• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.35-55
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• 2003

The purpose of the study is to get some pieces of prior information to eventually develop competitive swimming suit designs with Korean traditional images. The study has been accomplished in following steps. First, as theoretical research, the history of swimming suit design and the requirements in designing competitive swimming suits were studied. Second, as practical research, at first, the trend of the competitive swimming suit designs in the national swimming suit market was examined. And then. the questionnaire surveys of both professional and amateur swimmers about their design preferences with purchasing and fabric-related tendencies were conducted for understanding professionals' characters more exactly. This data were analyzed through cross-analysis and multi-response analysis and x 2 was used. The results of this study can be summarized as follows : First, athletes' preferential design tendency for the swimming suit designs were examined in the aspects of style, color, pattern, logo, and accessary. In style, female athletes preferred an athletic one-piece style and male ones preferred a brief style. In color. neutral, mostly black was preferred most and cold color group like dark blue and navy blue next, regardless of sex. In addition, they preferred similar color coordination. In pattern, though solid fabrics were mostly preferred in both sexes, especially Taeguk motive were considered the most appropriate pattern to show Korean image. Besides, logo was considered importantly, and swimming caps and goggles of accessaries were generally used. Second, athletes' swimming suit purchasing tendency was as a following. the number of swimming suits possessed was more than 4 pieces. the durable period was less than 3 months. and the most important point considered in purchasing was an easy fitting for men and a design with an easy fitting for women. And most of swimming athletes preferred foreign products than domestic ones, which was attributed to excellent quality, easy fitting, and good design. and so on. Third, in fabric-related tendency, food touch, easy fitting. and opaqueness were considered importantly. and durability to chlorine, elasticity, color fastness, easy draining, lightness, and so on were demanded forward.

• Journal of Fashion Business
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• v.15 no.4
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.1-17
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• 2005

The realistic plan to establish a silver market in the clothing industries has not taken concrete shape, although the interest in the establishment of a silver market targeting the aged as a new custom group Is gradually Increasing because the rapid development of science and medical technology in the 20th century has led to an extension of lift and improvement of living conditions. The specialized business which produces and sells the clothing for the elderly is of small number and most of the clothes for the elderly are manufactured and sold by the companies for women's clothing in which change the size or length of the original works rather than reflect the bodily features of the elderly. The findings indicated that domestic brands showed the coordinated concept of a suit of jacket and slacks or skirts while the clothes were formed with a variety of coordinations centering around single article in the U.S brands. But, there was no difference in the use of natural materials centering around cotton and silk etc. and in the use of embroidery, lace and decorative details between the two countries. The knit brands of knit suit style in Korea were formed with the items focused on pull over and cardigan twin set, while the U.S brands were mainly formed with the design of knit suit style. The domestic knit brands were mostly developed with complicated patterns and gorgeous colors, while most of the U.S. brands were presenting a single or two tone color suit style and evening one-piece dress with a simple and modern style. The sporty casual brands of sporty casual style in Korea had a variety of colors and patterns focused on function and comfort for diverse leisure activities and daily life, while the U.S brands were established to present a variety of styles with the items of single article because they had a separate brand for casual even though it was not a exclusive brand for the elderly This study has a meaning in the presentation of the design idea considering the bodily shape of the elderly compared to the ready-to-wear considering the size alone, by examining the characteristics of bodice according to the physical change of the elderly women, analyzing the design of madam brand and the style of the ready-to-wear, researching the general circumstances of the brand for the elderly women, and highlighting the necessity of the elderly clothing market.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.207-216
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• 1997

The purpose of this study is to find out more rational way to manage clothing. The study is based on a survey of daily clothing practices. 112 female college students who are majoring clothing, textiles, and/or home economics have responded to the questionnaires. With the samples, frequency, factor analysis, discriminant analysis, ANOVA, and Scheffe test are pursued respectively. Main results of the survey analysis could be summarized as follows : 1. Female college students are found to possess 70 units on average. They possess more of casual clothes such as polo·T shirts, casual pants, and casual shirts (from the highest frequency in order). They possess less of formal clothes such as one-piece and two-pieces (from the lowest frequency in oder). 2. It is found that 12 per cent of the possessed clothings are not used at all during the year. The unused rate is higher for the formal suits while it is lower for the casuals. 3. The possession pattern is affected by clothintg life style factors : brand and economic factors for the casuals ; fashion and individuality factors for the formals. 4. The possession pattern is also affected by the purchasing behavior factors, purchasing price among others.

