• 한국의상디자인학회지
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• 제5권1호
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• pp.1-11
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• 2003

The following paper deals with Persian costume of Achaemanid period in Persia. The study about Persian costume is very important for the research of European and Asian costume. However, its theme is insufficiently examined until now, so we were not able to recognize the Persian costume culture properly. For the reason mentioned above, this study is necessary for understanding the Persian costume culture at that time correctly. The research was undertaken with the information on historical archaeological art sites, analyzing the dressing carved in the reliefs of king's Audiencescene in Apadanastairs in Persepolis. The results driven from the study are as the following: There are two styles in the reliefs of Audiencescene in Apadanastairs. One is long robe with pleats, which is called Persiandress. The other is tunic and trousers. Persiandress, long robe with pleats which was the typical dress in Persia at that time was originally the dress of Elamites, who occupied a very advanced civilization in this region. This robe was a borrowing by the Persians from their Elamite neighbours as formal dress. There is the Persian dress worn by king, prince, guardsmen, servants in the reliefs of Audiencescene in Apadanastairs. It is inferred from this that the dress was popularly worn in Persian court. Tunic and trousers, the typical clothing of ridding race, is worn by Median who is one of the relatives of Persian. The tunic has narrow sleeves and is reaching the knees. The trousers are ending at the ankle. Beyond the clothing, various headgear are also examined according to the social status and nationality. These are being precious materials for study on the persian costume among the relations with other surrounding countries.

• 복식
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• 제60권6호
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• pp.1-10
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• 2010

The cultures and traditions of Asia has the roots so deep and it is the origin of inspiration. Therefore, it is easy to find a different inspiration when designing, expecially for Western designers who are seeking European tradition and its comparison. The most distinctive feature of the Asian look is non-structural and has no clear form close to the structure of the body or mathematical ratio, but is steric with 2-Dimensional planed textiles, and has a flexible, non-structural formative characteristic related to the movable body. This is base on the vision of the universe that regards the parts as the whole. From this research, generally studying about the Asian look and its non-structural formative characteristics. The study looked closely into the aesthetic value of non-structural formative characteristics formation, with basis on the large dress regulation system of the western reasoning and rationalism and mechanism. At first, my study pointed on the dressing functionalism or Neo-classism considering emotions, Anti-Western aspect observing surrealism dressing and expressionism dressing. Second, with men and women showing similar outer shape without the equivalent element such from wearing a corset, the sexism is abolished. Finally, the designers’ inner intention of art is being delivered, from the aspect that the expression of art, size and no waste of fabric shows effort of communicating with the world, giving value to the possibility of continuance.

• 복식
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• 제57권6호
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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.

• 한국의류산업학회지
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• 제17권2호
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• pp.191-202
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• 2015

The purpose of this study is to examine the form of the clothing of the Scythians who lived in the northern region of the Black Sea. This study refers to data, which has been extracted from reviews of literature, articles and catalogs of Scythian exhibitions held in Germany, a country where famous Scythian research was collected and analyzed. Results of this study are as follows: Regarding the basic form, there was no change in the appearance of the Scythian clothes which can be linked to social classes and regional background. But the detailing of the clothes changed. Russian archaeologist Klocko has stated that decorative bands of ancient costume appear to depend on the construction of ancient clothing. I have analyzed the upperjacket of Scythians with the decorative bands based on the research of Klocko. From this analysis could be observed that decorative bands of upperjacket had also been varied depending on their region and their social status. The decoration of the revers of upperjacket differs according to social status. According to their width, trousers were classified in types; in narrow and wide. The basic set up of the narrow-type is as follows: the trouser is divided into voluminous straight forms and leggings in close contact with the legs. The width of a trouser differs according to the social status of Scythians and from the region where they lived. Regional differences could be observed more significantly, than differences resulting from social status.

• 복식문화연구
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• 제20권6호
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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.

• 한국의상디자인학회지
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• 제6권1호
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• pp.46-54
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• 2004

In this paper, It is examined the patterns of fashion style in the history of subcultural clothing from 1930s to 1960s, focusing on the way each generation resisted the main stream through its styles. The subcultural styles examined and classified in this study are mainly British and American, with a few European and Western Indian styles included. This study understands subcultural style as a way of deviate or resistant expression within a society. The patterns of subcultural styles presented in this study are based on their form of resistance, and they are classified as follows: The pattern is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Zoot, caribbean, western, teddy boy, rockabilly style are included here. As minimal dressing, there are hipster, beatnik, modernist, mod, rude boy style. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. The new and significant development can be found in the fact that subcultural style emerges as a dominating force in our culture. This implies that the energy of a subculture is essential as a formative force of a fashion world.

