• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.251-260
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• 2012

Nowadays, global wedding dress companies are interested in the Chinese wedding market because of expectations in consumption patterns of the post 80's generation. Therefore, wedding behavior, selection criteria for wedding dresses, and favored image by segmented groups targeting 20's to 30's Chinese women were studied to help the Korean wedding dress industry to establish their business in China. The survey was conducted in Shanghai city and three neighboring cities-Wuxi, Zhengziang, and Hangzhou-, and the primary data were analyzed using the SPSS program. As results, Chinese women thought that the wedding ceremony should be elegant and dignified, and they wanted to choose their favorite style rather than a recommended style. The criteria of selection were classified into four factors. Overall image and well fitting with their face and body were the most important factors in the selection of wedding dress. The most favored image was unique/novel image. Several favored images for their wedding dress were significantly different by occasion (ceremony day and photo shoot day) and education level. People of higher education level preferred more luxurious and classic image during the ceremony, and a classic and gorgeous image on the photo shoot day. A white dress and a colored dress for weddings were favored more than the Chinese traditional dress on both occasions. There was also a significant difference between general consumers and the wedding business employees in the quantity of wanted wedding dress.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.573-585
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• 2023

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.2
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• pp.430-441
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• 1997

Journal of the Korean Society of Clothing and Textiles Vol. 21, No. 2 (1997) p. 430∼441 Clothing fitness is strongly required in the apparel industry, and draping is an effective tool to increase fitness to the wearers. A more sophisticated and systematic information of the somatotype, accordingly, is necessary for better dress form design. This study was performed to provide fundamental data on middle-aged women's somatotypes for dress form designers by classifying the torso somatotype and analyzing the characteristics of their somatotype. The subjects were directly measured anthropometrically and indirectly analyzed photo- graphically. Data were analyzed by factor analysis, cluster analysis and analysis of variance. On the basis of the cluster analysis, using 7 factors cores the subjects were classified into four groups and four dress forms for middle-aged women were constructed. 8y the analysis of moire topography of proposed dress forms that were constructed according to the characteristics and silhouettes of front and lateral views for each somatotype of subjects, three-dimensional characteristics of somatotype and overlapped crosssection diagrams were analyzed.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.886-897
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• 1999

Fitness of clothes becomes a major concern in apparel industry. But girls had difficulties to buy ready-made clothes of good fit. To solve this problem it is necessary to classify girls' lower body Into several kinds of somatotypes and to develop dress form. The purposes of this study was to classify lower body types of middle-high school an provide the dress forms based on the analysis of their lower body types. The subjects for anthropometric measurement were 402 middle-high school girls of 13 to 15 year-old. The result of factor analysis indicated that 5 factors were extracted from anthropometric measurments through factor analysis and those factors comprise 71% of total variance. 4 clusters were categorized using 5 factor scores by cluster analysis 4 lower body dress forms for middle-high school girls were made of gypsum mould. By the analysis of more photograph three dimensional characteristics of somatotype and overlapped cross-section diagrams were analyzed.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.115-126
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• 2002

This study is regarding on the shroud of Jeonjoo Lee (Inpyoung clan's lady) excavated from the Andong Gwon's grave. who had passed away at 1722. Through this research, we understood the way of fetal ceremony by 18 centuries' royal family, and the costume style in those days. The style and size of shrouds were likely similar with ordinary dress. For the upper dress, Lady Andong Gwon wore a piece of undershirt (sosam), 3 layed jacket(Joggoli), an upper jacket (dangui) with patched badge as well as a gold brocade formal dress(wonsam). And for the lower dress, 2 layed underpants(dansokot) and 2 layed long skirts were worn. Especially, prototype of the waist band for shroud(gowdo) and a kind of headgear(gokdoli) was found in this study along with the headdress for woman's shroud(yomo) and the shoes for woman's shroud(chahwea). In this study, understanding the costume of upper class at 18 centuries during Chosun Dynasty.

• Korean Journal of Biological Psychiatry
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• v.24 no.3
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• pp.162-166
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• 2017

Drug rash with eosinophilia and systemic symptoms (DRESS) syndrome is a potentially life-threatening, medication-induced hypersensitivity reaction with long latency. It is characterized by fever, rash, leukocytosis with eosinophilia, atypical lymphocytosis, and internal organ involvement. The most common causes of DRESS syndrome are sulfonamides and anticonvulsants such as carbamazepine and lamotrigine. However, valproic acid and olanzapine could develop DRESS syndrome. We report a case of DRESS syndrome associated with valproic acid and olanzapine in a 41 years old male patient with bipolar disorder.

• Korean Journal of Human Ecology
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• v.14 no.4
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• pp.645-651
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• 2005

The purpose of the study was to investigate the thermophisiological responses and subjective wearing comfort for the six lining fabrics of one-piece dress in summer environment. There were significant differences in the microclimate, the mean skin temperature and the subjective wear comfort for the lining fabrics. The mean skin temperature of rayon and acetate were lower than that of synthetic fiber. The wearing comfort of rayon and acetate were better than that of synthetic fiber. There were clear correlations between the mechanical properties and the subjective wear comfort of lining fabrics. The hygroscopicity and density of textile affected the humidity and tactile sensation of dress, and they were important factors determining the wearing comfort of one-piece dress.

• Journal of the Korean Home Economics Association
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• v.27 no.2
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• pp.31-42
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• 1989

The purpose of this study was to develop a computer program to draft princess line onepiece dress pattern. To this study, the Turbo Pascal Compiler and the Pascal language were used. The procedures of the study were as follows: 1. A basic onepiece dress pattern was drafted by the hand operation. 2. The co-ordinate points were instituted for indication of relative position of all necessary points in drafting. Total sixty-nine co-ordinte points (front: thirty-five, back: thirt-four) were instituted. 3. The two subprograms for main program were developed to solve geometric problems and to draft straight lines and curved lines of the onepiece dress pattern. 4. The program was accomplished by putting indivisual body measurement 5. Grading fo five size was given.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1595-1607
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• 2008

The purpose of this study is to find the reason why the National Mourning Dress System of the Joseon Dynasty had been established although the General Mourning Dress System had exist through research of three things; differences of each social class, changes of the National Mourning Dress System by the age and differences between the National one and the General one. The methodology which is adopted for this study is comparative analysis by social class, period and age from the Annals of the Joseon Dynasty and the Orye-e. And this study is focus on the women's dress. The results of this study is as follows; Firstly, some mourning dress items had been different or not used by class. Secondly, although there had not been a great change, some dress items had been disappeared or used irregularly. And Naemyoungbu Naekwan's mourning dress had been changed by the age. Thirdly, The National one was more extensive in wearing and applied differently by class compare to the General one. Also it had an additional rule according to the period, duty and place to Naemyoungbu-Naekwan and Naemyoungbu-Goongkwan. The National one had been established by ruling class of The Joseon Dynasty who had tried to keep the Confucian standard and perfect social status system. And it is supposed that the National Mourning Dress System had not been a great change because the ruling class' will had not been changed.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.