• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.39-56
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• 2008

It is a remarkable phenomenon that tattoos has been rapidly spreading among women of modern years. The extremism of feminine ornaments, and pricking and piercing of the skin seem to have deep connection with women's consciousness changing to being independent, active and aggressive. The objective of this study is to analyze the potential quality of today's women, who appears emblematically through tattoo, and to search out the whole aspect and keynote of female tattoos. The methods of research are by examining the general characteristics including concept and history, considering the type and significance of ethnic female tattoos, and then comparing with the symbolism of today's female tattoos. The sphere is limited to women's tattoos from ancient times to today's modern lift, examined from large portions of Africa, Asia, Australasia, the Americas, and Arctic regions. As a result, the following had been reflected in female tattoos in the past. First, incantation, tribe, adult age, adornment, marital status, domestic ability and sex distinction, where among others, the incantatory, ornamental symbol, and domestic sign were representatives. Second, the most popular body parts for having a tattoo were around the lips, hands and abdominal region. Third, the more harsh the environment becomes such as tropical forests, isolated islands, and polar regions, the more number of females have tatoos. Fourth, women's tattoos were much less glamorous and smaller compared to those of men, distinguishing one's sex. On the other hand, today's female tattoos can be classified as five symbols: masculinity, independence, voluptuousness, affection, and purity. These symbols contain women's mentality to pass the limit, and to overcome social inferiority. In modern society, where women must compete with met it has become necessary for women to educe their potential masculine qualities. Being violent accessories for them, tattoos became a mark of such potential. Therefore, in the future, women's interest and demand for tattoos are expected to rise in proportion to the social demand of women's force.

• Journal of Fashion Business
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• v.13 no.3
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• pp.12-24
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• 2009

This paper aims to investigate if a total of 266 college students from Yanbian, China, and Korea's Jeonnam Province are satisfied with their face and body type, and to find out an image-development method, depending on body characteristics. For this, a questionnaire survey using the 5-point Likert Scale was conducted, and an SPSS program has been used for data analysis. Besides the descriptive analysis, crosstab analysis, t-verification, and frequency analysis have been conducted. As body shape, posture, costume, accessories and makeup play an important role in image formation, this paper intends to form positive ego through exact awareness of the body shape by providing base data to a set image-development strategy. Then, the result has turned out as follows: First, in terms of the body index (i.e., Rohrer index), both Korea's Jeonnam Province and China's Yanbian college students were included in a category of the mean value. In terms of satisfaction with their body shape, on the contrary, China's China's Yanbian college students were higher than Korea's Jeonnam Province college students. Second, male China's Yanbian college students were slightly higher than female China's Yanbian college students in terms of satisfaction with their facial shape. However, the male students showed no big interest in facial care. Third, in terms of facial shape, an egg-shaped face was the most preferred in both China's Yanbian and Korea's Jeonnam Province college students, followed by an inverted triangle-shaped face in China's Yanbian college students and a diamond-shaped face in Korea's Jeonnam Province college students, showing significant difference ($p{\le}.001$). Even though both college students live in Northeast Asia, their preference on facial shape turned out to greatly differ, which indicates their different social environments. This paper will be helpful in global marketing for college students who are the major consumers in the future as Korean-Chinese exchange increases.

• Journal of Fashion Business
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• v.23 no.5
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• pp.48-66
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• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• Journal of Fashion Business
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• v.23 no.4
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• pp.68-85
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• 2019

The purpose of this study is to analyze the characteristics of the New-Hanbok styling of online shopping mall, and to also suggest a solution to the problems of the New-Hanbok styling and develop a progressive plan. The research method was to search six keywords related to 'Hanbok' in the search portal 'Naver' and select 14 Hanbok brand companies. A total of 412 pictures of products for the model used on main screen were analyzed among 14 companies. The results of analyzing the New-Hanbok styling are as follows. First, the New-Hanbok styling showed the unstructured characteristics like unconventional arrangement after getting out of the fixed form of traditional Hanbok styling elements. Secondly, diverse images were represented as the hairstyle and makeup were highlighted as the elements of New-Hanbok styling. Thirdly, the new, fresh, trendy, and fashionable New-Hanbok styling was shown through the mix-and-match of traditional Korean-style accessories and fashion jewelries. However, regarding the New-Hanbok styling shown in online shopping mall, the overlapped items were especially found while the difference in material, pattern, and color required to overcome this problem was insufficient. It was lacking in the styling consistency for the establishment brand image while the awareness of the importance of accessory styling was insufficient. The brand competitiveness of the New-Hanbok could be secured by raising awareness on differentiation, consistency, and importance through the styling elements such as item composition, material, pattern, color, hairstyle, makeup, and accessory of brand.

• Fashion & Textile Research Journal
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• v.21 no.1
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• pp.13-26
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• 2019

In this study, Western-style first birthday clothing for girls from online shopping malls was explored. Specifically, clothing types, forms, colors, textiles, prints/patterns, and trimmings were examined. Using the keyword dol bok (meaning "first birthday clothing") and the search engines Naver and Daum, online shopping malls that sell or rent Western-style first birthday clothing for girls were found. From 15 online shopping malls, 317 dresses, 76 outers, and 69 bonnets were analyzed. The one-piece dress was the main item of Western-style first birthday clothing for girls. Most first birthday dresses were white or ivory in terms of color; other common features were the bell silhouette, a high waistline, a midi- or knee-length skirt with multiple layers, and bow trimming. The upper bodices of dresses featured round necklines without collars and sleeves, and the main textiles used for dresses were satin, lace, organza, and tulle. Two main types of outers were jackets and capes. Most outers were white or ivory and waist-length or shorter, with elbow-length or longer sleeves. Outers were typically made of fur, satin, and lace. Most bonnets were also white or ivory in color, made of satin and lace, and decorated with ribbon ties and frills/ruffles. Because a precedent study indicates that a monochromatic color scheme was the least favorite and that consumers want a proper fit and length-adjustable design, conclusions of this study point to the need for color diversification; color combinations for two-piece dresses, outers, and accessories; and lacing or shoulder snaps instead of zippers.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.331-347
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• 2022

