• Journal of the Korea Fashion and Costume Design Association
• /
• v.9 no.2
• /
• pp.31-48
• /
• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Journal of the Korean Society of Costume
• /
• v.58 no.7
• /
• pp.60-75
• /
• 2008

A history of Chinese Costume is that of the accept and the struggle between the 'Shen- Yi' of Han(漢) race and 'Ho-Bok' of foreign races. There are the 'Shen-Yi Ko' and the 'Ho-Bok Ko' in their representative documentary. They are quite significant materials for the researchers of the Oriental costume. The purpose of this study about comparing and analyzing the 'Shen-Yi Ko' and the 'Ho-Bok Ko' give a guidance to Chinese costume's researchers. The results of study are as follows: The 'Shen-Yi', having made a dress joined an upper to the low clothing together(上衣下裳) and deeply covered the parts of all the bodies, was named, had appeared the Spring-Autumn & warring state period(春秋戰國時代) and later the former Han Dynasty(前漢). Not only everyone in spite of men and women, without distinction of rank, high and low alike but also even the court dress(朝服) and from latter Han Dynasty(後漢) only the housewives could have worn it. The 'Shen- Yi Ko' disappeared its records and remains and at present nothing leave behind. The 'Ho-Bok' is a costume of the nomadic horse-riding people among the foreign races, then influenced upon the Chinese costume. The style of the Chinese costume consists of 'Yi Sang'(衣裳) and the 'Ho-bok' of foreign races, 'Yi Ko'(衣袴). The 'Yi Ko'((衣袴), derived from the King Muryoung of Cho Dynasty, had greatly been changed the chinese men's clothing and After that 'Ko Sup'(袴褶). The Chinese have enjoyably and familiarly the accepted 'Ho Bok' for a long time.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.3
• /
• pp.93-109
• /
• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• The Research Journal of the Costume Culture
• /
• v.14 no.4
• /
• pp.596-608
• /
• 2006

The purpose of this study was to reveal the relationship between self confidence in fashion coordination and fashion information search of men. This study also examine the utility of services of fashion coordination in fashion store. A questionnaire was developed and data was collected from 248 male consumer in the age of $20{\sim}29$ living in Busan and it was analyzed by the statistical method of frequencies, factor analysis, analysis of variance and regression. The results of this study were as follows: First, information contents of fashion coordination include four dimension, such as fashion style information, knowledge about fashion item, way of putting-on for stylish appearance and beauty information. And degree of search fashion information was significant different among groups classified by consumer's level of self confidence in fashion coordination. Second, multiple regression analysis revealed that consumer's self confidence in fashion coordination could be predicted from the amount of search fashion information contents and information sources. In conclusion, fashion information search was important factor which influenced on self confidence in fashion coordination. and male consumers perceived fashion coordination services in fashion store will be useful information.

• The International Journal of Costume Culture
• /
• v.13 no.1
• /
• pp.51-61
• /
• 2010

The purpose of this research was to investigate the effects of clothing style and color of male casual wear on image perceptions and age evaluations. $4{\times}2$ (top color${\times}$trouser color) and $2{\times}3{\times}2$ (clothing style${\times}$clothing hue${\times}$clothing chroma) factorial designs were used as the experiment designs. Photoshop program was used to manipulate the clothing colors after creating photos of models wearing experiment clothing for stimulus. Subjects were 280 female college students from Seoul region and each subject responded to two stimuli. Factor analysis showed four factors of images of male casual wear; sociability, conspicuousness, softness and masculinity. Polo shirts were evaluated higher in sociability and softness than jumpers and nary blue trousers were evaluated higher in masculinity than beige trousers. High chroma clothing was assessed higher in sociability and conspicuousness than low chroma clothing. High chroma red jumpers displayed very sociable feel and low chroma blue jumpers displayed the lowest sociability. High chroma male clothing resulted in younger age perception but age was evaluated young when a black shirt was worn under the jacket when wearing a low chroma jacket.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.6
• /
• pp.1116-1133
• /
• 2016

