• 복식
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• 제59권3호
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• pp.131-144
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• 2009

This study is about single-layered $Chog{\breve{a}}ri$ excavated from SongHyosang(宋效商, 1430-1490, SHS hereafter), SongHeeJong(宋喜從, the late 1500s, SHJ hereafter) tombs. There are 7 single-layered $Chog{\breve{a}}ris$ for men. We focus on comparison of their design and sowing method. 1. Design: Investigating collar, $Chog{\breve{a}}ris$ from SHS have MokpanGit and $Chog{\breve{a}}ris$ from SHJ have KalGit. KalGit has been seen from SHJ to 17th, 18th and 19th centuries. After the late 1500s, there is no MokpanGit single-laTered $Chog{\breve{a}}ri$ for men. Side panel under arm has various shapes(triangle, trapezoid, triangle+trapezoid) in 15th century. After the late 1500s, It changes into no side panel. Two $Chog{\breve{a}}ris$ with no side panel from SHJ reveals that the late 1500s is a period of transition. 2. Sewing method: First, researching lengthwise grainline of the fly, the left fly has lengthwise grainline outside In four, inside in three. The right fly has lengthwise grainline outside in just one, the others have lengthwise grainline inside. Compared with today's way, there is a great difference, but in those times there isn't an established rule. This is true of side panel under arm. The sewing method are backstitch, running stitch, and hemming. Researching the construction method of seam, in putting two selvages together, open seam and plain seam are used. In putting selvage and bias, bias and bias together, flat felled seam and french seam are used. This study shows that single-layered $Chog{\breve{a}}ri$ far men from 15C. to 16C. has changes of design such as collar(Git) and side panel undo. arm. But there is little change in sewing method.

• 복식문화연구
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• 제22권5호
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• pp.670-687
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• 2014

This study focused on Jungchimak (coats with side slits) which was typically worn by men in the mid and late Joseon Dynasty. It was done research by examining the case of wearing Jungchimak centering on literature and paintings and analyzing its changes in terms of its form based on the relics that have been found in order to suggest the standard for the evaluation of the period of Jungchimak. Results are as follows. First, men who wore Jungchimak were the king, crown prince and Aristocratic under the official uniform or other robes or as ordinary clothes and shroud. Second, Jungchimak for king was mostly made of Dan (satin damask) and mostly jade green & navy in color, and it commonly used dragon pattern, cloud and treasure pattern, or grape pattern. The fabric used to make Jungchimak for crown prince was Dan & Ju (coarse-finished silk) and puple, green, jade green & navy in color. The fabric used to make Jungchimak for Aristocratic was Ju and indigo or white in color. Third, 251 relics have been announced until now. Most of them were made of silk fabric and had cloud and flower patterns. Fourth, Jungchimak showed changes through time in terms of collar and sleeve shapes, the ratio of armhole to sleeve opening, Geotseop (panel sewn on front opening for overlapping), Dang and Mu (side panel), the ratio of the total length of outer collar to the length of side slits, and the ratio of chest size to the width of lower end.

• 복식문화연구
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• 제30권2호
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• pp.281-296
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• 2022

This study is designed to compensate for the lack of children's clothing relics from the early 18th century and to reproduce young upper-class girls' costume as hanbokcontent. The shapes and materials of costumes are based on the record of 『Sukjong-silrok』 in 1701 and the characteristics of adult ladie's costume relics in this period, but reproduced as miniatures of these relics as like Joseon children's clothing of another period. The reproduced costumes are formal wear for 3~4 year-old girls, consisting of yeoui [女衣], long unlined skirts, and lined skirts. Sizes were set at a height ratio of approximately 155:95. Yeoui is sam-hoejang-jeogori using pine pollen-colored damask with a grape-squirrel pattern and a purple damask with flower-treasure pattern. The full length of yeoui is 24.5cm. It has a square-dangko outer collar with square inner collar. The long unlined skirt is a six-width overskirt that is 82cm long, made with lotus patterned sa. The lined skirt is a five-width skirt that is 61.3cm made with flower-treasure patterned red damask and ju. Several long pleats on both sides of these two skirts have been omitted. The result provides meaningful content for children's clothing in the early 18^th century and will be used as costume for an educational trial performance.

• 대한가정학회지
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• 제40권2호
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• pp.29-37
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• 2002

The purpose of this study was to examine the effects of bodyshape and clothing color on boy's impression. The subjects were composed of 480 elementary students, 11-12 years old. The stimuli were consisted of 12 color photographs by using CAD system that was different in the bodyshape, the clothing color and the level of contained color each other. The subjects reported the stimuli's pression on the questionnaires. The image of the stimuli were emerged 5 differented dimensions ; attractiveness, evaluation, potency, bodyshape, visibility. The boy's impressions of normal bodyshape were more attractive, positive evaluation and thin than obese bodyshape. The boy's impressions who was dressed in pink color shirt were thin than blue color. The boy's impressions were positive evaluation when he was dressed in shirt with pink or blue color in collar and cuffs and the whole. The boy's impression of normal bodyshape wearing blue color shirt was the most attractive but the boy's impression of obese bodyshape wearing pink color shirt was not charm. The boy's evaluation who was normal bodyshape wearing pink color shirt was the most positive and the most thin.

