19~24 aged group and they were obese on mainly waist and abdominal parts. For that reason, waist band level became low and their shoulder and hip looked slim relatively that reason, waist band level became low and their shoulder and hip look slim relatively to bust and waist parts. 2. Between $19\~24$ aged and $25\~29$ aged groups, as each had charicteristic body from, there was the difference in factor structure. 3. The change of men's body from with age in their twenties was obeseness on the whole body but the increasing rate of upper arm and thigh girth was less than that of trunk girth.

• 대한가정학회지
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• 제41권9호
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• pp.43-54
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• 2003

The purpose of study is to survey the system of the Korean Gangsin-mu shaman costume and its formative character and to fine out the traditional follow patterns of government officials' attires and Po's meaning of it. The overall shape of variety 'Po's in modern times are similar to the traditional ones, but they differ greatly in size, detail color, and ornamental design. The sleeves have slits in the armholes, which can allow the hands to be drawn out easily. In addition, the knot buttons are used in the modern costumes. They are based on different formation skills from those of the traditional The original color of the shaman's costume is not their taste in color but symbolic, modern costumes color show the shaman's taste in color. This change mean a more accentuated visual effect than incantatory meaning. Another reason for color change is also the costume's material. A kind of constituent element uses synthetic fiber in modern times.