• 패션비즈니스
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• 제26권2호
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• pp.28-47
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• 2022

Rapid development of information and communication technology is leading the digital transformation (hereinafter, DT) of various industries. At this point in rapid online transition, fashion manufacturers operating offline-oriented businesses have become highly interested in DT and artificial intelligence (hereinafter AI), which leads DT. The purpose of this study is to examine the development status and application case of AI-based digital technology developed for the fashion industry, and to examine the DT stage and AI application status of domestic fashion manufacturers. Hence, in-depth interviews were conducted with five domestic IT companies developing AI technology for the fashion industry and six domestic fashion manufacturers applying AI technology. After analyzing interviews, study results were as follows: The seven major AI technologies leading the DT of the fashion industry were fashion image recognition, trend analysis, prediction & visualization, automated fashion design generation, demand forecast & optimizing inventory, optimizing logistics, curation, and ad-tech. It was found that domestic fashion manufacturers were striving for innovative changes through DT although the DT stage varied from company to company. This study is of academic significance as it organized technologies specialized in fashion business by analyzing AI-based digitization element technologies that lead DT in the fashion industry. It is also expected to serve as basic study when DT and AI technology development are applied to the fashion field so that traditional domestic fashion manufacturers showing low growth can rise again.

• 패션비즈니스
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• 제3권1호
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• 패션비즈니스
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• 제2권3호
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• 한국의류학회지
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• 제30권3호
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• pp.378-385
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• 2006

콘크리트포장에 초기균열을 일으키는 중요한 인자 중 하나는 콘크리트 내부의 초기온도이다. 따라서 콘크리트포장의 초기균열 발생원인을 연구하기 위해서는 초기온도를 계측하여 분석하는 일이 필요하다. 본 논문에서는 초기균열이 발생하는 슬래브 장소와 초기균열의 발생시간이 초기온도패턴에 어떤 영향을 받는지를 검증하였고 더불어, 줄눈부에서 발생하는 균열의 발생시점과 시공시간과의 관계도 알아보았다. 본 논문을 위해서 "중부내륙고속도로 여주-충주간 제 1공구 시험도로 건설공사구간 STATION 1+400$\sim$1+700" 지점에서 시험시공이 이루어졌으며, 시공 후 72시간 동안 i-Button(온도계측센서)을 이용하여 온도계측을 시행하였으며, 초기균열의 거동은 Demec gauge를 사용하였으며, 초기균열 및 줄눈부 균열은 육안으로 확인하였다. 초기온도패턴과 초기균열의 분석 결과, 콘크리트의 초기온도패턴은 슬래브에 초기균열이 발생하는 위치와 시각에 영향을 주는 것으로 나타났다 초기균열균열은 온도낙차폭이 가장 큰 슬래브에서 발생하였으며, 그 시각은 슬래브의 온도가 급강하하는 새벽이었다. 또한, 콘크리트 슬래브의 거동이 인근 줄눈부에 발생한 초기균열에 따라 영향을 받으며. 줄눈부에 발생한 균열의 발생시기가 서로 다를 경우에 균열의 거동이 달라질 수 있다는 가능성이 제시되었다. 그 외에도, 오전에 시공한 슬래브에서의 균열 발생률이 오후에 시공한것보다 더 큰 것으로 나타났으며, 균열의 발생 간격이 큰 균열이 그렇지 않은 균열보다 더 큰 균열틈을 보였다.

• 한국의류학회지
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• 제29권12호
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• pp.1595-1607
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• 2005