This study examines the historical background of Goryeo and its relationship with Song and Yuan. In addition, it observes the shape of dress styles for the king, queen, officers, maids in waiting, and commoners after classifying them with a focus on the dress style of normal people appearing in Buddhist paintings. This study then investigates structures by tracing Goryeo's unique identity and its characteristic by a comparison and analysis of dressing style elements of Goryeo with Song and Yuan. The results shows that the Song's system was used exclusively for the dress style of the king and government officers of Goryeo after Goryeo's submission period by Yuan. There were no clear appearances of a Mongol style dress but only changes in head styles of cutting hair around the head and twisting the rest in a top down and long method. In addition, Song's style Bokgeon was shown by the king to his lower level officers. This was because the king and his officers of Yuan were in accordance with Song's system in officer's dress, hat and head style, armor, and horseback riding equipment. Second, there is doubt if they inherited a traditional form and style of the dress rather than followed the dress style of Yuan because the shape of Yuan's basic dress style Deel is very similar to the dress shape of early Buyeo people's Po in the $3^{rd}$ to $4^{th}$ centuries. Third, the shape of the Chaksu and Gung-go had been kept as it was in the dress style of ordinary men, and because the shape of the double collar had already appeared in the period of Samguk, which appeared in all classes of Yuan. There is no reason to adopt double collar shape that appeared. The general Pyeonbokpo of the country had to be influenced by Yuan. Forth, the dress style of queen and her maids in waiting were mentioned in documents; however, there was no shape of a dress like Boktag and Deel in the relics, which are the characteristic of Yuan's woman dress style. Fifth, the shape worn national style Yu and Sang had been kept in an ordinary woman's dress style; however, the two style system of high and lower class in Yuan's ordinary woman dress style appeared newly and is considered an influence of Goryeo.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.3
• /
• pp.153-167
• /
• 2004

Korea had suffered the colony of Japanese imperialism and the Korean War from the invasion of the external circumstances. Such special situation made new influences on the clothing habits. The types of Korean women clothing could escape from the traditional style that had been maintained for thousands of years. The foreign clothes for Korean women had undergone various changes from the Liberation in 1945. The jackets that had been introduced to Korea at the Enlightenment period had become popular outfits for men. The jackets made big influences on the changes such as the social advances for women from the times background of the Liberation. The jackets possess very important meaning for the changes in the diffusion of feminism and fashion. Therefore, this research tries to investigate the forms, silhouettes, changes and structures of the jackets such as the locations of the collar, the sleeve, and the waste line. The process of the changes in the style of women jackets is also analyzed from the silhouette and the structure method. The development and changes will be understood of Korean women's jackets. The Korean women's jackets should also be examined further with the history of foreign clothing from now on. The fashion to be introduced from important society cultural phenomena and the Western Europe has been reflected into the changes in the style of Korean female jackets. Also, dramatic changes in the style of clothing indicate that the society had experienced a great deal of changes. It is verified that foreign clothes have been interacted with the stream of times worldwide. After the Liberation, the female jackets become a uniform style which just followed the Western European style. However, a season trend has been announced from the SFAA since 1990. Since then trendy jackets have been detailed more with this chance.

• Journal of the Korean Society of Costume
• /
• v.31
• /
• pp.145-164
• /
• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.4
• /
• pp.195-207
• /
• 2013

The purpose of this study is to observe the rapidly changing men's fashion style in the contemporary society and to analyze the features related to the major-subject groups, male university students. This information could be used for clothing companies to plan commodities, divide markets, and develop designs. The results are as follows. First, several opinions were varied among students' majors. For the opinion about the male students focusing on their external appearance, the students from all majors said that it depends on individual preference. For 4 reasons of external appearances, students from all majors frequently said that they should adjust their external appearance for employment. For the opinion about what is considered the most in the purchase of clothing, most of the students considered about the design of the cloth. For the opinion about influences on the purchase of clothing, major of the students were influenced by their friend or colleague. on the other hand, the students from artistic talent and physical education mentioned other opinion that it depends that it depends on situation and own intention is most important. Second, for the question about clothing behavior, with regard to monthly average shopping control expense, the students from all majors mentioned the amount less than KRW 50,000. For the opinion about the number of shopping, most student mentioned once a season. For the opinion about the store to purchase dress, most students mentioned the use of large shopping mall but the students from business administration and economy mentioned the use of discount store. Third, for the question about preferred style and preferred brand, with regard to the opinion about usual style, the students from all majors have worn casual style. For the opinion about the preferred style, most students mentioned casual style. For the opinion about man's accessory wearing, the students from all majors mentioned that it is good and for the opinion about coordination item, most students mentioned bag.

• Journal of Fashion Business
• /
• v.3 no.3
• /
• pp.39-48
• /
• 1999

The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.