• 복식
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• 제66권8호
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• pp.157-172
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• 2016

This study aims to present findings of historical design trends of men's fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men's fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men's overcoats and top-exterior- and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men's fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men's fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

• 복식문화연구
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• 제23권6호
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• pp.987-1003
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• 2015

The purpose of this study is to supply available data for men's fashion design planning by analyzing the trend and design tendency of the preppy look in the domestic men's collection. In the men's collection of Seoul fashion week from 2011 S/S to 2015 S/S, 494 photos judged to be the preppy look by three design specialists were chosen in Seoul fashion week and style.com's web-site. Design analyses were compiled based on year, season, brands, item, color, material, and silhouette. The preppy look was found often in S/S season, three piece combinations were the most common, and "H", "I" silhouettes were also popular. Refined black and refreshing orange were used with traditional preppy colors like navy, beige, gray, and white. Contrast color arrangement and neutral, moderate tones were seen repeatedly. Two-thirds of fabrics were pattern-less with clean, bulky, and soft textures. Coordinating accessories like hats, backpacks, books, headsets were used frequently. Among the various preppy fashion types, there were 'traditional preppy' faithful to tradition, 'sophisticated preppy' with refined semi-formal look, 'sportive preppy' with active sports sense, and 'natural preppy' with natural and comfortable senses. In a contemporary preppy look, traditional and practical senses are combined with casual and sportive pieces. This study can provide the data for design planning, interpreting, and applying the fashion themes along with contemporary sensibilities since the preppy look is based on cultural history.

• 복식문화연구
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• 제21권4호
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• pp.585-595
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• 2013

The most researches developing pattern of compression style sportswear were targeted at the live model that has muscular body build. The purpose of this study was developing a method for classifying men's lower body types in terms of muscular body build. The 3D human body scan data and body measurements of 30s of Size Korea were analyzed. The subjects (n=203) were men between the ages of 30 and 39 years. Men's muscular body build was classified with two key dimensions, thigh girth and calf girth. The subjects were divided into four groups. From each group, average subjects (n=42) whose height and weight were close to the mean value ($mean{\pm}1/2$ S.D.) were selected. 42 subjects were divided up as four groups. Group I (n=7) was thigh and calf developed body type. Group II (n=9) was thigh developed body type. Group III (n=11) was calf developed body type. Group IV (n=15) was thigh and calf undeveloped body type. Four groups had distinct different at widths (n=4), depths (n=4), and girths (n=9) dimensions. The results showed that the muscular men in their 30s could be defined by thigh and calf girths. The thigh developed muscular men had thigh girth over 60cm and the calf developed muscular men had calf girth over 38cm. From each group one representative was selected by 3D body scan figure.

• 복식
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• 제62권8호
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• pp.118-133
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• 2012

A historical research on the costume of memorial service officials during the period of late 18th century, King Jeongjo period, is performed for an accurate reconstruction of the memorial service for King Danjong, which is a part of King Danjong Cultural Festival held at Yeongwol. This paper summarizes the results of the research as follows: 1. Jangneung memorial service is held only on Hansik day and the procedure follows the rule based on Gukjooryeui(國朝五禮儀). The service was first held in 1791 for King Danjong and his royal followers. 2. The rule based on Chunkwantonggo(春官通考), defines the king's tomb memorial services and attendees. King Danjong's memorial service follows the rule regarding its attendees and the attendees include high-ranking local government officials, local confucian scholars, and service men. 3. The costume of attendees for the King Danjong's memorial service is as follows: 1)Dangsangkwan(堂上官) and Danghakwan(堂下官) wear Sangbok(常服), which consisted of Samo(紗帽), Heukdanllyeong(黑團領), Pumdae(品帶), and black boots(黑靴). 2)Local confucian scholars wear their uniform consisting of Yukeon(儒巾), Dopo(道袍), Sejodae, and black boots. 3)Service men wear their uniform consisting of Jeonjakeon(典字巾), red-robe with rounded collar called Hongui(紅衣), Kwangdaw hoe(廣多繪), and Uuhae(雲鞋).

• 복식
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• 제32권
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• pp.131-147
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• 1997

The works of the Futurism were developed along with manifestos and statement in publishing " The Foundation and Manifestos of Futurism" Futurist aesthetic and ideological agenda on futurist fashion displayed in mani-festos on clothes. It was propagated in con-summate Futurist style through the written manifestos. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men's Cloth-ing in 1914 they believed continual renual of our today's clothes. Today's clothes is much our today's clothes. Today's clothes is much more simple than yesterday's clothes. The oppositions of the type between yesterday's clothes and today's clothes are mournful=play-ful melancolic-cheerful grey-colorful tradi-tional-emphemeral. Futurist men's clothing is aggressive agile dynamic simple and confor-table hygienic gay luminous volatile asym-metric ephemeral and variable. In general the Futurist argued for clothes that promoted simple and functionality. They made dynamic patterns in textile design and asymmetric geometric cuts in pattern making. They suggested an unconventional matetials and strong bright colors and modificanti. These elements pointed the way to a shim-mering exuberant future.

• 한국의상디자인학회지
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• 제17권4호
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• pp.117-129
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• 2015

This study is to find out the changes and features of male consumers' life style and purchase tendency according to the change of Korean fashion market, and based on which to suggest the design for the 20s men as well as a proper distribution channel for it. Documentary research and investigation were done together for the study. By reviewing documents focused on previous studies and declaring the change of men's fashion shopping tendencies and the following changes and features of their fashion sense and styles a conceptional frame for a design suggestion was presented. Ways to investigate were men's wear collection research, Q-technique. First of all, they tend to boldly reduce unnecessary purchases and do not hesitate to focus on the wanted item, expanding the trend of 'value purchase.' Secondly, men's wear use various design elements with feminine images, while the materials, colors and design expressive techniques that have been exclusively used for women's wear, began to be applied to men's one, turning them into gentle styles with womanhood is stressed. Thirdly, Korean distribution channel is rapidly diversified from departments to new-concept ones such as multi-brand stores. Especially, displaying and selling various optional products, multi-brand stores lead such diversification of fashion distribution channel. Fourthly, features of the drapery types favored by the 20s men are that they like no-chromed dark or blackish colors with fixed structure and partially-applied drapery on the clothes. Fifthly, it turns out that men in their 20s set a premium on design and price while they buy clothes. In addition to that, they buy clothes mainly during discount period and displayed much bigger satisfaction for the purchase on discounted price that those on normal price.

• 한국의상디자인학회지
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• 제14권2호
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• 복식
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• 제65권3호
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 복식문화연구
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• 제17권2호
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• pp.309-319
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• 2009

This study's goal is to analyze the color characteristics of Blue used in men's fashion for design developing process. First, we researched the previous studies and examined documents about color characteristics of Blue in general as well as coloration in fashion design and men's fashion. We composed color samples by collecting two-color coloration used in men's fashion collection for 5 years from 2004 S/S to 2008 F/W through a specialized fashion information web-sites. We limited the colors from Blue Green(BG) to Purple Blue(PB). Second, we analyzed the characteristics of hue combination and tone combination. A total of 351 pictures were collected and RGB and HV/C value were converted with Munsell Conversion program(ver.8.0.1). Color data has been sorted to 10 hues and 12 PCCS tones. From this, we were able to figure out that similar/same hue coloration was used more than contrary hue coloration and similar/same tone coloration was used more than contrary tone coloration for Blue. We've limited Blue coloration characteristics of men's fashion to two-color coloration for an analysis; the succeeding study will need to examine on the characteristics of multi-coloration and detailed Blue coloration image by various garments.

• 복식
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• 제13권
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.