3차원 스캐너를 통한 인체 측정치는 다양한 분야에서 사용되고 있다. 본 연구는 이러한 3차원 측정치의 정확성과 신뢰도를 조사하기 위한 것이다. 이를 위해 TECMATH사의 VITUS 전신 스캐너로 인체를 측정, ScanWorX Body Measure 소프트웨어를 이용하여 항목을 측정 한 값과 직접 인체측정 에 의해 얻어진 값을 비교하였다. 피험자는 평균 체형의 미국 여대생 25명이며 기준 자세와 일상생활에 많이 쓰이는 $135^{\circ}$ 양팔들기, 어깨 구부리기, 어깨 들어올리기의 3가지 동적 자세를 실험 동작으로 하여 체표의 길이 및 둘레의 변화를 측정하였다. 기준 자세와 135"양팔 들기에 대한 측정치 비교에서 두 가지 측정법에 의한 항목들의 차이는 $-2\~20mm$였으나 두 동작 모두에서 목둘레만이 유의한 차이가 있는 것으로 나타났다. 또한 길이항목보다 둘레항목에서 좀 더 큰 차이를 보였다. 실험 동작에 의해 상반신 18개의 측정항목들은 유의한 체표변화를 나타내었으며 특히 어깨길이, 겨드랑앞벽사이길이, 겨드랑뒤벽사이길이 그리고 견봉사이길이에서 뚜렷한 변화가 나타났다. 그러나 두 측정 법에 따른 체표변화 차이는 없었다. 어깨 구부리기와 어깨 들어올리기 동작시에는 스캔 측정을 3회 반복함으로써 3차원 측정치의 신뢰도를 조사하였는데 모든 항목에서 3회 반복된 측정치가 통계적으로 동일한 것으로 나타났다. 또한 ScanWorX소프트웨어의 가상적 도구인 Body Measure와 자동 프로그램인 ScanWorX Tailor의 측정치를 비교한 결과 자동 측정치가 더 큰 값을 보였고 사용한 프로그램에 따른 유의한 차이를 나타내는 항목들이 나타났다. 이상의 결과로 3차원 인체 측정기를 사용함으로써 짧은 시간에 동작을 촬영하고 이에 대한 측정치를 얻을 수 있어 편리함과 신뢰도에 있어서 장점을 가짐을 확인할 수 있었다. 그러나 좀 더 다양한 분석과 정확한 결과를 얻기 위해서는 의복 분야에 유용한 자동 프로그램의 개발과 3차원 인체 측정기간의 호환성의 문제들이 요구된다고 할 수 있다.

• 복식
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• 제1권
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• 헤리티지:역사와 과학
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• 제51권4호
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• pp.66-83
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• 2018

갓끈은 조선시대 남성용 모자인 갓을 고정하는 실용적인 면과 함께 사용하는 재료의 다양화에 따라 신분을 나타내는 장식적인 구실도 하여, 금, 은, 옥, 마노, 호박, 명박, 산호, 청금석, 수정 등 다양한 고급 재료가 사용되어 왔다. 19세기 말 개항과 함께 근현대로 넘어오면서 갓끈의 재질이 어떻게 변천되었는지, 국립민속박물관 소장품 중 19~20세기 갓끈에 대해 재질을 조사하였다. 갓끈의 재질을 분석한 결과, 전통적인 재질로는 호박, 대모, 나무, 대나무가 사용되었으며, 상아, 유리(소다유리, 납유리, 알칼리혼합유리)와 19세기 이후 발명된 신소재인 플라스틱(셀룰로오스 나이트레이트, 페놀-포름알데히드, 폴리스티렌, 아크릴)이 갓끈 장식에 새롭게 사용되었다. 갓끈의 중앙 장식, 구슬, 대롱에 사용된 재료는 대모가 가장 많이 차지하며, 대나무, 나무, 호박 순으로 전통 재료의 사용 빈도가 높았다. 대나무는 대롱으로 사용하여 다른 재질의 중앙 장식과 구슬을 조합한 갓끈이 많아, 흥선대원군 집정시 의관과 문물의 간소화시책에 따른 죽영이 유행을 보여주고 있다. 호박은 갓끈의 중앙 장식과 구슬에 사용되었으며, 산지는 한국에서 발견되고 있는 호박 유물과 마찬가지로 유럽의 발틱 호박으로 동정되었다. 갓끈에 사용된 유리는 고대부터 조선시대까지 한국에서 출토되거나 전승되어온 소다유리나 알칼리혼합유리도 사용되었지만, 납유리에서는 Na2O가 검출되어 한국에서 발견되는 납유리 성분에서 벗어난 특징을 보여주어, 개항 후 해외에서 들어온 새로운 공예용 유리로 추정된다. 셀룰로오스 나이트레이트나 페놀-포름알데히드 등과 같은 플라스틱은 서구에서와 마찬가지로 전통재료인 대모, 호박, 산호 등을 대체하는 새로운 합성재료로써 도입되어 사용되고 있음을 보여주고 있으며, 셀룰로오스 나이트레이트는 열화에 의해 균열과 미세 균열, 부서짐과 황변이 관찰되고 있었다. 국립민속박물관 소장 19~20세기 갓끈 재질에 대한 조사를 통해, 개항이후 전통적인 재료의 사용과 함께, 대모나 호박과 같은 천연재료를 대체하기 위해 유리와 플라스틱과 같은 신소재의 도입이 확인되었다.