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics-including religious cultures and totem worship-and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the "seven-star" sheepskin cape, one of the Naxi people's important ethnic costumes as demonstrated by the women's clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled "By the Light of the Moon and the Stars," which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people's seven-star sheepskin cape is a symbol of women's clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people's traditional culture.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Journal of Fashion Business
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• v.6 no.1
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• pp.43-52
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• 2002

The purpose of this study was to present the plan for activation and rationalization of production of ladies' jacket and provide basic materials for improvement of the development of technologies in relation to the productivity improvement of ladies' jacket and the achievement of high quality product. For this purpose, this study attempted to investigate the present situation of jacket manufacturing process. The data is related with local ladies' jacket manufacturing companies in Seoul snd Kyonggi area. The results of this study are as follows. 1. 87.8% of the business firms responded that they acquired the productive process of jacket based on their own knowhow and 80.5% was aware of the need for the analysis of each process. The highest proportion of the business firms(65.9%) pointed out that the advantage of process analysis was the alleviation of the production time. 2. The jacket manufacturing process was made up of 4 stages such as the process of frontal/rear plate $\rightarrow$ the process of accessories $\rightarrow$ the process of completion $\rightarrow$ the process of finishing in a broad sense but composed of a total of 19 stages in detail. 3. Attachment of the sleeves(73.2), attachment of the collar(41.5%) and the formation of the overall silhouette(22.0%) were raised as the challenge in manufacturing ladies' jacket. 4. Most of the sewing business firms made use of the method of completing the collar and then stitching the outer material and the inner collar, and the line of the bodice and the outer collar as the method of stitching the tailored collar. and many of them used the method of completing the collar and then inserting it between the line of the bodice and the outer material and stitching it as the method of stitching the stand collar. They had a preference for the method of completing the sleeve and connecting it to the bodice as the method of stitching the sleeve. and used the method of treating the margin to seam of semi-lined and unlined jacket by treating it with the bias tape.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.157-172
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• 2016

This study aims to present findings of historical design trends of men's fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men's fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men's overcoats and top-exterior- and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men's fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men's fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

• Journal of Fashion Business
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• v.3 no.4
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• pp.147-160
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• 1999

This paper is intended to compare and analyze the fashion trends that were introduced in the recent shows, held abroad and in Korea, so as to investigate how well the designers in Taegu and Kyungbuk (TK) area are keeping up with the international vogue. The research has done, analyzing Pret-a-Porter in Paris and the three events held in the TK area in 1997 -The Taegu Collection, Kyungbuk Fashion Festival and Textile & Apparel Fair and using reference pictures and documentary records. In order to investigate the trends the research is divided by four groups which are the silhouette, the detail, the color and the Fashion image and has done with the help of three postgraduate students. The results are as follows. 1. The Silhouette The slim-line has the greatest importance in the silhouette analysis of the recent collections. Like Elongated and Fit & Flare, tight-fitting and female-line were also appeared quite a lot. Compared with foreign collection, Korean collections put the bigger importance on the slim-line. 2. The Detail The printings, using paintings and plant-logos had the large portion of the accessories in both foreign and Korean collections. Draw string and wrap style were also presented a lot. Especially, at the Korean collections, layerd, corsage, and craft accent were emphasized, too. As for the necklines the similarity was found over the four events considering. Camisole neckline and halter neck were presented the most, and bared top, Vneckline, boat and low-neck which can highlight the feminity were often appeared as well. Considering collars, tailored and peaked collars which are frequently used for the jackets, were usually shown at the collections. Like convertable, shirts, wing and Italian collar, the collars that can be applied for the sports wears were presented a lot. Virtually no variation of design was found in the sleeve analysis. While set-in-sleeve and sleeveless were found commonly, not so many ornaments were added to the sleeves. The ankle and knee length for the pants and skirts were common. Furthermore, including the micro-mini, showing extremely feminine style the mini-style had the 20% portion of the skirt-length. Unbalanced lengths, using bias-cut were presented quite a lot on the runways. Deep slit skirts, wide pants and irregular hem skirts were in vogue. On the runways of Paris, more than 21% of the design was the burmuda pants. 3. The Color Red and Blue were in vogue in the four collections considering. Sometimes, yellowish was combined in Korean collections. Black and pale tone were appeared to be in fashion also with light grayish, moderate and deep tone. 4. The Fashion image As for the fashion image, feminine-decorative trend amounted to the large percentage in korean collections. At the foreign collection feminine-decorative trend and feminine trend were predominant, then mannish trend and simple trend were apeared equally. The research shows that TK area and foreign collections are fairy similar, which means that the designers in TK area have been making their efforts to satisfy the clients who have the international minds. However, compared with foreign collections, TK collections were apprered to be strongly inclined to only a few trends. Consequently the season trends are not as diverse as the foreign trends, which cannot satisfy the fashion taste of the clients in TK area. The local designers should know the tendency and the taste of the clients and make the more efforts to read local clients' mind.