• Journal of the Korean Home Economics Association
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• v.36 no.7
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• pp.97-110
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• 1998

The purpose of this study was to examine the use and purchase patterns, design and satisfaction degree, and desired performance of boardsailing suits. The subjects were 266 boardsailing athletes and lovers. The results were as follows; (1) The demand of boardsailing suits for spring and autumn was larger than that for the other seasons. (2) The order of influencing power in purchasing boardsailing suits was fitness, textile material, design, color, cost, and brand. (3) Preference of design was one piece style and preference of pattern was character pattern. Additionally, the study on Korean patterns was demanded for international games like Olympics. (4) The order of satisfaction degree of currently used boardsailing suits was activity, size, design, material, sewing, color, pattern, and ease of wearing and taking off. (5) For the performance of boardsailing suits materials, the estimated values of absorbency, water repellency, dye fastness, biological resistance, weight, handle, air permeability, durability, and elasticity were much lower than the importance values.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.838-847
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• 2011

The object of this study is as follows. First, according to the silhouette of clothes, I will search the relationship with the embroidery design. Second, I will investigate the relation of coloration about the clothes color and embroidery color. Third, I will search the relation with the image in clothes and embroidery design characteristic. The data acquisition is selected to the total 447 pictures of embroidery clothing design from the www.style.com, www.samsungdesign.net which are the related information site. The data are limited from S/S season in 2004 till F/W season in 2008 in the Paris, Milano, and New York collection. The analytical method was made through the analyze method and statistical method. First, on the relation with the clothes silhouette and embroidery design, if the satin stitch technique is utilized as the X-shaped or A-line silhouette in the one-piece and dress, the image which is elegant and feminine can be expressed. if the satin stitch technique is utilized as the H-line silhouette in jacket and court, the mannish image can be expressed. Second, the embroidery color showed up as the contrast combination of the monotone when the clothes color was the monochrome. And the embroidery color showed up as the tone in which is bright and sober when clothes color had 2 or 3 or 4. So, if the embroidery color is utilized as the similar color scheme, it will be effective. Third, if the embroidery technique of the one-piece and dress is utilized as the the satin stitch technique and the bloom and leaf motive being stylized pattern is used in the all-over and border pattern, It will be effective to express the romantic/feminine, ethnic/folklore, active, and classic image.

• Journal of the Korean Home Economics Association
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• v.17 no.3
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• pp.13-21
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• 1979

The purpose of this study were : (1) to analyze the commercial sizes in Korea , (2) to investigate the designs and materials of one-piece dresses, and (3) to ascertain the prices and tendency to sale of dresses. A questionaire and the interviews with some producers were used for this study. The questionaire was made with many items after the pretest. For the statistical analysis, 99 dresses were used among 141 dresses which were examined. The observation of ten observers was made in markets(group A), department stores (group B), and commercial agents of manufacture (group C). The period of observation was from April 10 to May 4 , 1979. The results of this study indicated that : (1) According to makers , the commercial sizes in Korea were different. The sizes were based on only waist in group A , body measurements in group B, and either of them in group C. (2) In dress style, the box dresses were popular in three groups. (3) The type of sleeve in group A, B and C showed in following order : set in sleeve > dropped shoulder > raglan sleeve. (4) The most necklines were finished with collars. The shirtwaist collars were popular in group A and C and the flat collars in group C. (5) In dress material , cotton/polyester was popular in group A, wool in group B, and silk in group C. The use of natural fiber and color in three groups decreased in following order : C>B>A. (6) The prices of dresses were from 10,000 to 35,000 won in group A, form 23,8000 to 49, 800 won in group B, and from 12,500 to 90,000 won in group C. (7) In case of group C, the elements which had influence on sale were color, design, and price.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.97-110
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• 2003

This study was done to investigate the wearing experience, the taste and attitudes toward Korean Costume(Traditional and Saenghwal Hanbok). Data were collected by self-administered question from 307 elementary school children and 307 mother during 7, 2002. Conclusions are as follows : 1. Hanbok was worn mainly in the first birthday of children and 6∼7years old. But it was rarely worn in 4th∼6th grade of elementary school. Most of children had worn the Traditional Hanbok, about 30% had worn the Saenghwal Hanbok. 2. Childrens liked Saenghwal Hanbok more than Traditional Hanbok, girls liked Hanbok more than boys did. And 31.4% of boys disliked Hanbok, the main motives for dislike were concerned with the discomfort to move, the feel of cloth and becoming. Boys prefered the style of ´vest/ Jeokori/ Bajii´ in Traditional Hanbok, and ´half-sleeve Jeokori/ Baji´ in Saenghwal Hanbok. Girls prefered the style of ´Dangeui/ Chima´ in Traditional Hanbok, and ´One piece/ Jeokori´ in Saenghwal Hanbok. Childrens prefered analogous color scheme to contrasting color scheme. Boys prefered the blue groups, girls prefered the orange and red groups. 3. Childrens had more positive attitudes towards Saenghwal Hanbok than Traditional Hanbok. Mothers had positive attitudes towards both these types. And the attitudes toward Saenghwal Hanbok and Traditional Hanbok of childrens were more positive than mother´s. Therefore the following suggestions may be proposed for the development of Hanbok for children. 1. Hanbok is need to be designed considering activity, feeling and becomingness for teenagers. 2. Hanbok design must be kept seperated Traditional Hanbok and Saenghwal Hanbok. Traditional Hanbok is need to emphases tradition, Saenghwal Hanbok is need to apply a western style and have a practical use.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Journal of the Korean Society of Costume
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• v.34
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.