• 패션비즈니스
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• 제8권2호
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• pp.69-90
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• 2004

The purpose of this study is to find the recognition of Korean image fashion design by U.K fashion specialists. U.K is one of the important countries in design field including fashion design since 1960. For this purpose, literature research and focus individual interview research were carried. First, through the researches precedent, it was found that a national image is related with it's design industry and what is Korean image fashion design, were studied. Second, for individual interviews to 13 U.K fashion specialists, who are teaching and researching in University that has postgraduate course over M.A and had industrial experiences from 7years to 22years, were progressed using open questions and visual image stimulus. The open questions were consisted with four parts : personal educational and industrial background, recognitions about oriental fashion, recognitions about Korean image and Korean fashion design before seeing the visual stimulus, recognition about Korean image fashion design and the characteristics of Korean after seeing the visual stimulus. The results are as follows; First, the 12 U.K specialists have recognized 'oriental fashion' is one of important fashion trends now a days. Japan and Japanese designers are recognized as a represented nation and designer in oriental fashion by them. Two of the specialists referred to need changing the term 'oriental' because the term has been used in the sights of western from colonial age and Japanese is not included the oriental any more. Secondly, 11 interviews have recognized nothing about the Korean national image some of them has negative image due to political situation in Korean Peninsula. However 2 interviews who had been Korea before has positive image. In the questions about Korean fashion and Korean fashion designers, 10 of 13 interviews have nothing and negative recognitions. So it was founded that Korean fashion design was recognized as a lower level by U. K. fashion specialists. Thirdly, in the questions about Korean fashion image and the design characteristics of Korean fashion after seeing the visual stimulus, the response was represented two directions. One is about over decorative image through ethnic design and the other is about simple image differ from Japanese. The 13 interviews felt the Korean Image fashion design such like traditional, decorative, opulent, flat cutting, fresh proportion, loose, layering, natural, simplicity, complicate, adventure, easy, stylish, soft, feminine, young image, adult sexy image. The images were analyzed five image groups : adult sexy image, adult ethnic image, natural image, young avant-garde image, young simple casual image. No one preferred the adult sexy image, adult ethnic image and natural image. However 10 interviews preferred young avant-garde group and 13 interviews preferred the young simple casual image. So this group can be understanded and useful informed as one of competitive power in global fashion industry.

• 대한가정학회지
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• 제8권1호
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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.

• 복식
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• 제6권
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• pp.65-87
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• 1982

1. Purpose: The purpose is to apply and adapt ancient textile pattern to practical life, and to contribute to the promotion of the creative development of modernization and Koreanization of textile pattern by the survey of the extent of taste for the textile pattern existent in Korean costume among costumes. 2. Hypothesis: Textile pattern is in most classical one expressed in fact, but nowadays abstract or geometric one is more exist. Consumers are in most part in forties, and so the taste cannot be ignored. Therefore aesthetic consciousness found Korean costume is more important rather than excessively bold or mordern one. 3. Method and Process: (1) This research is analysed 386 one through college student and parents of a primary or high school. (2) Taste of the pattern is comparisoned and analyzed as age. education, pocket money of the student or an income of a month in home through computer. And the analysis of the statistics research is operation through the Chi-Square Goodness of-Fit-Test. 4. Conclusion: (1) The Korean costume put on mostly party or formal dress, therefore it should be researched as an outdoor dress with traditional costume. (2) The most one is concerned in textile pattern, it's taste is different from color, constitution. Textile industry is developed not only weave pattern, gold-coverning pattern but embroidry pattern, dye pattern, therefore the various side of pattern design should be researched. (3) In Side of form, plant pattern is not only most various but highest in popularity. According to approach nowadays, all of the pattern becomes composition or geometric one with abstract tendency and so from these day pattern is necessary combinationed, researched with our people emotion. (4) The color of textile pattern is choiced individual taste. Through investige, research in various side of the modern taste and our costume, we take growing interest in the color, composition of textile, and should dressed with beauty and grace. (5) In side of size, textile pattern is choiced to individual face and body shape through research on form, color, size of these pattern, we should endeavor to dress well. (6) In side of application, most people is concerned in not only interior ornament but the costume is high. Costume research by some people of the outside and symbol with interior through the pattern analysis is not only very important but also is due to people culture.