• 한국의류산업학회지
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• 제16권4호
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• pp.625-634
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• 2014

This study develops a sizing system of mass-customized male suits for wheelchair users. One hundred and three male wheelchair users' 21 anthropometric dimensions were measured to identify body shapes and develop a sizing system. The measured wheelchair users' body sizes were compared with the average body sizes of Korean males from the $6^{th}$ Korean Body Size Survey to understand the body size differences between two groups. As a result of body shape classification using the KS's Drop method, wheelchair user body shapes were classified into four shapes for upper-body (A: 32%, B: 26%, BB: 24%, and Y: 18%), and two shapes for lower-body (B: 70% and A: 30%). The upper-body of wheelchair users was relatively developed than Korean males; however, the lower-body was relatively stunted. The key dimensions of a sizing system were selected as chest circumference, waist circumference, and trunk length, outside leg length based on the correlation analysis between anthropometric measures. The top sizes were determined considering chest and waist circumferences for horizontal sizes, and additionally the trunk length was divided into short, medium, and long groups for vertical sizes. The bottom sizes were selected considering the waist and hip circumferences for horizontal sizes, and additionally their outside leg length was divided into short, medium, and long groups for vertical sizes.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 복식문화연구
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• 제27권6호
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• pp.632-644
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• 2019

This study presents an efficient clothes-sizing system for those experiencing obesity in old age with the aim of revitalizing the clothing industry for older obese people. The study targets 249 obese men aged 60 to 85 who satisfy a Rohrer index score of 1.6 or higher and a BMI (body mass index) of 25 or higher. Elderly obese males showed more obesity in the body based on the waist. In particular, those in their 60s were the most obese, and after reaching their 70s, characteristics of old age in which the stature was reduced and the limbs were tapered were shown. The clothes-sizing system was set to 5cm in stature, 5cm and 3cm in chest girth, 2cm in waist girth (omphalion), and 2cm in hip girth according to the KS standards. Through the two-way distribution of each section, the name of the section with a high distribution was given. Casual tops were selected from eight sizes, ranging from 155 to 170cm in stature and 95 to 105cm in chest girth. Suit top sizes were selected from eight sizes, ranging from 160 to 170cm in stature and 94 to 103cm in chest girth. Bottoms suggested 10 sizes distributed between 90 and 100cm in waist girth (omphalion) and 92 and 98cm in hip girth. According to the KS standards, the detailed size was divided into the basic part and the reference part.

• 한국의류학회지
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• 제19권6호
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• pp.933-945
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• 1995

The purpose of this study is to examine the current foreign languages of clothing terms which have been misused, clarify the meanings and suggest the unified teams. The results are as follows. First, English and Japanese are great parts of the origins of the clothing terms in foreign languges which have been misused. And next, there were French, German, Portuguese and Spanish via English and Japanese. Especially, the misused foreign languages in styles, materials of clothing are also via English and Japanese. The compound words in Japanese are many parts of them and misused Japanese, Japanese via English, French, German, Dutch, Spanish, Poltuguese, and some terms can not be found their origin. (ex: 색채, 컬러, 카라) In case of the colors of clothing, the terms have the English marking rules and the Japanese pronounciation. And some unified terms are Korean, English, and Chinese letters. (ex: 빨강, 레드, 적색) There are lots of the misused foreign lagusges in sewing terms. On each case, the corresponding words in English and Japanese were suggested to understand easily. The most of the unified words were suggested in Korean. (ex: 하찌사시 $\rightarrow$ 하자시; padding stitch, 팔자뜨기) In clothing construction, there were lots of the misused terms in Japanese and the corrupted terms of Japanese. And so the explains and the unified terms were suggested. (ex: 구세토리, 몸새맞춤, 나찌, 가위집 (내기)) Finally, the origins of terms in western history of costume were clarified and analyzed the meanings : $\circled1$robe, $\circled2$ jacket, gipon, pourpoint, doublet, justaucorps, habit, flock(coat), cutaway, swallow tail coat, 배광, lounge suit, $\circled3$ coat Robe is the gown style garment which was used by men and women from the Middle ages, the jacket is a short, coat-like garment and coat is a long outer garment. Each origin is different, however the 'jacket' and the 'coat' were used confusely in the middle of 19th century.

• 패션비즈니스
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• 제20권1호
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• pp.157-172
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• 2016

The purpose of this thesis was to investigate the transitional aspects of the power shoulders with a comparative analysis of the patterns observed from the late 20th century to the present. The method of study was through review of papers as well as phenomenological approaches. Books, domestic and international journals, and dissertations were studied as part of the paper review. Phenomenological study was performed by analyzing the pictures from late 20th to present; and categorized by 10 year time span i. e., 1980-1990, and 2002-2012. Hundred representative fashion photos were selected, respectively. As a result, the power shoulder found in late 20 centuries was largely limited to horizontal and diagonal shape, addressed mainly to the jackets; while they were straight, and wide shouldered, with emphasis on masculine style. On the other hand, in early 21 century, the power shoulder was applied in various forms of straight, diagonal, circular and ornamental with objects, not only to the jackets, but also to feminine styles such as one-piece dress, vest, and blouse. This finding may be attributed to the fact that the modern people desire newer trends and women tend to show off their ability in transcending those of men. The findings of analysis of the transitional aspects of power shoulder in this thesis might contribute as basic resources for anticipating the trends that might be revived in the future.

