• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.748-762
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• 2002

The purpose of this study was to analyze the fashion trends of Korean men's golfwears and furnished the researchers of same major with reliable data base. Lately, Korean men were concerned about their appearance rather than social position. Moreover, they tried to express the needs of youthfulness with free lift through clothings. These trend had been showed itself not only development of golfwears, but also change of esthetic tastes of men's golfwears. First of all, the development of men's golfwears was affected by the major three factors out of many various factors. That is, popularization of golf by the international activities of Korean progolfers, appearance of young consumers after IMF and the casualization of the men's formal dress, the making an everyday dress of men's sportswears. The results of analyzing of fashion trends of the men's golfwears is as follow: 1. The characteristics with naturalness, comfort of men's golfwears was manifested casualization trends by the factors of downward tendency of golfer's age, 5-days working, men's biz casual preference, individual ism after IMF. 2. Men's character golfwears was showed by the ageless as a youthfulness expression, the Sportism as an international trend, 2002 world cup, etc. 3. All of golfwears have to be functional characteristics because the golf is an active sports spending long time in golf course. Unconstruction style was an important fashion trends of men's golfwears by using functional materials to meet the needs of consumers. 4. The men's clothing was deviated from a fixed idea called masculine after IMF. Moreover, this trend was increased by the appearance of lovely man, genderlessness and had an effect on men's golfwears. Consequently. men's golfwears was showed feminization characteristics as a feminine, sensitive style. In the future, Korean men will try to express their character and thought freely through golfwears, men's golfwears will be continued ‘beyond the golf course’ image reflecting in the future fashion trends.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.51-66
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• 2010

This study aimed to analyze the changing characteristics between Men's Gender Role and Men's wear Design in 20th century. To analyze the representative Men' Gender roles, the related studies and literatures reviewed. Literature reviews and quantitative studies were performed to analyze the changing differences of Korean Men's wear Deign as a symbolic factors of gender role. The results of study are as follows. 1) The representative men's gender roles in 1900's~1920's were 'Patriarchal/ Stern Man'. The narrow V-zone of jacket and shoulder, high shirt collars and well fitted suits expressed the stern images of that times. 2) In 1930's~50's, 'Enervated/ Escapist Man' were the representative images. They were expressed with wide lapels and shoulders, emphasized V-zone and abundant trousers. Especially 40's style was under the influence of American 'Zoot Style'. 3) The representative gender roles were the men of 'Producer/Provider' in 60's~70's. Shortened jacket, wide lapels & neckties, slim trousers were used to express the strong & young images of Producer/ Provider during the industrialization era. 4) The representative gender roles were 'Attentive/ Intellectual/ Beautiful Men' in 80's~90's. The exaggerated round shoulders which were influenced by 'Big Look', and easy silhouette were related with the attentive images.

• Journal of the Korean Society of Costume
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• v.28
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• pp.137-150
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• 1996

The objectives of this study were to classify daily clothing selection motives and to group men into life style types and to examine the differences in daily clothing selection motives according to the life style types. Questionnaire comprised of three sections: 36 Likert type items of life style measure; 29 Likert type items of daily clothing selection motives measure: and 4 demographic variables. Samples were 267 salary men in gheir 20's to 30's in Seoul Korea. The data were analyzed using factor analy-sis cluster analysis one-way ANOVA Dun-can's multiple range test and t-test. 1. Five factors of life style were derived by factor analysis ; F. 1 'appearance oriented' f. 2. 'positive activity' F. 3 'economy oriented': F.4 'active-leisure';F. 5 'contemporary' Four types of life style of men were defined by cluster analysis of the five factors: T. 1'posi-tive activity'; T. 2.'economy interest'; T. 3'contemporary' : T 2'economy interest' T.3'contemporary' ; T. 4 'appearance interest' 2. Four factors of daily clothing selection motives were derived by factor analysis: F.1 'clothing harmony'; F.2 'clothing utility'; F.3 'psychological influence'; F.4 'exogenous situ-ation adaptation 3. There were significant differences in daily clothing selection motives according to the life style types. The types of positive activity economy interest and contemporary had 'clothing utility' motive more than appearance interest type. Economy interest type had 'hpsychological influence' motive more than other three types. Economy interest type and appearance interest type had 'exogenous situ-ation adaptation' motive more than other two types 4. 20's and unmarried men had'psychological influence' motive more than 30's and married. Upper class had 'clothing harmony' and 'ex-ogeneous situation adaptation' motives more than middle and low. Men with less education had ' clothing utility' and 'exogenous situation adaptation' motives more than did more edu-cation.

