• Journal of the Korean Society of Costume
• /
• v.63 no.1
• /
• pp.135-146
• /
• 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.

• The Research Journal of the Costume Culture
• /
• v.29 no.2
• /
• pp.167-184
• /
• 2021

The objective of this study was to develop a fashion therapy program for improving body image and self-esteem among male workers. Accordingly, the demand for fashion therapy programs was examined by conducting a literature review, survey, and in-depth interviews with men working in the Daegu and Gyeongbuk areas. The results are summarized as follows. The fashion therapy program followed a framework of "introduction-development-final" and was 60 minutes in length, for four sessions (one per week). The contents of the program consisted of a study of the participants' appearance and any concerns they had about their body in Session 1. In Session 2, differences in image perception were examined according to color coding of menswear and personal color. Session 3 comprised understanding what styling is required to supplement men's body shape and what style is suitable for each participant. The content of Session 4 determined how to build social performance or positive image using nonverbal elements. Overall, this study has great significance in that it has developed a study on fashion therapy program originally applied for psychological treatment with women that has been adapted as a program to help improve positive emotions and social competitiveness of male workers in an office environment.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.51-72
• /
• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• Journal of Fashion Business
• /
• v.9 no.3
• /
• pp.88-98
• /
• 2005

This study focuses on the needs at both consumers and manufacturers. It aims to find ways for consumers to purchase outfits that would fit their particular body type and preferences at reasonable prices, choose raw materials and style at garments, and virtually try them on. In addition, the study is designed to help apparel manufacturers identity customers' changing needs, reduce inventories, manage information on customers' body type in a digitalized form, and eventually contribute to promoting electronic commerce. Based on nine basic patterns that tit each subject, 108 virtual garments are created by adjusting the size of the patterns (9 subjects $\times$ 4 body parts $\times$ 3 patterns = 108 outfits). In order to determine fitting preferences for each body part and find optimized conditions, cross-tabulation analysis including $X^2$ and frequency analysis were performed to measure the appearance rate. A style of virtual garment, which is minus 2cm from chest size was chosen as the most appropriate pattern to the baseline location of front the chest. For the waist parts, the C style as an appropriate virtual garment to front and back view. In the front, lateral and back view, a style was chosen in the response to the sleeve-bodice combinations, the ease amount of armhole area, the armhole depth and the loosening of tightening or armhole line.

• Journal of the Korean Society of Costume
• /
• v.50 no.7
• /
• pp.97-111
• /
• 2000

The purpose of this study were to segment the hair care cosmetics market according to the benefits sought, to categorize the information sources on the hair care cosmetics, and to characterize the profiles of the segmentized groups of university students. Self-administered questionnaires were distributed to 457 university students in Chonbuk province from Jul. 10 to Jul. 21, 1999. Frequencies and percentages were calculated, and factor analysis, cluster analysis, one-way ANOVA, and $\chi$$^2$-test were used. The results were: 1. University student's benefit variables on hair care cosmetics were classified into special function, fashion, practicality, brand, fragrance, styling, nutritional reinforcement, and economy. And they were segmentized into the feeling pursuit, the multi-benefit pursuit, the practicality pursuit, the benefit unconscious, and the function pursuit. The information sources were classified into marketer-dominated sources, neutral sources and consumer -dominated sources. 2. The feeling pursuit strongly sought for fashion, brand and fragrance pursuit, but considered economy less, chiefly used the marketer-dominated and neutral information sources, and showed much interests in hair care cosmetics, and were consisted of women dominantly. The multi-benefits pursuit sought for various kinds of benefits from hair care cosmetics, depended heavily on various kinds of information sources, were well aware of their hair types and instructions on the hair care cosmetics label, and were consisted of women dominantly. The practicality pursuit highly sought for practicality, but low on the fashion, were not aware of their hair style, haler care, hair health status and hair type, and almost half of them are men. The benefit unconscious showed low concern about, all kinds of benefits and hair care cosmetics, and were consisted of more men than women. The function pursuit highly sought for special function and nutritional reinforcement, mainly depended on the consumer-dominated sources. and showed low concern about their hair style and hair care.

• Journal of the Korean Society of Costume
• /
• v.63 no.3
• /
• pp.61-77
• /
• 2013

The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

• Journal of Fashion Business
• /
• v.3 no.2
• /
• pp.59-66
• /
• 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.

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

• Journal of Fashion Business
• /
• v.1 no.3
• /
• pp.1-18
• /
• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.

• Korean Journal of Rural Living Science
• /
• v.5 no.2
• /
• pp.207-215
• /
• 1994

This study was conducted to expand the use of the Gal Ot which has been called Cheju-Do's folk costume. The Gal-Ot has been mainly used the traditional clothes which the farmers have worn during working in the fields. In this study, We firstly developed the dyeing methods used the immature persimmon juice and dyed the dress and fabrics. We secondly designed the diverse Gal-Ot which we can wear for the everyday dress, that is, men's and women's upper and lower clothes and reformed another Korean Style's Dresses and children's one-piece. This study strongly suggested that the Gal-Ot would be used for the everyday wear and the street wear for adults and children and that the improvement of dyeing method used the immature persimmon would be expanded the use of the Gal Fabrics.