• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.160-171
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• 2009

The purpose of this study was to classify the classic image by clothing design elements. This research was done by survey method with 20 kinds of classic image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. Classic image was classified by 4 factors. Those were retro-classic, mannish-classic, elegant-classic and contemporary-classic images. 2. Retro-classic image was well-expressed by A silhouette and chromatic and chromatic color coordinations. Mannish-classic image was well-expressed by H silhouette, chromatic and achromatic color coordinations and hard texture. Elegant-classic image was well-expressed by fitted silhouette and chromatic and chromatic color coordinations. Contemporary-classic image was well-expressed by achromatic and achromatic color coordinations and hard texture. 3. Classic image was positioned into mostly retro and masculine on image scale.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.734-746
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• 2001

The purpose of this study is to investigate the influence of women's self-image on image evaluation of clothing self-image, and on their selection of clothing styles by situations. The subject of investigation was 500 women above 20 living in Daegu. 6 types of clothing styles including classic, casual, elegant, dramatic, romantic, and mannish and 7 social situations including shopping near house, shopping in a busy street, cultural center, wedding ceremony, dinning out, alumni meeting or fraternity meeting, and couples meeting were used for this study. Data analysis was performed using SPSS package, which included factor analysis, reliability test, cluster analysis, ANOVA, and X²-test. The results are summarized as follows. 1. Adult women could be classified into 4 groups such as the passive mannish, the passive feminine, the active mannish, and the active feminine by their self-images. 2. There were different opinions on each clothing style by self-image. In the image of each clothing style by self-image groups, the passive feminine group considered classic style having effect to make people look tall, mature and elegant style to make people look active and charming. Also, they rated the boldness of dramatic style and the activeness of mannish style high. The active feminine group estimated the boldness of mannish style high. 3. Selection of clothing style differed according to various situations. More formal the situation was, more classic style tended to be selected and for less formal situation, mannish style was selected.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.227-238
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• 2002

The purpose of this study is to investigate the influence of women's life-style on image evaluation of clothing styles, and on their selection of clothing styles by situations. The subject of investigation was 441 women above 20 living in Daegu. 6 types of clothing styles including classic, casual, elegant, dramatic, romantic, and mannish and 7 social situations including shopping near house, shopping in a busy street, cultural center, wedding ceremony, eating out, alumni meeting or fraternity meeting, and couples meeting were used for this study. Data analysis was performed using SPSS package, which included factor analysis, reliability test, cluster analysis, frequency, percentage, ANOVA, and $\chi$$^2$-test. The results are summarized as follows; 1. Adult women could be classified into 5 groups including activist, in-activist, the leisured well-off, the wholesomely economical, and the appearance showing-off by their life-styles. 2. The clothing image according to the 6 clothing styles was different. In the image evaluation of each clothing style by life-style groups, in-active group thought classic style most functional and leisured well-off group, mannish style. Elegant style and dramatic style were estimated positively by the leisured well-off and the appearance showing-off. 3. Selection of clothing style differed according to situations. More formal the situation was, more formal style tended to be selected and for less formal situation, active and mannish style was selected.

• Korean Journal of Human Ecology
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• v.20 no.5
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• pp.1025-1034
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• 2011

The purpose of this study was to examine the evaluation of fabric characteristics on the drapability, texture image and preference of blouse fabrics, and to analyze the effects of the texture image, objective and subjective drapability on the preference. As specimen, silk and polyester fabrics were collected. 52 female subjects evaluated 16 specimens with semantic differential scale of 18 fabric image and 20 sensibility. Data were analyzed through factor analysis, pearson correlational coefficient using spss win 12.0. For the evaluation, structural characteristics such as fiber contents, weave type, weight and thickness were analyzed. The results were as follows: The evaluation results of objective and subjective drapability showed differences. Sensory image factors of blouse fabrics were 'surface smoothness', 'elasticity', 'weight' and 'flexibility'. Sensibility image factors were 'elegance', 'classic', 'characteristic' and 'mannish'. 'Elegance', 'classic' and 'characteristic' of sensibility images showed high correlation with 'surface smoothness' and 'elasticity' of sensory image, also 'mannish' of sensibility image showed significant correlation with 'weight' of sensory image. The significant fabric characteristics affecting objective drapability were density, weight, thickness. The significant texture image factors affecting objective drapability were 'weight', 'flexibility' of sensory image and 'elegance' of sensibility image. On the other hand, the significant factors affecting subjective drapability were thickness of fabric characteristics and 'elegance', 'characteristic', 'mannish' of sensibility images. 'Elegance', 'characteristic' and 'classic' of sensibility image, 'elasticity' of sensory image and subjective drapability affected on the purchase preference.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.101-115
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• 2003

The purpose of this study is to define women's classic tailored suits surviving, despite current millennial impulses tend toward disintegration in style. Through documentary study, the reason which women had chosen the mannish tailored suits instead of sumptuous dresses in the 20th century beginnings is considered carefully. Also, examining the process of transition of women's classic suits makes it possible to infer the aesthetic characteristics of them. According to study, women had began to wear tailored suits acquiring physical comfort and the equality of the sexes. In the early stage, women imitated men's tailored suits in order to show seriousness, intelligent, capability for social success. However, in accordance with the advance of women's social position women modified it to suits themselves to present intrinsic feminity as well as masculine values. By staying the basic form, classic tailored suits have undergone constant internal changes in relation to sexuality. The aesthetic properties of women's classic tailored suits can be inferred as moderation, dualism, and versatility. In conclusion, the credibility with own authority and the evolutionary character inhering in the classic tailored suits could explain the continuity of them.