• Journal of the Korean Society of Costume
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• v.36
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• pp.121-137
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• 1998

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.1-21
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• 2015

The purpose of this study is to investigate the self-image of men and the characteristics of their fashion styles, as they are fast becoming an influential consumer group. Men in the thirties and forties who had a higher-than-average interest in fashion were surveyed online and the results from this study are as follows. In terms of variations of self-image connected to situations, we found that there were strong relationships between the preference of the "charming & romantic" image to private meet-ups with acquaintances, "intelligent & classy" to official events, "rational & realistic" to everyday work in an official setting, and "modest & ordinary" to complex situations including family occasions and customary events. Those who aimed for "urban refinement - sensitive" appeal also preferred a "charming & romantic" self-image, while pursuing a "classic & modern" fashion style for official settings and a "gentle & charming" style in private settings. Those who aimed for "stable elegance - intelligent" youth" image preferred the "intelligent & classy" image, while pursuing a "stable & intelligent" fashion style in official settings, and an "intelligent yet active & young" style in private settings. Those who aimed for "rational practicality - comfortable activity" image preferred a "rational & realistic" self-image, while pursuing a "rational & practical" fashion style in official settings, and a "comfortable & active" style in private settings. Those who aimed for "ordinary modesty - plain simplicity"preferred a modest and ordinary self-image, while pursuing an ordinary fashion style, and a simple style in private settings. The various situational assessments used in this study to analyze the fashion-related circumstances for male consumers can be utilized in upcoming studies, and can be an effective indicator of situational consumer preferences in terms of men's fashion marketing and product planning strategies.

• Journal of the Korean Society of Costume
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• v.58 no.9
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• pp.51-67
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• 2008

The purpose of this study is to investigate men's coat of Jikryeongkoim style that were excavated from the tombs of the Yeosan Song family. Findings of the study can be summarized as follows. Except Dapho, all of the above mentioned coat were usually worn in the late 15th and late 16th centuries. Jikryeong and Cheolik were often worn in both of the centuries. But Aekjureum was often worn in the late 15th century and Jikryeong with no side hem and Jikryeong of Dopo style, in the late 16th century. Generally, the men's coat of Jikryeongkoim style had a short fore part and a long rear part, doubled kalgit of banmokpan style and a narrow sleeve in the late 15th century, while fore and rear parts of the same length, kalgit of ordinary style and the sleeve of bean chaff shape in the late 16th century. In both of the centuries, the coat had the outer Seop that was doubled and used short, narrow coat strings to be adjusted. Samgakmu was used to Jikryeong with no side hem and Aekjureum. Out of the coat, those which were lined or padded or quilted with cotten used Samgakmu, but those which were unlined didn't. To adjust the coat, usually, a pair of short, narrow coat strings was used. The coat had the coat strings directly stitched on them or indirectly connected to them by means of the coat string hanger.

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.104-105
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• 2005

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.167-181
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• 2018

In modern society, men are selecting dress based on physical features as well as individual taste. Through this concern with appearance, new descriptive words have appeared from time to time. Therefore this study aimed to analyze the type of image style expressed in the Paris Men's Fashion Collection during the period of 2001 S/S collections~2010 F/W collections. This study used Frequency and Chi-square tests through SPSS 12.0 program for the analysis of a total of the 1,357 materials shown from nine designers. The results were as follows. As a result of examining the image style according to chronology and season by frequency and the tendency of design works by chi-square test, in the tendency of the image style by chronology, the style emphasizing a sexy and manly appearance is preferred through the tendency that Homme Fataleism has been continually released in foreign men's fashion collections for about ten years. In the tendency of the image style by season, the image style of the Homme Fataleism was highly published in SS and FW season except for SS in 2004 and 2008. In the tendency of design works by chronology and season, the H-silhouette was highly preferred for about a decade. In color, the light brown group was frequently used until 2008 while gray has mainly been of use since 2009.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.36-50
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• 2011

The traditional masculinity has been gradually diversified towards the 21th century due to a new social environment. Men embrace his feminine side with heightened aesthetic sense using cosmetic products for better skin, hair, and nails. This diversification of male image and his beauty style proves the addition of feminity to masculinity. C. G. Jung felt that we are all really bisexual in nature. The anima is the female aspect present in the collective unconscious of men and it is the archetype through which we communicate with the collective unconscious generally, and it is important to get into touch with it for self-realization. This study analyzes subconscious desire based on the anima archetype in the collective unconscious of men through the diversity of the gender identity shown in men's cosmetic advertisements, and therefore it aim to help developing a marketing strategy of male beauty industry in the future. For this purpose, it conducted an empirical analysis of male beauty style in cosmetic advertisements through the Jungian anima theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was typified as Retrosexual, Ubersexual, Metrosexual, Cross sexual. Second, the anima archetype stimulates feminity in male beauty style. Cross sexual type has the highest feminine tendency. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. Cross sexual type is most similar to the female beauty style. This feminization of male beauty style is the external expression of collective unconscious and affords human being to reach self-realization.