• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.253-262
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• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.63-75
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• 2016

This study examines the organic geometry in Isabel Toledo's collections in terms of the practicality of American sportswear tradition. This study conducts literary survey combined with case analysis of Toledo's works from her debut collection in 1985 to the recent ones. The organic geometry in Toledo's designs refers to the conversion of two-dimensional garment patterns into three-dimensional garment forms with the body as a medium, which is classified into the following categories in this study. First, 'fluidity' describes Toledo's highly fluid jersey dresses which maintain consistent structures by patchwork draping and suspension technique. Second, 'reductionist structure' illustrates that simple geometric shapes such as circles and squares disappear as soon as worn on the body. Third, 'origami construction' explains folding two-dimensional fabrics into three-dimensional forms, which causes the outlines of the body to appear abstract. Toledo's designs deliver the tradition of American sportswear through the organic geometry of garment construction. Toledo's works are authentic American in the aspects that they are functional and modern; they satisfy the practical needs, prioritize the movements of wearers, pursue multi-functions, and their ornamental elements are accompanied by the construction of garments. Isabel Toledo presents designs drawing on her unwavering aesthetics while continuously developing and experimenting creative ways of garment construction.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.9
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• pp.1049-1059
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• 2011

This study investigates the current state of companies that manufacture and sell outdoor wear. A survey was conducted to identify what problems they had and what aspects they needed to supplement through a comparison and analysis of their block patterns. Companies that manufactured outdoor wear and those that sold them were separately surveyed to understand their current state. The manufactures included 4 companies and 14 sellers. The survey used interviews to cover the areas of target consumers, development patterns, production lines, body size, nominal size, production size, and functional materials for each item, and aspects that need improvement. The survey period was from September $3^{rd}$ to $10^{th}$ 2008. There were three block patterns for jackets, T-shirts, and pants. The investigator collected the patterns used by three outdoor clothing manu-facturers for comparison and assessment. As a result, the mean age of the target consumers set by the outdoor clothing manufacturers and sellers was 25.3-50.7 and 29.2-42.5, respectively, which shows that the outdoor clothing had a wider distribution of target consumers than the sellers. It is imperative for them to segment and differentiate the target consumers and concepts. The basic body measurements the companies used to draw the upper and lower garment patterns were the bust circumference for the upper garment patterns and the waist circumference for the lower garment patterns. The basic nominal size was 95 for the upper garment and 70 for the lower garment. Also analyzed were the block patterns according to the items to understand the pattern characteristics of each of the companies. There were a total of 35, 36, and 30 items for the jackets, T-shirts, and pants, respectively, to measure size. The items were then compared with one another in mean and standard deviation. The analysis indicate that the block patterns were not fit for women in their twenties or thirties to wear and required revisions in the length of the upper garment, the height of sleeve cap, bust circumference, hip length, and pant length.

• Science of Emotion and Sensibility
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• v.13 no.3
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• pp.467-474
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• 2010

Recently, Study of functional clothing for Vital sensing is focused on reducing artifact by human motions, in order to enhance the electrocardiogram(ECG) sensing accuracy. In this study, considering the factors for each element found from the analysis, a 3-lead electrode inside textile embroidered with silver yarn was developed, and draft designs off our types of vital-signal sensing garments, which are 'chest-belt typed' garment, 'cross-typed' garment 'x-typed' garment and 'curved x-typed' garment, were prepared. The draft designs were implemented on a sleeveless male shirt made of an elastic material so that the garment and the electrodes can remain closely attached along the contour of the human body, and the acquired data was sent to the main computer over a wireless network. In order to evaluate the effects caused by body movements and the ECG-sensing capability for each type in static and dynamic states, displacements were measured from one and two dimensional perspectives. ECG measurement evaluation was also performed for Signal-to-noise ratio(SNR) analysis. Applying the experimental results, the draft garment designs were modified and complemented to produce two types of modular approaches 'continuous-attached' and 'insertion-detached' for the ECG-sensing smart clothing.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.401-406
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• 2005

The objective of this field research is to determine consumer's fashion sense and provide helpful information to manufacturers when planning designs and merchandizing strategies. This study's purpose was to observe what was being worn, colors and tones. The method of research was fixed point observation using digital photos. The subjects of the research were female college students, 18-22 years old. The T-shirt has become the representative item for casual and comfortable wear by the female college students. Pants and blue jeans were worn more often than skirts as a lower garment. This shows that the students think about their activities when choosing a lower garment. The majority of these students chose clothing that functioned well for their school activities. Among students that wore skirts about half wore a functional knee length while the other half wore a more fashionable mini-skirt. These students appear to care about both fashion and function. Blue was especially popular, with 70.4% of all lower garments being blue. This effect makes the body look thinner and may be one reason why blue is so popular. White is a popular color as an upper garment. White upper garments are easily matched with any color, while blue upper garments coordinate well with similarly colored blue lower garments. The distribution of upper garment color is significantly influenced by the seasons. Blue jean tones were many and varied, while upper garments were mostly weak tones and bright tones of pale, light and soft.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.58-71
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• 2006

This research is aimed to develop the functional clothing designs for disabled women in the manner of investigating design preferences among them by means of questionnaire and interview with 150 disabled women as respondents and interviewees. The findings of this research are summarized as follows: 1. Regarding satisfaction with ready-made clothes, the respondents answered 'very satisfied' (1.6%), 'usually satisfied' (14.1%), 'moderate' (20.3%) and 'unsatisfied' (53.1%), suggesting that they had been generally unsatisfied with ready-made clothes. 2. There were more disabled women preferring to ready-made clothes with one-grade bigger (loose.) size than the actual one (53.1%) instead of completely fitted size (43.8%) when they purchased such clothes. This result indicates that they prefer to ready-made clothes with bigger size than the actual one because most of such clothes are made up of non-elastic materials which may be unfavorable for wearer's activities. 3. It was found that primarily worn upper garment among them was T-shirt (59.4%). The reason may be that T-shirt is favorable for using prosthesis and orthotics such as wheelchair, walking stick and crutches thanks to its remarkably high activity as well as simple to maintain, compared with other kinds of upper garments. 4. Regarding preferences to functional clothing designs, the primarily worn lower garment among them was trousers (85.9%); the reason was easiness to move. The main reasons of avoiding to wear a skirt included 'difficult to move' (40.6%) and 'exposed disabled region' (30.3%). Accordingly, functional clothing for disabled women should be developed in consideration for their individual characteristics of disability associated with the disabled region such as wheelchair user, crutch user or brace user, In addition, the designs should be made so that they are not different from those for non-disabled people.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.810-823
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• 2020

This study evaluated the effect of functional characteristics of the fabric for Bikram yoga clothing and fit measured in clothing pressure on the wearer's physiological response and perceptive sensation before and after exercise in hot conditions and during a resting period in standard conditions. The test garment consisted of two tops (T1, T2) and two pants (P1, P2) each with different functional characteristics of fabric. Using various combinations of the test garments, assessment of the thermal sensation and comfort was performed before/after yoga and after resting. This study revealed that thermal sensation and wearing comfort significantly changed based on the functionality of the fabric of top garment before the exercise period. In addition, the results showed that based on clothing pressure, the feeling of comfort was different between before yoga and after resting. The appropriate choice of fabric material was important when constructing Bikram yoga clothing worn in hot conditions; however, level of clothing pressure was also found to be an essential design factor for comfort during rest after exercise.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.91-101
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• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.