• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.149-162
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• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.395-407
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• 2008

As global interest in clothing spreads over the smart clothing which arouses high added-value in the apparel industry, this study is to develop a smart jacket with an electrically-vibrating device maintaining excellent appearance and comfort. The vibrating device has a massage function that could relieve muscle pain near shoulders and neck. The purposes of this research are to develop jacket pattern for men in their thirties considering body shapes and fashion trend, to develop a wearable device that is composed of motor and controller and integrate it into a jacket, and to assess the external appearance and functional satisfaction of the smart jacket through the wearing test. The results are as follows: 1. In order to develope an appropriate jacket pattern for men in their thirties, several patterns were assessed for their fitting comfort. The final pattern was completed after making alterations some parts, and showed high satisfaction as 3.6(on a five-point scale) in all categories. 2. A vibrating device was developed by connecting motor, controller, battery and switch. Developing this device, focus was maximizing the strength of motor and minimizing the heat generated from motor and controller. Snaps were placed between inner and outer cloth of jacket so that the vibrating device could be easily attachable and detachable. The motor was located around Trapezius where muscles often get stiff. A switch was designed to be used in selecting the modes of Strong, Weak, and Cross Tapping. 3. The wearing test was conducted to examine outer appearance, comfort for motion, and functionality of the smart jacket. The results of assessing outer appearance showed that the location for attaching the vibrating device was not noticeable but looked natural, and there is almost no change in outer appearance when the vibrating device operates. The result of assessing comfort of action revealed that wearer's satisfaction was high in all categories about activity, wearer's comfort, etc. The result also showed that wear's satisfaction for effects of vibrating massage, easiness in using the device, heat generation was not less than 3.5 in all categories except a category about noise.

• Journal of the Korean Society of Clothing and Textiles
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• v.7 no.2
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• pp.37-44
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• 1983

The purpose of this study was to investgate the relationship between two aspects of sex role and two aspects of clothing behavior. For Sex Role: Sex role attitude was measured by Smith, Ferree, and Miller's Feminism Scale, and sex role personality was measured by Bem's Sex Role Inventory. For Clothing Behavior: a unisex clothing behavior questionnaire was developed for this study, and general clothing behavior was assessed with Lee; Kahng; Kim; and Kim's questionnaires dealing with fashion and modesty. The questionnaires were administered to a sample of male and female college students attending universities in Seoul. The data for 349 respondents were analyzed by correlation, analysis of variance and t-tests. The results were: 1) Liberal attitudes toward sex role were positively related to unisex clothing behavior for female college students. 2) The androgynous female group exhibited significantly higher 'interest in unisex clothing behavior' attitude than non-androgynous female students. 3) Feminine personality in men was positively related to a positive attitude toward unisex clothing. Masculinine personality in women was positively related to unisex clothing behavior that is they were more likely to be interested in, to wear, and to agree to others wearing unisex clothing. 4) Liberal attitudes toward sex role were not related to modesty in clothing. 5) Scores of women on positive attiudes toward liberal sex roles, unisex clothing behavior, fashion, and modesty were significantly higher than these of men.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.133-145
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• 2000

Costume in movies are used as an instrument to signify the personality image and status of characters, and even the main theme of movie itself. The purpose of this paper is to verify the feministic meaning of bloomer costume used in movie, 「OSCAR and LUCINDA」. The bloomer costume was anti-fashion in crinoline period, when women was normally not allowed to put on trousers. To achieve the purpose, I used content analysis to obtain meanings from existing literature and video tapes(including, slides and pictures). Bloomer costume, introduced by Mrs. Amelia Bloomer at 1850s, is an anti­fashion to express women's right to wear trousers that were exclusively used by men since the medieval age. In this sense, bloomer costume itself is a costume expressing values of women's emancipation movement. In 「OSCAR and LUCINDA」, heroine, Lucinda, with bloomer costume is described as a woman who has strong motivation toward work, who actively looks for a man she loves, and who has free­will to involve herself in what she wants, even gambling. This is not surprising in a sense that Lucinda's bloomer costumes itself signifies the meanings of feminism. I found that bloomer costume was well described in the movie from the historical point of view. But some details, including type of trousers, were expressed without strict historical evidence. Overall, it is certain that 「OSCAR and LUCINDA」, with a heroine wearing bloomer costume was a big step towards women's emancipation in movies.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.483-484
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• 2010

