• Journal of the Korean Society of Costume
• /
• v.12
• /
• pp.39-54
• /
• 1988

The purposes of this study were to identify the periodicity of fashion in modern society and to find the correlation between each detail and bustle constitution through the bustle styles that have been recently revived. For the study of periodicity, fashion plates or pictures in Vogue or in the books related Vogue since 1930 were selected, and were analyzed into bell, tubular and bustle silhouettes that were devided by Young (1937). And for the study of the correlation of detail and bustle constitution, fashion plates and pictures that were related to the bustle in the 19th century and the 20th century were selected, and according to the epoch (19C, 20C) and the use (daytime dress or evening dress), each of them was analyzed. The results were as follows: 1. After 1930, $24{\sim}33$ year amplitude was founded at tubular and bell shape, that proved shorter cycles than Young's. 2. In each characters of clothing details, deep decolletage, undivided waistline, spaced bodice in daytime dress were partly identified the characteristics of 20th century costume. 3. The form of bustle was converted from the complex ornament of the 19th century to the simple shape of the 20th century. In other words, it is necessary that the definition of bustle be changed not the previous definition as the silhouette and instrument but that as the emphasis dimension. 4. The dimensions that showed difference at daytime dress and evening dress were 'existence of collar', 'neckline', 'length of sleeve', 'kind of sleeve' for 19th century, and 'neckline', 'length of sleeve', 'kind of sleeve,' 'length of skirt' for 20th century. 5. Correlations with the bustle constitution and details were shown at bodice and waistline with the complex bustle in the 19th century and at collar and neckline with the simple bustle in the 20th century.

• Journal of the Korean Society of Costume
• /
• v.52 no.6
• /
• pp.1-13
• /
• 2002

This paper investigated the costumes of young girl dancers in Yon wha dae moo(연화대무: Lotus Stage dance) which were documented on the Ak-hak-guae-bum(악학궤범: Protocol of music) and the Jin-yeon-eui-guae(진연의궤: Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(합립: silk hat), Dan-eui(단의: long jacket) and Sang(상: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(유소: decorated cords). In the second phase. it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-gwan(연화관: Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu( 자지무: chinese dance) that originated in West and Central Asia. In both dances. young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(단령: male coat with round neckline). And it satisfied the need of mobility for the dance which was Performed mainly with jump.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.2
• /
• pp.47-62
• /
• 2011

The purpose of this study was to investigate the knitwear preferences and purchase behaviors of university students. The subjects were 493 university students in Daejeon and Chungnam Provinces. The method of this study was a survey and measurement instruments were 34 stimuli which were manipulated pullover patterns and shapes and self-administrated questionnaire with knitwear design preference items and knitwear purchase behavior items. Data were analyzed by factor analysis, frequency analysis, Cronbach'${\alpha}$, t-test, ANOVA and $Sch{\acute{e}}ffe$ test using SPSS program. The results of the study were as follows. First, university students most preferred achromatic colors, pastel tones, solid patterns, and 100% cotton. Second, as for knitwear purchase behaviors, university students considered the esthetical factor to be most important among 4 dimensions (comfortable, esthetical, economical, and conspicuous factors) as important purchase criteria, and they used internet web sites for knitwear purchases. Third, there were significant differences in preferred pullover shape depending on neckline shape, neck depth, sleeve shape and clothing length. University students preferred the classic pullover design with V neckline, normal neck depth, set-in sleeves and normal length. Fourth, university students preferred the cloud motif and riding man motif among the 9 Baekje traditional motifs and one point small pattern on the left chest and crosswise bending pattern for pattern arrangement.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.30 no.5 s.153
• /
• pp.722-732
• /
• 2006

The pattern making of the tight-fitting collars which often used in diving suits, dance wear, or cycle wear has not been fully established. To develop tight-fitting collar pattern directly from 3D images from the representative somatotypes, dressforms developed by Jaeun Jung were used. The 3D scan data of the four male dressforms were obtained using Exyma-1200. Triangle Simplification and the Runge-Kutta method were applied to reduce the 3D scan data points and to make the segmented triangular patches in a plane from 3D data. As results, apparent differences between the tight-fitting collar patterns obtained from the 3D scan data and the ordinary 2D collar patterns were found around the center back line. The curvatures of the center back line were higher in all types of the tight-fitting collar than in the ordinary collar pattern. Relative differences in the shape of collar lines among four representative Korean men were reported. To fit the curved shape of the back neckline, 1.8 cm should be reduced from the upper neckline in average. We suggested the direct pattern making method for the 2D tight-fitting collar patterns considering the 3D shape of various types of men's dressform.

• The Research Journal of the Costume Culture
• /
• v.24 no.3
• /
• pp.287-300
• /
• 2016

The purpose of this study was to review materials that could provide basic data about sports brassieres. In this study, 486 sports brassieres were collected online from 31 brands between November 2015 and February 2016. First, the comparison of compression and encapsulation in sports brassieres identified many different styles. The characteristics of compression brassieres included a cut cup, the front center height of a full cup, round neckline, short front hem, all in one shoulder strap with a patterned racerback design, all in one closure, no wire, and separation cup styles. The characteristics of encapsulation brassieres included a V-shape neckline, mixed round shoulder strap design, back closure, and all in one cup. Second, the comparison of domestic and international sports brassieres sorted the items differently. The characteristics of domestic products included compression brassieres, non-cut cup, the front center height of a full cup, round neckline, short front hem, an all in one shoulder strap with a patterned round design, all in one closure, no wire, and a separation cup. The characteristics of international products included a cut up, racerback shoulder strap design, and an all in one cup. Third, the analysis of domestic and international sports brassieres sizes found that six options were available for domestic compression sports brassieres and nine sizes were available for international products. Domestic encapsulation sports brassieres offered five under bust sizes and five cup sizes. International products offered eight under bust sizes and sixteen cup sizes.