• Journal of Fashion Business
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• v.18 no.6
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• pp.137-156
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• 2014

The purpose of this study is to analyze types of roles and fashion of the Chinese first ladies and provide basic data for fashion image-making of first ladies. As for the research methods, the concepts, role types, and fashion of the first ladies were considered by referring to the precedent studies and relevant literature. Then, the fashion images according to role types were analyzed by collecting the photos of Chinese first ladies from the period of the Republic of China until today. The results were as follows: First, when the roles of Chinese first ladies were categorized based on ceremonial, political, and policy roles, Zhuo Lin and Wang Yeping played a ceremonial role; Wang Guangmei, Liu Yongqing, and Peng Liyuan played a political role; and Soong Qingling, Soong Mayling, and Jiang Qing played a policy role while they were first ladies. While the first ladies of the Republic of China often wore classic Chinese styles like traditional qipao as well as western clothes which contained a western influence, the first ladies of the People's Republic of China wore more colorful clothes and more accessories in the later period, and also often wore clothes that combined traditional and western elements. Second, first ladies who played a ceremonial role showed mannish and classic images; those who played a political role showed elegant, classic, and diverse images according to T.P.O; and those who played a policy role showed feminine, modern, and mannish images. Fashion images of the first ladies varied according to the level of political involvement, the sociocultural background of China at that time, and their personality and preference.

• Korean Journal of Human Ecology
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• v.12 no.4
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• pp.539-552
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• 2003

The purpose of this study was to find out the proper evaluative words and colors according to various fashion images and to classify the fashion images according to certain criteria. 13 books which included the content of the fashion images were selected to draw evaluative words and colors. Evaluative words and colors were found out as follows: classic image-traditional, classical, conservative and brown, wine, dark yellow, modem image-intelligent, rational, westernized and achromatic color, cool colors, elegance image-dignified, graceful, chic and greyish tone, pale tone, romantic image-cute, lovely, girlish, natural image-natural, comfortable, gently and brown, ivory beige, khaki, casual image-energetic, comfortable, active and red, yellow, blue family. The classification of fashion images according to various criteria were as follows. According to sex: feminine-elegance, romantic, pretty and masculine-mannish, dandy, military. According to time: past-conservative, traditional, classical, and present-modern, contemporary, sophisticate. According to formality: formal-formal wear of classic, elegance, mannish, dandy style and informal-natural, casual. According to intelligence, the elite style-modern, elegance, classic, sophisticate and the public style-casual, natural.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.3
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• pp.413-426
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• 2020

This study researches the association between associative vocabulary and fashion image language in order to extract ideas that can be used as basic data for design ideas. Classic - avant-garde imaged language were chosen as theme words and each 70 questionnaires per a final image word were used for analysis. We obtained the following results by researching keywords that explained classic image words through a word cloud technique. It was found to have high central representation in the order of suit, classical, basic, music, Chanel, black and traditional. The core key words explaining avant-garde image language were found to have a central representation in the order of : peculiar, huge, Comme des Garçons, artistic, creative, deconstruction and individuality. We extracted the necessary idea dimensions needed for design ideas through associative network graph analysis. In the case of classical image language, it was named as the Mannish Item, Music, Modern Color, and the Traditional Classicality dimensions. In the case of avant-garde image language, it was named as the Key Image, Artistic Aura, Key Design and Designers dimensions.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.11
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• pp.1782-1791
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• 2008

The purpose of this study was to find out the hair style image about variations of hair design elements. The method of this study was quasi-experimentation. The twelve color photographs of manikins with various hair style were used as the stimulus. As measuring instrument, a likert scale composed of 35 items of five point adjectives was used. The sample consisted of 157 males and 140 females residing in the Busan area. The range of the age is from 20 to 55. The survey was conducted from August to September in 2007. The data were analyzed by factor analysis, frequency, crosstabs one-way analysis of variance, Duncan's test and t-test used SPSS Packages. The results of this study were as follows: 1. As a result of factor analysis, 8 factors - romantic, natural, elegant, simple, classic, casual, modem and mannish were found out as constructing factors of hairstyle image. 2. As a result of hair style image analysis about variations of hair-length, The short hair style was perceived in modern, mannish, casual, sophisticate, medurm-length style in classic and elegant, long hair style was perceived to be high in romantic and natural. 3. As a result of hair style image analysis about variations of hair design elements, The length of hair style was the most influential element in hair design and secondly important one was the wave of hair style. The color of hair style didn't critical effect on image of hair style.

• Journal of Fashion Business
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• v.10 no.5
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• pp.1-14
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• 2006

The purpose of this study is to examine the style of Marlene Dietrich who was a Hollywood legend in 1930s and has influenced on modern fashion. The characteristics of Dietrich style showed androgyny, sensualism and exoticism. Dietrich has been famous for wearing tailored pantsuit on and off-screen with mannish gesture and had great effect on women's wearing pants. Her confident, sexy mannish style represented her androgyny glamourously and proved she had a taste for a classic. Her sensualism focused on her famous legs because she understood the sex appeal of woman's legs. She showed her legs by wearing pants and decorative stockings, or matching colors of stockings and shoes to make her legs look longer and sexier by illusion. Her exoticism against a backdrop of black and white image, was presented with luxurious, sensual fabrics such as furs, feathers and velvet, along with dazzling accessaries. Also she didn't forget to manipulate angles of camera and lights for the engraving figure of her own. Her charisma directed her fashion image in detail and made herself a fashion icon in 1930s.