• 복식
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• 제32권
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• pp.57-68
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• 1997

The purpose of this study was to understand the effects of religion on Amish costumes. For this study I twice visited Amish village in Lancaster Pennsylvania U.S,A in July 1993 and August 1996. The methods of study directed direct observation and literature re-search. The results of this study were as follows: The Amish was livid practically by strict princi- ples of simplicity diligence piety and mutual cooperation. The Amish behavioral code of laws known as ordnung dictated appropriate dress agricultual methods and a routine for daily life. The Amish costumes originated with the 17th century Puritans traditional apparel the European farmer and the clothing style of 19th century Americal,. Amish costumes was fastened with hooks and eyes instead of decorative buttons a diret influence of Puritanism does and did non con-tain ornamental outer pockets. This distinctively simple costumes served as a boundary outsiders to and as a direct ex-pression of their faith. An Amish doll had neither facial features nor fingers and toes as described in scripture "You do not become corrupt and make for yourselves an idol an image of any shape whether formed like a man or a women or like any animal on earth or any bird that flies in the air or like any creature that moves along the ground or any fish in the waters below" In this way Amish costumes was affected by their religion and faith.

• 복식문화연구
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• 제29권6호
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• pp.763-778
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• 2021

The study aims to analyze the mixed characteristics of knit fashion design as demonstrated in Sacai's collection, which promotes hybrid and mesh-up fusion and proposes various knit design ideas. Standards for categorizing mixed phenomena of Sacai's knit design were established through a review of literature and data analysis. The study's data collection period was from 2012 to 2021, and a total of 174 items were analyzed. The following are the results. First is the fusion of traditional knit and contemporary styles expressed through de-constructive design; traditional knit styles are combined with contemporary styles through color, material, and knitting structure mixtures, such as mixing Northern European Aran, Fair Isle, Nordic, and Ropy knit. Second, the Sakai knit design combines male and female styles by mixing materials and details. A deconstructed knit cardigan was matched with androcentric pin-striped shirts worn over layered shirring skirts embellished with chiffon and lace. Third, everyday street fashion style is blended with a formal, elegant fashion style. For example, the front view has a typical everyday appearance, whereas the back view contains florid and decorated details. The style is expressed as a 360-degrees appellation, with one thing in the front and another in the back. Sacai's distinctive expressional characteristics include a mixed and de-constructive style characterized by unexpected design.

• 복식
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• 제56권1호
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• 복식
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• 제64권3호
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• pp.108-125
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• 2014

The purpose of this study is to provide the basic information necessary to develop sports uniform design by comparing and analyzing the color features and images of professional football uniforms in Korea and foreign countries. The subjects of this study were limited to 5 top leagues in Europe (Premier League, Primera Liga, Bundesliga, Serie A, and Ligue 1) as well as J-League, and K-League. This study was done using the 2012/2013 season home and away uniforms for European leagues and 2013 season home and away uniforms for Korean and Japan leagues. Using the Adobe photoshop CS2 eyedropper tool, color chips and RGB values were extracted from digital images and converted into HV/C of Munsell Conversion. Finally, a total of 735 colors were used for the analysis. The color image scale by Shigenobu Kobayashi was used to position the color images. The results are as follows. First, the color analysis of professional football uniforms in leagues suggested that chromatic color (53.7%) was more prevalent than achromatic color (46.3%). The two most common colors of the ten chromatic colors were R(19.7%) and PB(18.0%), followed by Y(5.4%), RP(2.0%), G(1.9), GY(1.8%), B(1.6%), YR(1.5%), P(1.1%), and BG(0.7%). Second, for the color tone comparison and analysis of professional football uniforms in leagues, the most commonly used color tone was W(28.4%), followed by v(25.5%), Bk(16.3%), s(5.8%), dk(5.2%), b/lt(5.2%), dp(3.0%), sf(2.0%), ltGy(1.0%), p(0.5%), G/dkGy(0.4%), and ltg/mGy (0.1%). Third, for the comparison and analysis of color and color tone of professional football uniforms in leagues, W(28.4%), R(v)(17.7%), and Bk(16.3%) were commonly used. Finally, for the comparison and analysis of color images of professional football uniforms in leagues, the most commonly used color image was a casual image(31.8%), followed by modern image(26.5%), dynamic12.8%), cool casual(12.0%), gorgeous(9.3%), clear(6.6%), chic(3.5%), and elegant images. Dandy, classical, romantic and pretty images(0.4% respectively) were also used.