• The International Journal of Costume Culture
• /
• v.6 no.1
• /
• pp.38-51
• /
• 2003

Peking Opera, one of a representative Chinese dramas, is a synthesis of drama and stage art. Peking Opera's stage costume was set up in Qing dynasty though its style was embellished with mainly Ming dynasty's clothing style. The special patterns in the clothing were very important because they classified social rankings. There are two kinds of roles in Peking Opera. Sheng stands for male roles and Dan stands for female roles though Dan had traditionally been acted by male actors with female attire until the ruling of the People's Republic of China. There are five different kinds Peking Opera's stage costume. First, Mang is a formal dress for kings and generals. It is a very delicate long Po with special patterns. It has several names depending on the color and shape of a dragon. Second, Pee is a casual attire for kings, government officials, and their families. It is also a long Po with front opening and symmetrical neckline. Third, Kao is an armor of warrior which is made not for protection in a real war but for ornament of a formal dress. Kao reflects the wearer's authority when the wearer stays still, but it is a comfortable clothing for big dancing moves once the wearer starts dancing. The wearer puts a banner into the shoulder to alarm tension of a war. Fourth, Cheup is an outfit that one wears the left part adjust to the top. There are different lengths of Cheup and it has a straight neckline. There are twenty-one different kinds of Cheup according to its shape and color. Last, Yi is name for the rest of Peking Opera's stage costume other than Mang, Pee, Kao, and Cheup.

• Fashion & Textile Research Journal
• /
• v.20 no.3
• /
• pp.266-278
• /
• 2018

This study investigated the transformation of the Chanel jacket by looking at clothing design and constructional components. This study explored Chanel jacket's designs from 2001 S/S to 2016-17 F/W, and collected designs from Samsung Design Net and Vogue. The study used 690 designs with the following results. First, in the silhouette of the Chanel jacket, straight silhouette and hourglass silhouette had the most; in addition, in the length, hip line and under hip line were in order. Second, in case of collar and neckline, the form of a non-collar was the most and revealed the persistence of round neckline which is the basic style of a Chanel jacket. Third, in the shape of sleeves, the loose-fit straight sleeves, wide sleeves, and cocoon sleeves appeared most often. In method of closure, button, zipper were in order, and snaps or without closure appeared. Fourth, in the form of braids, various forms such as twisted yarns, leashes, or lace were used, and patch pockets were mainly used in pockets. Chanel maintains its original design by using various methods. Chanel tried to improve activity and functionality through silhouettes, lengths, necklines, and sleeves. The unchanging expression of the world of Chanel will continue to display and inherit future value. This study can provide Chanel's unique characteristics and new ideas that can transform their origins for jacket design.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.1
• /
• pp.167-182
• /
• 2015

This study was to investigate the preference tendency by detail and material preference of summer one-piece dresses for the children, and evaluation standard of children's wear in purchasing one-piece dresses as an object of mothers who have girls as buying representatives of children's wear in order to supply real information of design about the one-piece dresses for the girls in accordance with the consumers' demands. The results of this study revealed that the one-piece dress was favorite one to them in purchasing their summer wear. This study showed tendency that the more the mother's fashion interest was, the more the mother's preference on the one-piece dress was. As to the material preference of one-piece dress, it preferred the natural fiber to the synthetic fiber much, and the preferred customer order in purchasing one-piece dresses for their children was analyzed as activity, material, design collar, and pattern. As to the preference by form factor of one-piece dress, it preferred A-line silhouette in the silhouette, natural waist in the waist position, 5~7cm from the knee in the length of one-piece dress, and flared skirt in shape of skirt. The preference on the collar type was soutien collar, and the preference on the neckline type was round neckline. In addition, the preference on sleeve form was shirtsleeve, and the preference on trimming was lace trimming.

• Journal of the Korean Society of Costume
• /
• v.66 no.8
• /
• pp.98-108
• /
• 2016

Knitwear has been used as an active and functional clothing item due to its flexible and soft nature. Diverse design expressions have made knitwear into an essential fashion item for people today, who are constantly seeking for ways to display their individualism. The purpose of this study is to analyze the actual wearing conditions, and the preferred designs of knitwear for female college students in order to provide a baseline data, which can be used to develop knitwear designs for the subjects of the study. Survey by questionnaire of 135 female college students in 3 universities in Seoul were analysed. The results of the study are as follows: First, the most owned knitwear were sweaters and cardigans. Knitwear was viewed as soft and warm, as well as versatile. It was not restricted to certain sizes, and was comfortable to wear for different activities. Seound, the most preferred items were sweaters and cardigans. The most preferred styles were round neckline sweaters and open V-neckline cardigans. Third, the most preferred designs were plain designs with achromatic colors and wool-blended fabrics. The most preferred images were simple images. The most preferred fit was loose enough for little bit of room inside. Fourth, appropriateness and design of the knitwear were assessed during the purchasing stage. the most preferred method of purchase was purchasing via online stores after researching the knitwear through various channels, such as store visits and the Internet. The preferred price of knitwear was below 100,000 KRW. Fifth, the most common complaints were as follows: changes in the shape and quality of the knitwear after a wash, appearance of nap, and loose threads. In short, it is necessary for female college students to develop high quality knitwear with designs that can display individuality, while being simple.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.21 no.1
• /
• pp.129-143
• /
• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.