Accessories originated from men's ornamental instinct in the beginning as a body ornament. Women's accessories in the Joseon Dynasty have splendid structure and rich symbolism, so they are enough to be a target of the study for being contents of Korea's cultural archetype. Traditional accessories are the foundation of excellent formative and functional characteristics due to the extreme beauty of crafts. This study aims to develop archetype of excellent formative factors by making traditional accessories digitalized for perpetuation in order to apply them to the culture industry. In addition, it is to prepare the educational foundation by reinterpreting traditional accessories in a modern way. Therefore, this researcher intends to develop constituents of traditional accessories by means of digital images and suggest digital contents methods of accessory techniques by dividing constituents, techniques, materials, symbolic meaning, and attire and wear.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.338-350
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• 2016

The purpose of this study is to analyze joint angle for a range of swing motion derived through 3D motion analysis in order to design the ergonomic golf wear, use it for evaluation method of apparel fit to improve exercise functionality and provide the basic materials necessary for designing clothes. In order to do this, the subjects for this study were 3 men of age 20s. The data for a range of motion of golf swing were collected by using equipment for 3D motion analysis and then were used for analysis of joint angles and evaluation method of apparel fit. Range of motion was derived through 3D motion analysis of golf swing motion and joint angles for items of joint motion item and of X, Y, and Z-axis were calculated, respectively. In order to set the evaluation questions for evaluation of apparel fit, to find a range of motion at the maximal value and the minimal value of swing motion. As a result, during the swinging motion, neck extension, right shoulder extension, right/left elbow extension, right/left elbow supination did not appear. Items of joint motion showing the maximum at range of each swing motion were applied into 55 questions and consisted. The results of this study were meaningful as a basic study to apply 3D motion analysis to the fashion industry. It's expected to be used to design functional clothing.

• Fashion & Textile Research Journal
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• v.19 no.1
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• pp.1-10
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• 2017

The purpose of this research is to industrialize and to localize traditional culture resources of Andong by developing festival costumes related to 'Andong Mask Dance Festival'. We tried several methods to deliver meanings and images of festival costumes, as followings. Frist, from April, 2009 to October, 2012, we created the new design of the festival costumes after consulting with 7 festival experts about the conditions and characteristics of 'Andong Mask Dance Festival'. The festival costume design is characterized by the detachable parts of clothing based on Han-bok style, the front and back of bodice, right and left side of both sleeves, and pockets, which can be tied up with strings. Therefore the consumers can choose and attach the part they want. Secondly, the newly created festival costumes were evaluated appropriately to the consumer's satisfaction, implementation, practicality, and long-term development possibility according to the survey of 85 participants who were, in fact, wearing the festival costumes in the festival. The results are as follows: Frist, festival costumes are based on Korean traditional costumes, and it appears wearing object as festival costumes. Secondly, traditional beauty and modern beauty are well matched up, so men and women of all ages are possible to wear. Thirdly, size of costume can be controlled, so it's easy to wear. Finally, construction method is very simple. The possibility of long-term development by various material development is needed.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.57-74
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• 1996

The elderly population of Korea has been significantly increasing due to advances in public health, medical care, and quality of life. Social and economic influence of the elderly population has been also increasing. A elderly people become more interested in their appearance and clothing than before, clothing plays an important role in the elderly women's everyday life. The objectives of the research are to explore the life satisfaction, appearance satisfaction, clothing satisfaction, and clothing design preference of 416 women aged 55 years and older were residents of Seoul. Data were gathered through survey using a self-administered questionnaire from November, 1994 to January, 1995 in 8 senior schools and 3 senior centers which were scattered in Seoul. Descriptive statistics, t-test, and factor analysis were used in analysing the data. The results of this study indicated that life satisfaction have a positive relationship with clothing satisfaction. The respondents were divided into tow groups by life satisfaction. The higher life satisfaction group preferred skits and formal wear to the lower. But, two groups did not show any significant differences in terms of the colo preference, motif preference, and fabric preference. The result of factor analysis divided appearance satisfaction into body satisfaction and face satisfaction. Body satisfaction had a positive relationship with clothing satisfaction. And the group of lower physical satisfaction showed lower satisfaction in apparel fitness. Also the face satisfaction had a positive relationship with clothing satisfaction. The group of higher physical satisfaction preferred skirts and foraaml wear compared to that of lower physical satisfaction. The color preference and motif preference between two groups showed no significant difference. And the group of higher physical satisfaction preferred fabric that enhances the clothing style. Also, the group of higher ace satisfaction preferred fabric that enhances the clothing style. However, there was no significant difference in the color preference and motif preference between tow groups. The findings of this study amy contribute to knowledge about clothing satisfaction and preference of elderly women in Seoul since there have been few studies, and be useful to apparel manufacturers as well s clothing researchers. Also, research subjects of this study could be extended to aged men and various regions.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• Journal of the Korean Society of Costume
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• v.22
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.