• Human Ecology Research
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• v.60 no.1
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• pp.131-145
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• 2022

The purpose of this study was to reveal the effects of sales services and organizational member relationships of fashion brand salespersons on job performance and job satisfaction, as well as how job performance, job satisfaction, salesperson services, and organizational member relationships differ according to the sales career and job position. The data were collected by administering a questionnaire to fashion brand salespeople in Gwangju from September to October 2020. Using 235 responses, the data were analyzed with SPSS 27.0 for frequency analysis, reliability analysis, t-test, factor analysis, and regression analysis. The research results were as follows. First, the basic services of the salesperson comprised factors such as 'consideration and convenience', 'appearance and dress', and 'kindness and greeting', which are considered better variables to explain job performance than job satisfaction. Second, the salesperson's professional service consisted of 'fashion product knowledge', 'professional self-management', and 'store display technology' factors, which are good variables to predict job performance. Third, the relationship between the members of a salesperson's organization consists of factors such as 'headquarters relations', 'colleague relations', and 'emotional labor', which was better for explaining job satisfaction than job performance. Fourth, depending on the position, professional salespeople exhibited significantly higher values in job performance, basic and professional services of salespersons, and 'headquarters relations' factors, whereas there were no significant differences in job satisfaction, 'colleague relations' and 'emotional labor'. Lastly, the more sales career, the higher the job performance, and the basic services, professional services, and 'headquarters relations' factors of salespeople were also good.

• Journal of Fashion Business
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• v.26 no.4
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• pp.32-51
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• 2022

This study analyzed the characteristics and expression techniques of men's fashion bags and their aesthetic and formative values in modern men's fashion from the perspective of neo-deconstructivism. The study subjects were men's fashion bags appearing in four collections in Paris, Milan, London, and New York in the 2019 S/S-2021 S/S season. As a research method, the characteristics and expression techniques of the new disintegration of men's fashion bags were analyzed and categorized through prior research and literature research. The results of the study are as follows: First, the neoclassical characteristics of men's fashion bags caused 'Re-creation' to appear as the dissolution of the design principle and structure of the bag, and it was derived as 'decomposition of form' and 'decomposition of dress method'. Second, the 'Inclusive Diversity' of modern men's fashion bags of neo-deconstructivism appears in the form of gender demarcation and dissonance coordination. Third, 'Playfulness' in men's fashion bags involves the pursuit of fun through unconventional changes in the shape, size, and design of the bag, and it sometimes provides a fresh, new play experience through unpredictable design elements. Fourth, the 'Pursuit of new values' in male's fashion bags was a characteristic wherein the boundary between DIY attire and daily clothes and high fashion by the individual selection of consumers was blurred. This work is meaningful in that it conducted a basic study of men's fashion bags by examining the modern men's fashion bag from the perspective of the philosophical trend of neo-deconstructivism and categorizing its characteristics.

• The Research Journal of the Costume Culture
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• v.31 no.2
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• pp.173-192
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• 2023

This study conducted in-depth interviews with experts to implement Hanbok shows on metaverse, which can contribute to the succession and development of Hanbok design and to establish a platform that fits the reality of the Hanbok industry and consumers. In-depth interviews were conducted to collect opinions from experts, and the derived contents were divided and analyzed using an affinity diagram. Experts were positive about the use of the metaverse platform of the Hanbok show in terms of impact, accessibility, exposure, virtual fitting, issuance of NFTs, and promotion of Hanbok brands. As a result of verifying the validity of the four components of metaverse, experts highly evaluated the possibility of using Hanbok shows in the order of virtual reality, augmented reality, mirror world, and lifelogging. Visuality, influence, marketing efficiency in virtual reality, immersion in augmented reality, fantasy and artistic elements, expression, diversity, and abundant experiences were expected. The platform's requirements emphasized realistic implementation equipment and technology, collaboration between Hanbok designers and producers, in addition to government support. Results of this study showed that appropriate target was analyzed to be in the 10-30s, and the appropriate price range was found to be able to sell at a discount of 40-80% compared to offline. This study provides useful implications for the service development of metaverse content, which will also be actively used in the Hanbok field, and can be used as basic data for reviving the Korean Hanbok industry and strengthening international competitiveness.

• Journal of the Korean Society of Costume
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• v.35
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• Journal of Korean Home Economics Education Association
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• v.21 no.1
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• pp.51-69
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• 2009

This study is intended to provide fundamental information to improve the quality of student activities presented in the Clothing & Textiles How to Dress Appropriately' section of the current middle school 'Technology Home Economics' textbooks so that Home Economics may better reflect students' interests, making it applicable in real life. The survey was conducted to 154 male and 160 female students on their preferences regarding student activities. The results are as follows. First, students who like clothing & textiles section regard "Opportunities to take part in various kinds of practices and student activities" as the major reason for preference. And the single biggest reason why they dislike the unit was due to "Too much contents to be memorized." Among various contents regarding dress in the unit, "How to Wear Clothes That Look Good on Me, and the Right Ways to Wear Them" attracted the most attention, regardless of what contents they consider necessary, interesting, or helpful in real life. Second, as for the time of implementation of the activities, students preferred "End of each class". They also preferred small-group activities (group size), well-structured problems (type of problems) and tasks that require analysis based on theoretical principles through experiments and practices (methods of implementation). Third, the findings as to the actual experience of conducting the student activities indicated that, in most cases, student activities were conducted in accordance to what was suggested in the textbooks, but not to what the students preferred. Therefore, in order to make home economics more applicable to students, it is desirable to focus on their everyday lives as is favored by the students, and increase small-group activities. Also, suggesting various and comprehensive problematic situations such as non-structured, open-ended problems and encouraging diverse implementation would be helpful in improving students' critical and creative thinking abilities.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• Journal of the Korean Society of Costume
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• v.19
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• pp.105-125
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• 1992

The research, aiming an automatic pattern design of Korean Costume by utilizing CAD system, tried Grading, Seaming and Marking with a theme of girl's color-strip blouse & skirt. The content & conclusion of the research can be outlined as follows; 1) As we reviewed the current situation of Korean costume which becomes more likely celebrational or festival costume, while the demand of it is getting increase, it's being dealt mostly as ready-made dresses with different qualities & designs. Especially childrens ready-made ones were highly demanded to be picked up as the theme. 2) For the original drawing of children's color-strip blouse & skirt, Kyung-Ja Park's drawing method was used here, and for the substitute of particular body parts absolute size, Joo-Won Lee's standard size chart from a size-study by ages. 3) To work with CAD system we had input master pattern, drawn for age 5 as basic size, then graded six step-sizes for 1-11 years old. For add-subtract of particular body parts size, we graded through computing the standard variation among items to get the pattern developed into ready-made standard size, we can make precise plotting by grading wanted size very rapidly if we correct the rule of changed items different from standard size to make utilization possible enough with easy order method of ready-made Korean Dress. 4) We produced Marker after attaching a margin to seam accordingly by parts for each pattern using P/D/S to mark, In mass gament-cutting, the loss of time and material can minimized. In this research the apparel CAD system which has been utilized and only be western fashion industry was introduced for the design of ready-made Korean costume and utilized it in Grading, Marking which are critical steps to improve productivity and have reported the result in the research. Thus we expect that less cost, improved productivity and better quality with minimized loss of material from marking as well as from prompt and precise size-drawing. Furthermore the utilization of CAD system is considered as an effective one in terms of the research & the development to remove effective one in terms of the research & the development to remove irrational elements in the design and production process of Korean costume as well as in terms of the study of Korean Costume development through creative works of Korean Costume.

• Journal of Fashion Business
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• v.5 no.4
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.