• Fashion & Textile Research Journal
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• v.7 no.3
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• pp.270-276
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• 2005

Nowadays, the family system has changed from a large extended family group to a more nuclear family and the number of people who live by themselves has been increasing. Moreover, Korea is becoming an aged society, and pets are becoming more important as leave the family home. So a lot of people in Korea now consider pets as their family members due largely to the drastic change of their life style. Therefore, the rate of importing commodities for pets like cats and dogs has been increasing dramatically. In this study, in response to the growing interest in the pet industry, I have studied recent trends and types in the pets wear markets which are still in the first stage of development in Korea. In order to enhance the possibility of mass producing pets ready-made clothes for making the unit cost lower, firstly, I presented a new basic design and pattern of pets wear made up of general textile. After that, following basic purpose of pet wear, I classified decorative clothes into party wear, everyday wear and street wear and then I developed the pattern and made a pair of works for each item totaling 6 in all. I hope that the number of Korean companies which can enhance their reputation through by marketing these products in Korean as well as all around the world will increase. I believe this will be possible because by taking advantage of the easy pattern developed in this thesis. They will be able to mass produce their own high quality pets wear brand.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.286-292
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• 2009

The purpose of this study is to analyze the pattern of the present flight suit, to select variables of human body and key dimensions for making pattern of the flight suit, and to decide the most appropriate size of human body and rate of ease for designing an overall flight suit. For analyzing the pattern of flight suit, we used "M95Special" (men ; chest circumference 92-97 cm ; height : above 177 cm), which was indicated as the standard of the Ministry of National Defense. We analyzed general appearance and the actual dimensions of the pattern of the flight suit. As a result of analyzing the pattern, flight suit was front-opened overall style which had a flat collar with rounded edges, two-pieced sleeves with lower height of the sleeve's cap, 3cm-width belt on the waist and 8 pockets. To decide the most appropriate size of human body, we selected 20 variables of human body in the 359 variables of the Size Korea by referring the previous studies. The 20 variables of human body were 9 circumferences (chest, waist, hip, neck, armscye, wrist, thigh, knee, and ankle), 9 lengths (stature, back interscye fold, waist back, crotch height, crotch, body rise, arm, outside leg and total), and 2 breadths (biacromial and chest). We drew out the size of 20 variables from the Size Korea and US Army anthropometry data and decided the most appropriate values from the drawn data for applying to the pattern of flight suit.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.553-563
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• 2016

The purpose of this study was to investigate the perception and preference on textile design specially on bedding products which are widely interested in the life-style market. The study was carried out targeting to 250 women between the ages of 20s and 40s based on the four seasons. The collected data was processed with SPSS 21.0 program using frequency, cross tabulation, and ANOVA analysis. The results were as following. There were slight differences on the results of the study including purchase behavior and preferred bedding textile design: color, color tone, and pattern on the textile design of bedding products according to age and season. Most of age had similar color preference on the bedding products in the season but a slight different between fall and winter. However, as color tone and pattern on the textile design of the bedding products were concerned, there were significant difference between the age depending on the season. There were significant differences of color tones and patterns in fall and winter, but not significant in spring and summer. Therefore, the domestic market of the bedding products needs more various textile design development according to consumers' preference and seasonal trend which should be discriminated in order to increase product competitiveness.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.202-209
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• 2013

This study suggests a new women's upper clothing based on traditional Korean costumes that utilize the Jatmulim. The Jatmulim is an example of the skill found in conditional Korean costumes and is of a small triangular shape. Jatmulim was developed in size, shape, and arrangement through the method of making and using children's Durumagi, the dancer's or shaman's Mongduri, and modern works. A total of five pieces of different women's clothing were suggested by applying the developed Jatmulim. In the first piece, the clothing is a woman's sleeveless blouse based on the construction of the Yoseon-Cheolik from the Joseon period and made with a larger sized Jatmulim in the back of the neckline and shoulders. In the second piece, the clothing is designed for a woman's jacket based on the Bansuui of the Joseon period with rectangular Jatmulim in the front neckline and at the end of the sleeves. In the third piece, the clothing is designed for a woman's sleeveless blouse based on the Danryeong with rectangular Jatmulim in the neckline. In the fourth piece, the construction of the Jeogori is applied to the clothing for making a woman's jacket that has a bigger sized Jatmulim in the front part as a decoration. In the fifth work, the clothing is designed for a sleeveless blouse based on the Dapho with a different sized arrangement of the Jatmulim in the neckline.

