• 한국의상디자인학회지
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• 제14권2호
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• pp.147-156
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• 2012

The purpose of this study is to analyze the style of wide pants shown in collections from 2008 to 2011 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in silhouette of wide pants. The results of this study are as follows: 1) The wide pants which women wore in the 1970s were similar to men's. The aesthetic values for the wide pants included the social women's requests of the time. On the other hand, new wide pants shown in the current collections have diversified by adding designers' will to express contemporary women's tastes and fashion senses. 2) 742 wide pants shown in collections were composed of 459 straight, 147 bell-bottom and 136 flared pants. The design differs according to changes in the waist position and width of the wide pants. 3) Main expressional words of visual images for wide pants differ greatly depending on the silhouette of wide pants. The visual images are ranked in the order of 'showed that legs are long', 'looked taller', 'neat', 'relaxed', 'retro', 'modern' for straight pants. The words of 'retro', 'countrified', 'legs seemed to be long', 'enough' 'confident' 'looked like thighs that are slim' are ranked for bell-bottom pants. And the words of 'plentiful' 'loose', 'enough', 'retro' 'uncomfortable', 'relaxed', 'countrified' are marked down for flared pants.

• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• 감성과학
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• 제19권4호
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• pp.71-82
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• 2016

시대가 급속히 변화함에 따라 남성의 라이프 스타일, 개성, 가치관 등이 다양하며 과거에 비해 남성복에 대한 기호도 변하였을 뿐만 아니라 또 남성복 시장이 증대되었고 전에 없던 새로운 스타일이 많이 등장하였으나 활발한 여성복 감성 연구와 달리 남성복의 스타일에 따른 감성 연구는 미비한 실정이다. 이에 20대 남성들이 주로 착용하는 스타일을 7가지 대표 자극물로 선정하고 자극물로 제시하여 각 스타일에 대한 소비자의 감성을 조사하였다. 스타일 1 (정장), 스타일 2 (라이더재킷+스키니 팬츠), 스타일 3 (블루종+스트레이트 팬츠), 스타일 4 (박시한 가디건+하프 팬츠), 스타일 5 (야전상의+스트레이트 팬츠), 스타일 6 (루즈핏 재킷+스키니 팬츠), 스타일 7 (야구점퍼+스트레이트 팬츠) 등 남성복 스타일에 따른 감성의 차이를 조사하였으며 성별에 따른 남성복에 대한 관심과 지식정도 차이를 비교하였고 남성복의 선호와 실제착용 간에 차이가 있는지 분석하였고 라이프 스타일 유형에 따른 선호하는 스타일을 측정하였다. 그 결과는 다음과 같다. 첫째, 남성복은 다양하고 세분화되었고 남성복에 대한 관심과 지식은 남성이 여성보다 높게 나타났다. 둘째, 남성복에 대한 감성은 스타일에 따라 유의한 차이가 있었지만 이는 성별에 따라 다르지 않았다. 셋째, 20대가 가장 선호하는 선호스타일과 실제로 즐겨 입는 착장스타일 간에는 차이가 존재하였는데, 일치하는 비율은 66.1% 이었고, 불일치하는 경우는 33.9% 이였다. 선호도와 실제 착용도가 가장 높은 것은 스타일 3 이었으며, 가장 선호되지 않고 착용되지 않는 것은 스타일 5 이었다. 넷째, 내향적보다 외향적 라이프 스타일을 지닐수록 더 다양한 스타일에 대하여 선호도를 나타내었다.

• 패션비즈니스
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• 제10권2호
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• pp.1-17
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• 2006

The purpose of this study is to analyze the street style of women in Dalian, China. 1.185 females of Dalian central street have participated for the survey of this study. This study analyzes characterization of the street style and, classifies it's characteristics by age groups, clothing styles, and clothing items. There are three outcomes due to the aim of this study, 1. In age group classification, every age groups preferred casual style. Especially, young/young adults preferred mix-match styles with various designs. Distinctly, some of missy group preferred fashion trend and others preferred mature style. Also, the preference of missies/madame's group is obviously divided into two groups which pursues fashion trend and not. 2. In clothing style classification, casual styles such as mini-skirts, hot pants, tight t-shirts are mostly in tight silhouette. Also, the main colors are indigo-blue, white, black and point color, which are vivid tone and fluorescent colors. The characteristics of sport casual style contribute the upper garment and the lower garment, which forms a set. Classic styles are divided into two groups of typical formal dress and traditional Qipao dress. The colors of feminine style and textile printing are more sumptuous than other styles. 3. In clothing items classification, the points of the upper garments is the construction of designs, textile printing, ornament with beads, embroidery, and ribbon etc., exposed back. The lower garments like hot pants and mini-skirts are made of jeans. The cargo pants that is made of jean, cotton, luster textile. Also, one-piece dress has the characteristics of tiered and irregular hem line.