• 패션비즈니스
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• 제5권2호
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• pp.49-65
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• 2001

This thesis aims to reveal the unsatisfactory unfitting factors in the tight collars of adult males' dress shirts for the purpose of improving neck-collar fitness. For this study, nine adult males were chosen as the subjects. When the subjects erected their necks upright, the researcher conducted an experiment, using the direct anthropometrical measuring method and the gypsum method by turns, in order to understand neck shapes by way of right-neck lateral flection, left-neck lateral flection, neck flection, neck extension, right neck rotation, and left neck rotation. And then, the propriety of allowances from body surface alteration was verified by analyses through the measurement of wearing comfortableness and clothing pressure in two sorts of ready-made dress shirts, which had different allowances. The consequences of this study are as follows: 1. In length alteration to movement, a decrease was found in the opposite (and an increase in the identical) directions of right-neck lateral flection, left-neck lateral flection, and neck flection movements. Also, when the subjects shook their heads, an increase was seen by 0.42$\sim$0.63cm in neck girth, 0.31$\sim$1.12cm in 3cm-above-the-neck base girth, and 1.16cm in neck extension of 3cm-above-the-neck base girth. 2. As a result of the drafts of surface measurement, the alteration ratios of dimensions and vertical length dropped in the identical directions of the movement, but grew in the opposite directions. A reverse change was shown in horizontal length. The rough widening gaps for making drafts were 0.7cm in front left and right, and 0.2cm in back left and right of 3cm-above-the-neck base girth. On the whole, the space was about 1.8cm, while there was no significant variation between the upright stationary test and the movement test. 3. There were important differences between the two kinds of ready-made dress shirts (Type A: 1cm allowance in neck girth; Type B: 2cm allowance) in clothing pressure and wearing comfortableness. That is, Type A had higher pressure and more uncomfortable sense of wearing. In other words, as clothing pressure and wearing comfortableness are negatively related to each other, Type A's greater clothing pressure led to worse wearing comfortableness.

• 한국의류학회지
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• 제40권6호
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• pp.1116-1133
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• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• 한국의상디자인학회지
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• 제18권3호
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• pp.197-211
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• 2016

Loulan was an ancient kingdom located on the northeast of the Taklamakan Desert, a diverging point between the north and south of Silk Road, on the east of the current Turpan, from the 2nd century BC and the 7th century A.D, absorbing and propagating culture of both sides through active trade. Meanwhile, as many previous research investigations suggest the early trade between Korea and the countries bordering on Western China, characteristics of Loulan costume have been found to have similarity to those of ancient Korean costume. Also, it can be compared to costume in other surrounding regions. Therefore, it is a highly valuable region in researching ancient costume. This study examined the historical background of Loulan and its relationship with ancient Korea, analyzed the clothes found in historic sites of Louland and Niya, and compared costume elements of Loulan and those of Korea. The result of the study shows that first, the Loulan Jeogori was based on the Jikryeonggyoim, with Chaksu, narrow sleeves and the length coming between below the chest and above the bottom, and the line decoration and waist belt were very similar to Korean costumes, as well as the Banryeong, curved collar and Bansu, short sleeves. Second, the types of pants included Gunggo, characterized by closed bottom and many creases, and Daegugo, wide-leg trousers, which are very similar in shape to the Korean Shilla lay sculpture, Stele To Martyr Yi Ch'a-don, Yangjikgongdo and Wangheedo. Third, in accessories as well, the Jowu stuck on the Gwanmo is similar in the shapes to Korean costume.

• 복식문화연구
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• 제18권6호
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• pp.1153-1164
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• 2010

The objective of this study is to analyze the coordination images seen in comprehensive fashion items and their features. This will be done from the viewpoint of both the creativity as well as functional characteristics of items and images. For the method of study, I explored the idea of "snood" style, analyzing its features of 42 pictures appearing from the 2006 S/S to 2010 F/W collection. It is important to note that "snood" style has the characteristics of both a muffler and turtleneck. With looping design connected at both ends, it can be placed around the neck or head, creating the image of wearing a hood. After having examined the selected data and pictures, one can largely divide the exclusive high-fashion image categories into three types: feminine, avant-garde, and finally, active & functional sportive image. First, the orthodox image is widely accepted by most as it has forever evolved within the original tradition of the practically functional muffler(scarf). Second, since the metamorphic image tends to lend itself to free ideas, you can wear a snood around the shoulders like a collar. Worn together with the same type of clothing, the snood can be seen as an effective suit. Third, the aim of image emphasis is to highlight certain points, or make some features more noticeable, as a means of possibly attracting more interest and attention. The image of snood arises out of the use of shapes, colors, and other accessory parts. As mentioned earlier, snood stands out as an independent item instead of just being an accessory to clothing. Its primary function as a style coordinator is emphasized in order to create more distinctive fashion images. Through this study, I thereby intend to provide fashion style data on the latest trends, and high-fashion codes of snood coordination.

• 복식문화연구
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• 제19권1호
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• pp.214-229
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• 2011

The purpose of this study is to find strategic methods of quality management for customer satisfaction when developing clothing for middle and elderly women. For this study was middle and elderly women who were living in Seoul and Kyonggi-do. SPSS 11.5 statistical program was used for data analysis and to conduct factor analysis, reliability verification, paired-sample t-test, frequency analysis and percentage. The result were as follows; First, middle and elderly women's behavioral characteristic in purchasing clothing, the average price of formal suit was 700 thousand won and the time for purchasing was less than 3 months. They tended to purchase mostly by themselves on their own, and they purchase their own formal suit. Second, The body parts that influence the fit the most are in the order of waist circumference, shoulder width, chest circumference. Third, Regarding the difference of importance and satisfaction on the fit by body part that the middle and elderly women by body part, there was no significant different in neck circumference and shoulder swerve. Overweighing middle and elderly women showed difference in importance and satisfaction on all body parts. Underweighing middle-aged to aged women showed a significant difference in importance and satisfaction in the order of circumference of hips. Fourth, middle-aged women in 50s showed higher importance than satisfaction in the order of waist circumference, and elderly women in 60s should higher importance than satisfaction in rise length, jacket length. Aged women in 70s and above should significant difference only in the height of collar.

• 한국의류산업학회지
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• 제24권2호
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.