• 복식
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• 제63권1호
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• pp.135-146
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• 2013

The purpose of this study is to investigate the meaning and possible shape of Goryeo-Achungunsura-jisun(高麗鴉靑雲袖羅質孫) through the details regarding its color, fabric, and pattern in the $13-14^{th}$ century writings and costume relics. Goryeo-Achungunsura-jisun was the summer dress coat that government officials wore during the Jisun feast of Yuan, and it was symbolic of the political strategy of Yuan as well as the excellent Goryeo fabric material, but no relics remain. During this period, Achung (dark blue)was the color that was used to dye silk, dress coats of upper class men, and background fabric of the embroidered official patch. And, the term, Yunsu (cloud sleeves), was probably sleeves with cloud pattern. The most typical cloud pattern in the 13 and the $14^{th}$ century was the 'flowing, gathering-headed cloud'. The Ra(silk gauze) weaving technique of Goryeo was developed rapidly in the $12^{th}$ century, and the quality of the Ra in the late Goryeo was good enough to be used for making the official's dress coat in the golden age of Yuan. According to the characteristic of jisun and man's formal-suit style in the Mongolian-Yuan, the possible styles for Goryeo-Achungunsura-jisun can be summarized as follows: a basic Mongolian gown with narrow sleeves and deep crossed diagonal opening, a Mongolian gown with waist pleats, the combination of half sleeved gown and long sleeved Mongolian gown. These styles would be made of delicate Goryeo Ra, cloud patterned sleeves, fabrics dyed in dark blue color, and shawl or embroidered patch ornaments for officials of Yuan, which was more simple than materials for Khan's Jisun to avoid rebellions.

• 한국의류산업학회지
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• 제19권1호
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• pp.90-100
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• 2017

In this research, consumer awareness investigation and wearing test were carried out for obtaining useful data on the development of thermo-sensitive functional clothing material. A survey involved 216 people in Seoul and Kyeonggi-do, and 200 questionnaires data were analyzed by descriptive statistics and frequency using SPSS 17.0. Four healthy men in twenties were participated for wearing test. Subjects in normal loungewear were exposed to temperature change from the initial temperature $30^{\circ}C$ down to $5^{\circ}C$ for an hour in a climate chamber. The environmental temperature, surface temperature of garment and skin were measured. As a result, most of respondents have all season clothing products such as underwear, hosiery, and jogging suit for loungewear. Also, thermo regulator y functional clothes are frequently used as underwear and sweat shirt. The consumer awareness investigation on thermo regulatory functional clothing showed that the most important key buying factor is quick climate temperature response, easy maintenance, design and cost, in that order. Surface temperature of garment went down with the cooling down of environmental temperature. The lower environmental temperature, the greater temperature difference by body part showed. Skin temperature change by environmental temperature showed similar tendency of garment surface temperature. In comparison between garment surface and body skin, temperature difference became larger under the lower environmental temperature.

• 한국의상디자인학회지
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• 제11권3호
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.

• 한국의류학회지
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• 제29권9_10호
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• pp.1349-1358
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• 2005

Generally apparel products were recognized as an incongruent product type which direct search was needed for. But nowadays apparel products were ranked as a second product type next to electronics in sale amount of internet shopping mall. Therefore more detailed study on which attributes of fashion products are more successful and suitable in internet shopping mall is necessary. This study was executed to analyze common attributes of successful apparel in internet shopping mall on the basis of real sale data, and then to help internet apparel marketer plan marketing strategies more efficiently. Common attributes of successful apparel products in internet shopping-mall in terms of product, price and promotion attributes were identified. 240 products which were loaded in bestseller section of internet shopping-mall for 8 weeks from November to December, 2004 were analyzed. The results are as follows. First, products ratio for women ($76.7\%$) were higher than for men($18.3\%$). And the amount of each apparel product types purchased by consumers were ranked in the order of leather/fur coat, woven coat, inner wear, jacket, T-shirts, pants, training wear, suit, knit wear etc. and basic style dominated in $74.2\%$. General brands ($69.2\%$) that had price competitiveness were preferred to famous designer brand, national brand and PB brand. Preferred level of price was ten thousand to fifty thousand won. For promotion skill, in order of just one product, product adding promotion product and package set were preferred. Regular price, less than $50\%$ off and more than $50\%$ off price showed no difference in preference. Product planning strategy for internet apparel marketer was followed on the basis of these results.

• 복식
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• 제58권2호
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.