• 한국의상디자인학회지
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• 제19권2호
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• pp.63-78
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• 2017

The purposes of this study was to study Turkic clothing traditions as a way to shed light on cultural development via the interactions among different tribes along the Silk Road, the close correlations between the surroundings of the Turks and their costumes, and the root of Turkic culture through literature studies and empirical studies. The study results are as follows. First, the Turks were nomadic equestrian tribes in the north that dominated the cold dry steppes from the $6^{th}$ to $8^{th}$ century A.D., when they expanded their influence to Dongbei, China to the east, and Turkistan (Central Asia) to the west. The Turks formed a nomadic lifestyle and culture suited to a cold dry climate, and interacted with various other tribes via the Silk Road, while exchanging and sharing different cultural aspects. Second, given that the Turkic garments constitute a two-piece style, which is a category of the basic nomadic costume of northern tribes, and that the artifact materials manifest jackets, overcoats, pants and skirts, the garments are categorized into tops and bottoms. The tops are sub-categorized into jackets and overcoats. The bottoms are sub-categorized into pants and skirts. In light of the necklines of tops, jackets have round necklines, while overcoats have V-necklines, round necklines and lapel collars. The bottoms include narrow-legged pants, wide-legged pants and closed-hem pants. Drapery skirts are worn at the waist. Third, the Turkic V-neckline overcoat is comparable to the Huns' silk overcoat, which illustrates the ethnic link between the two tribes. Also, the Turkic narrow- and wide-legged pants are consistent with the Huns' silk pants discovered in Noin Ula. The Turkic costumes are mostly tight fitting, suitable for the nomadic lifestyle in a cold, dry climate. Also, additional patches must be attached to the crotch points of pants due to the equestrian lifestyle.

• 한국의류학회지
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• 제40권1호
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• pp.97-113
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• 2016

This study develops pant patterns using body shape, measurement and shell mesh data to decide optimal women's pants according to styles with excellent size, fit and shape for different individuals and silhouettes. Standard landmarks, lines, triangles and structures were set on a 3D scanned lower body shell to represent women in their twenties and flattened as a 2D pattern. Patterns were created and analyzed according to culotte, formal, slacks and tight type considering crotch shape, location of the crotch point, and adjusting waist darts. Flattened patterns were rotated to compare existing methods. The crease lines were then set through the hip protrusion point and compared. The main factor of the pant pattern were extracted, total rise, crotch depth, crotch width, angle of center line, shape of the center line curve, the thigh width, the amount of waist dart, and crease line position. With going tight style from the culotte, the fits are closer to the figure with minimized thigh circumference, the dart amount decreases, the crotch depth increases, the crotch extensions were shorter, and the angle of the center back increased. The total rise is U shape for culotte and is closer to V shape as the silhouette tightens. T-test of appearance evaluation of the developed pant pattern were conducted after analyzing measurements and shapes of each styles. The results of the developed patterns were superior to existing patterns in accordance to hip line between body and pants as well as appearance evaluation. We found systematic mechanisms among pattern factors that create various pant silhouettes. Evidence on classification of the silhouettes of traditional types of pants were explained objectively through the process of playing out 3D forms.

• 한국의류학회지
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• 제35권3호
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• pp.312-324
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• 2011

This investigates the type of pants preferred by Korean men in their 20s through a subjective wear test. Six types of men's pants were developed as experimental garments. The male subjects were university students between the ages of 20 and 24. Subjective wear sensations of the experimental pants were rated using seven Likert scales. A 7-point Likert-type scale was used for the evaluation, with 7 indicating the best fit. As a result, a basic men's sloper for lower body clothing was developed based on SizeKorea 2004 anthropometric measurements surveyed between 2003 and 2004. A basic pattern (A) was manipulated to tight-fit pants (E) and loose-fit pants (D, L, M, and N) by considering the ease at hip level and the style. Among the six pants, pants D and L (4cm ease at hip level) were found to be superior to others in terms of comfort, fitting, and crotch depth. With regard to ease and comfort of the crotch part, pants E and A (0cm ease at hip level) were found to be the least preferred.

