• 복식문화연구
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• 제14권2호
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• pp.234-246
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• 2006

As social recognition about men changes and men's concern about appearance increases, so in the social phenomenon of men's toiletries' diversification, ramification and specialization, the aim of this study is to analyze meaning of men's toiletries centered on men's toiletries advertisement published on men's fashion magazines which can be said to speak for men's culture. After collecting of 209 kinds of men's toiletries advertisements published in 'Esquire' and based on contents analysis results divided into domestic & foreign toiletries and perfumery, the symbolic analysis result with selection of representative advertisement in each field separately is that there are more cases of giving salience to a product through image expression rather than emphasizing product's function only, and the emphasis of image only achieves eminence in case of perfumery. At the comparison of domestic with foreign toiletries, in case of domestic toiletries, there are more cases of expressing meaning of toiletries through model image or backgrounds, while in case of foreign toiletries, there are more cases of expressing of function or effect of product through general image itself.

• 복식
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• 제61권3호
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• pp.63-70
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• 2011

The purpose of this study was to investigate trend of articles on men's fashion in Korea as seen through clothing-related academic journals from 1990 to 2009. For a total of 478 research papers on men's fashion published in 18 clothing-specialized learned society journals, which are KCI-cited journals or candidates thereof The results were as follows: First, With respect to the number of papers on men's fashion from 1990 to 2009, that of the 2000s rapidly increased to 5.2 times that of the 1990s. Second, The number of each area research was ranked aw follows: social psychology marketing 34.1%(163), clothing construction 32.2%(154), design aesthetics 19.7%(94), beauty 7.7%(37), history of clothing 4.8%(23), textile science 1.5%(7.7). Third, Studies on the aesthetics in men's fashion showed a steady increase from 1995, resulting in the number of papers in the 2000s being 12 times that of the 1990s. And, in the 2000s, the subjects explored in the 1990s, such as feminization of men's clothes, gender images, men's suit, etc. were deepened and expanded.

• 복식
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• 제52권7호
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• pp.45-55
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• 2002

This study aimed at proving the fact that Men also wear SOKGOT similar to women's pants in early Chosun era unlike the general opinion that the men's pants is SAPOK-BAJI. From what SAPOK-BAJI didn't show up in the contemporary remains and the fact that men also wear GAE-DANG-GO (the pants opened low parts). which is one of SOKGOT types in ancient time of China, the assumption above can be guessed. Since the clothes style in Chosun era centered on PO. and the pants were designed not to show out. it can be considered there are any troubles for men to wear the SOKGOT style pants. But through Japanese invasion of Korea in 1592 and Chinese invasion of Korea in 1636. changes happened. Due to reflection and awaking about wide and burdensome clothes. the change seemed to be happened from wide SOKGOT style to narrow SAPOK style. The SOKGOT style pants seemed to settle down for women's only as men's pants become SAPOK-BAJI.

• 복식
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• 제54권4호
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• pp.113-127
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• 2004

This study examined the trend of pattern which appeared throughout men's clothing fashion magazine from 1999 to 2002 and the influence which the demographic characteristic have on the sensibility dimension of pattern and the preference degree of kinds of pattern. The results of study were as follows. 1) The pattern which was used most frequently on recent men's clothing was a length stripe, and the representation technique which was used most frequently on recent men's clothing was the technique of a geometric expression. 2) The pattern which men and women preferred most out of ten kinds of patterns-length stripe, width stripe, oblique stripe, check, square, waterdrop, paisley, flower of style shape, flower of realistic shape, flower of shape-was a length stripe. 3) The sensibility dimension of pattern image was composed of fascination, dignity, daring, gentleness, and reality. 4) Because sensitivity dimension and kinds of pattern were significant according to the distinction of sex, vocation, academic career, income, this study can conclude the demographic characteristic have an influence on sensitivity dimension and kinds of pattern.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.364-365
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• 2004

• 복식
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• 제63권4호
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• 복식
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• 제67권1호
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• pp.95-109
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• 2017

The objectives of this study are to develop a cosmetic involvement scale focusing on Korean men in their 20s and 30s, verify its validity and examine the characteristics of this group. The results of this study's analyses showed that cosmetic involvement scale could be classified into 5 factors: 'trend & interest involvement', 'prestige sensitivity involvement', 'price and value involvement', 'skin involvement,' and 'obligatory involvement'. Also the cosmetic involvement of the target group was classified into 'amusing high-involvement group', 'rational low-involvement group', and 'obligatory high-involvement group'. This study has significance in showing differences of cosmetic involvement factors by gender and proposing a cosmetic involvement scale of Korean men in their 20s and 30s, which has taken men's distinctiveness into consideration.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 International Costume Culture Conference
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• pp.73-74
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• 2001

• 한국의상디자인학회지
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• 제8권2호
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• pp.145-157
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• 2006

The purpose of this study is to suggest new designs and patterns for men's coat by deconstructing and restructuring 18th and 19th century men's coat. In the postmodern society, the reinterpretation of the past fashion trends or items through extensive historical investigation has been frequently used as new design motifs and the new source of creative fashion design. Especially in the contemporary society, as multifarious forms and presentations are emphasized even in the men's fashion, it is urgently required more than ever to do thorough and extensive research for the design and structure of men's fashion. Therefore, through historical research on men's fashion, the 18th and 19th century men's coat, which is generally considered to be the most developed one in the concept and shape of 'coat,' has been reinterpreted and deconstructed to make new design for men's coat which corresponds to the trends and sensibility of contemporary fashion. In addition to this, to facilitate practical use of this new design by fashion public, the plane patterns for the actual production of these coat designs were presented.

• 한국의상디자인학회지
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• 제16권1호
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• pp.91-103
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• 2014

In this study, 70 national brands among men's wear brands were selected to examine linguistic characteristics of domestic national men's wear brand names. Linguistic factors which were used in national men's wear brand names were analyzed to understand their characteristics. Formative and semantic characteristics of each brand name were analyzed on the basis of the results from previous studies. It was found that long words with over four syllables are preferred than short words and single words in the form of noun are frequently used for domestic national men's wear brand names in terms of linguistic formality. English is most widely used in brand names, and European languages such as French, Spanish, and Italian are also used frequently under the influence of the country of origin. Next, the analysis result on the semantic characteristics of domestic national men's wear brand names showed that descriptive brand names are used to convey brand information directly and easily, or freestanding brand names which are absolutely irrelevant and newly coined words are chosen to create a characteristic image. In other words, brand names represent detailed business and product category of men's wear by forming a brand image of men's wear (ex. Man, Homme, Zio), and provide the information about properties and benefits related to the product such as dignity, masterpiece, and luxurious lifestyle to consumers by presenting the concept of the brand.