• Korean Journal of Human Ecology
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• v.10 no.3
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• pp.275-290
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• 2001

The purpose of this study was to investigate the transition of clothing behavior and clothing consumption pattern of college students in Choong Nam province. 75 subjects were surveyed in 1995 and 2000. For statistical analysis, $X^2$-test were used by SPSSWIN program. The results of this study were as follows. 1. Number of clothing showed significant difference according to year and the number of coat and formal wear increased in 2000 compared with 1995. 2. Clothing consumption pattern showed significant difference according to year. College students purchased on sale more frequently and preferred more expensive clothes in the year 2000 compared with 1995. 3. Contentment for clothing behavior showed significant difference according to year and the extent of contentment decreased as years go by. 4. Number of clothing showed significant difference according to sex and female students had more clothes than male students, but the difference between male and female decreased as years go by from 1995 to 2000. 5. Clothing consumption pattern showed significant difference according to sex and female students purchased ell sale more frequently than male students, but the difference between male and female decreased as years go by. 6. Contentment for clothing behavior showed significant difference according to sex, but female students described to not adequate the quantity of feminine style wear and the interest in fashion of male students was increased as years go by.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.124-136
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• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.42-57
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• 2016

The Tibetan people are an ethnic group that is native to Tibet who have adapted to the region's harsh climate and environment, and developed their own culture. Religion played a central role in maintaining its traditional culture and society in the history. The objective of this study is to understand Tibetan costume and religion, and examine patterns that appear on the costume to study their religious symbolism. The significance of this study lies in explaining the symbolisms of the patterns that appear on the costume in terms of cultural maintenance and change. Based on literature review, I summarized the data about Tibet's environment, history and religion, and divided the residential district into three: ${\ddot{U}}$-Tsang, Amdo, Khamba. Then, I organized each region's characteristics and clothes, and studied Tibetan Buddhism (Vajrayana) costumes and features of the patterns that appear on the costumes. Through combining these data, I would like to examine the religious symbolism of the costume pattern of Tibet. Buddhism is at the heart of cultural and social maintenance and change in Tibet, and the patterns shown in the costume is influenced mostly from Buddhism. The features of general Tibetan costume vary with the region and life style, but the patterns that appear on the costume are used over a wide area to represent good luck and the spread of Buddhist teachings. The costumes for religious rites vary with religious sects, but most of the patterns are commonly used. The symbolism of pattern is a form of figure that represents the human psyche and physical world. The symbolism of pattern implies meanings such as compensation or futuristic wish. First, the lucky omen normally means long life, happiness and peace, and means religious salvation in Buddhist perspective. Second, warding off evil spirits normally means avoiding misfortune, and means dignity and self-protection, and protection of Buddhadharma in Buddhist perspective.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.334-347
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• 2013

This study obtains information required for a comprehensive understanding of the brand-switching behavior by cosmetics consumers and for the establishment of effective strategies to make customers more loyal to the company. The study examines the relationships between customer shopping orientation and brand switching motives with respect to cosmeceuticals. A descriptive survey method using a self-administered questionnaire was employed. The sample consisted of 1,258 females between the ages of 20's and 30's residing in Seoul and the Gyeonggi area who use whitening products, sunscreen, or other anti-aging cosmetics. The results showed that shopping orientation influenced brand-switching motives in regards to purchasing cosmeceuticals. The orientation of depending on information and seeking fashion trend were the major factors to induce brand-switching behavior in purchasing whitening products, sunscreen, and anti-aging treatments. However, there were differences in the type of factors of shopping orientation and in their intensity of affecting brand-switching motives depending on the specific cosmeceuticals. In particular, in the case of sunscreen, as compared to other products, the customer shopping orientation should be considered from more diverse perspectives in order to formulate effective marketing strategies related to brand switching. In light of these results, customer shopping orientation with respect to cosmeceuticals is a variable that influences the cause brand switching. Therefore, differentiated marketing strategies that reflect the different characteristics of shopping orientation according to each item of cosmeceuticals are recommended to improve the satisfaction level of the companies' target market. Current consumer needs for practical benefits and for new products should be simultaneously reflected in the plans for new product development of each type of cosmeceutical.

• Journal of Fashion Business
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• v.12 no.6
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• pp.11-22
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• 2008

The goal of this study is to provide beauticians with the fundamental material to use effectively heat permanent wave in beauty industry as well as their customer's satisfaction. It carried out an experiment with damaged hair of a woman in her late twenties to investigate the change of physical and morphological characteristics by its water content when performing heat permanent wave. After spreading 0g, 1g, 2g, 3g, and 4g of water on damaged hair respectively, heat permanent wave was treated and the change of hair was observed. The change of physical characteristic was compared through permanent wave form of hair, tensile strength and elongation. The change of morphological characteristic was observed through Scanning Electron Microscope(SEM) and Transmission Electron Microscope(TEM). The result of experiment on the physical specificity revealed that permanent wave form was the most ideal when the water content was 2g, also 3g. Though the materials with much moisture content formed the results were not satisfied. The material with 0g of water content didn't make the wave. In terms of tensile strength and elongation, tensile strength was generally reduced as per the damaged degree of hair. On the contrary, elongation was increased. It observed the changes of morphological characteristic that the damage on hair cuticle was deepen, as its moisture content was decreased, and cuticle's surface was worn away. The observation of fine structure on hair section by transmission electronic microscope also certainly showed the result that damaged hair having experience with chemical treatment had got much damaged to hair cuticle as well as hair cortex. Generally chemical treatment makes hair damaged. Under consideration of this aspect, the ultimate goal of this thesis is to minimize the damage of hair caused by chemical treatment and get the satisfaction on the hair style. According to the result of experiment, the damaged hair whose moisture content was 3g showed the best permanent wave form.