• 한국의상디자인학회지
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• 제23권1호
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• pp.113-127
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• 2021

This study aims to analyze the style of men's suits and extract expressional words for the development of semantic differential scales of visual images according to the change in silhouette. Research methods are literature studies, case studies, and questionnaires. The stimuli were created using CLO 3D, a virtual sewing CAD. This study's results are as follows: 1) The British suit jacket has an angled shoulder line using thin pads, and a slightly higher waistline. The pants of the suit have a high waistline and two pleats, so the thighs of the pants are wide. The American suit jacket has a natural shoulder line, and the waistline is not emphasized. The width of the jacket is relaxed, and the length is long. The pants of the suit have a higher waistline, and the pants are wide as well. The Italian suit jacket has wide shoulders, and the waistline is connected lower with a soft curve, and the length is relatively short. The trousers of the suit are tapered and get narrower as it goes down to the hem. 2) Because it originated in the practices of true bespoke tailoring, traditional British suits have a far more 'fitted' silhouette than the mass-produced styles that became emblematic of the American style. By the late 1950s, a sack-style suit was standard American business attire. This technique gives the sack suit its characteristically 'boxy' silhouette. The "Continental" presented a highly tailored silhouette, with padded shoulders, a slim, tight-fitting chest, and a closely tapered waist. The story was that Italian culture valued aesthetics over all else and thus sought the 'slim' suit style as much as possible. 3) The main expressional words of visual images for men's suits differ greatly depending on the silhouette of suit. The visual images are ranked in the order of 'neat', 'classic', 'educated', 'hard', 'mature', for fitted silhouettes. The words of 'masculine', 'basic', 'comfortable', 'simple', 'mature', 'conservative', 'modern', are ranked for boxy silhouettes. And the words of 'slim', 'young', 'neat', are noted for slim silhouettes.

• 대한가정학회지
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• 제38권5호
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• pp.79-90
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• 2000

The purpose of this research is to offer basic data for the study of men's suit by investigating the preference of design and form for men's suits. For data collection, a questionnaire was composed stymie of suits, form of lapel and vent of suits etc‥‥ The subjects of this research were male aged 20-59 and resided in Seoul and the capital region. The results of the research are summarized as the following: 1. Most men tend to prefer a set of suits rather than combination and formal style rather than casual or character style. And most of men like a little enough fittiness of suits. 2. Most men tend to prefer single-breasted jacket rather than double-breasted one. they also tend to prefer notched lapel and no vent jacket, especially men who work in sale, office and an independent enterprise. 3. Men who aged 20-40 tend to prefer classical pants, and one who aged 50 like wide pants. They also tend to prefer pants with pleats rather than one with darts. 4. Most men tend to prefer plain cloth rather than check, stripe pattem, and they tend to select blue and black color as their suits.

• 패션비즈니스
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• 제5권1호
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• pp.73-85
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• 2001

The purpose of this study is to understand what the Glam Style is, focus on the movie "Velvet Goldmine". The Glam Style is refered early 1970s Glam rockers' costume, typified by silver lurex, corksoled platform, men in make-up, personified, for example, by David Bowie, Marc Bolan, New York Dolls, Roxy Music and Iggy Pop. To approach the Glam Style comprehensively, I have divided the formative background of Glam Style into the improvement technology, the advent of the young generation and the diffusion of mass media, the rock music fever and influence on Pop art. Following is the result of analyzing of the character in the movie. First, Brian Slade has the flamboyant transsexual image by skin-tight space suit, glitter pants, lurex, satin and sequined stretch fabrics, vivid color, gauze make-up, feather boa. Second, Curt Wild expresses the outrageous sexual image by black leather jacket, emphasized black eyes make-up. Third, Mandy Slade appears the exaggerated and frivolous image by gold leopard patterned one piece, fur coat, ornamented with beads, tropical make-up, spangles and the costume jewelry. Forth, Auther Stuart has the complex image by black leather jacket, velvet jacket, skin-tight bold shirt, glitter pants, glitter make-up, silk scarf, cherry-red sunglasses. The characteristics meaning of Glam Style implied in this formative characteristic could be presented as the experimental expression of androgynous, the hordes of outrageous alien and kitsch parody.