• 패션비즈니스
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• 제3권2호
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• 복식
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• 제28권
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• pp.99-112
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• 1996

In this study I purpose a new approach to the study of Korean costume history which includes a statistical method used in the prac-tical measurement of excavated Po's and the analysis of their quantitative changes. In the framework used in this study I de-pend on the nineteen variables picked out from the typological and chronological analysis of excavated clothes. The interrelationship of the variables as well as the standard of each part and its deviation in other forms are may main concern. Other methods are also very useful in my thesis: Correlation analysis Regression analysis Discrimination analysis Cluster analysis Discrimination analysis Cluster analysis Factor analysis One way analysis of variance. The findings of my study can be summarized as follows: 1. Every type of po has a general tendency to have more broadened sleeves while it does not show any considerable changes in the total length and in the width of armholes. 2. In the Correlation analysis each part of Po's is handled separately accordign to its chronology and type. The Regreesion analysis makes it possible to provide the sizes of miss-ing parts in excavated clothes and the numeri-cal value of each part needed in the pattern making. 3. The Discrimination analysis of the Po's whose types are unknown leads to the con-clusion that Chongsam and Chikryong Po are classified into Chikryong Po whereas Hongui is classified into Jooui In addition I propose discriminational function by which the age classification is possible discovering the variables associated with time change. 4. Five items-Gerneral Park's clothes Taewongun's clothes and three others produced later for the purpose of preserving Korean costume are proved to be in a differ-ent group and hence analyzed separately in the visual grouping of changui which is done after the cluster analysis and the factor analysis. 5. The results of the one way analysis of variance reveal that there is a difference in each part from period: the back width the sleeve length the sleeve width thelean fig-ure the breasttie length the breasttie width outside quesset upper inside quesset lower outside neckband length insideneckband length etc.

• 복식
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• 제58권9호
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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.

• 한국의류산업학회지
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• 제25권3호
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• pp.315-323
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• 2023

In the diverse modern era, individuals are actively striving to develop and demonstrate their capabilities . As a means of cultivating interest in hanbok and differentiatedabilities , there exists a national qualification verification for hanbok technician. This study focuses on using Saekdong-jeogori pattern that is suitable for design and allows for accurate pattern production in a short time for beginners taking the practical test for hanbok technicians. We analyzed five experimental Saekdong-jeogori patterns, from which the final patterns for research were derived through appearance tests on the first table evaluation and the second outfit evaluation. The Saekdong-jeogori pattern-1 for research utilized the body values presented by beginners taking the hanbok technician qualification verification, while the rest were calculated or applied using equivalents. The godae point and armhole depth were calculated based on the chest circumference, and the armhole curve, sleeve shape, doryeon line, and sleeve-end were drawn, regardless of the changes in the figures, using equal parts. The Saekdong-jeogori pattern-2 provided activity by vertically lowering the side line from the end of the armhole, and the keotseop line was drawn by moving 1 cm from the width of the Kit to the armhole line. The seopko was raised 0.2 cm from the keotseop reference line and0.2cm , and was supplemented by its connection to a natural curve.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 한국의류산업학회지
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• 제15권1호
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• pp.116-129
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• 2013

This research analyzes the status of clothes purchase and the size fit of the clothes for kindergarten children in the Daegu city area. The total of 344 questionnaires were analyzed. The summary and the conclusion are as follows: First, the frequency of accompanying children when purchasing appeared mostly 'sometimes accompany'. Second, the parents appeared 'sometimes reflect children's opinions'. Third, the main information source was 'store display'. The main place of purchase was large discount stores, internet home-shopping, and department stores (respectively) with significant differences in the age of the parent(p<.05) and monthly incomes(p<.001). In the clothes size selection, 72.1% of the parents selected 'one size larger' at time purchase and showed asignificant difference by monthly income. Repair-experience after purchase appeared in 31.4% of the samples because of the inadequate length and width of the clothes. The unfit clothes parts were in the order of pant length, sleeve length, waist part, jacket length, pant width, hip part, and crotch, which showed a significant difference in children based on gender. The salient purchasing point for child clothing was in the order of 'size fit', 'color and pattern', 'design' and 'convenience in action'. It is important to consider that kindergarten children need adequate size for growing and convenient pattern designs (that include materials at stretching parts) for positive acting because they are in a period of frequent activity and growth.

• 패션비즈니스
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• 제16권3호
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• pp.13-31
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• 2012

The purpose of the study was to analyze the work clothes' clothing comfort and wearer mobility of painting workers with the consideration of the work environment features in the machine and shipbuilding industries in South Korea. A questionnaire survey was conducted for the study, which consisted of questions on the clothing comfort and wearer mobility aspects of painting work clothes by clothes types and body parts. The work clothes' clothing comfort and wearer mobility levels were scaled in 5 points i.e. 1(: very tight/very uncomfortable) to 5(: very slack/very comfortable). The painting work environmental hazardous features were considered as high impact levels of workplace temperature, oxygen deficiency, organic solvent, toxic gas factors while metal fragment factor only impacts 'low' in the painting processes with the findings throughout this study. Since the painting work consisted of surface washing and the spray and touch-up painting processes, which was carried out in an outdoor work place, the painting work clothes should meet high performance of waterproofing from the painting material and air permeability specially in summer as well as thermal performance in winter. The subjects painting workers' assessment of the existing work clothes' clothing oppression was in the levels between 3 (i.e. moderate) and 4 (i.e. comfortable) in a range of 1 to 5 points. The existing painting work clothes' wearer mobility was evaluated 'very uncomfortable' in all work clothes parts, especially, armhole length, biacromial breadth, sleeve length of the jumper; and body rise, waist, hip, thigh and knee circumferences of the pants.

• 한국의상디자인학회지
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• 제10권3호
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• pp.137-148
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• 2008

This article investigates the production process of knitwear focused on patterns and armhole forms in order to provide basic data for its value-added production. This study was based on empirical data obtained by questionnaires given to 51 respondents employed at knitwear companies. The data had been statistically analyzed with frequency analysis, one-way ANOVA, and Duncan test. The results of this study are the following: First, many knitwear companies used knitting machines, which had gauges as high as 14G. Second, most knitwears companies did not use patterns in the production process. Third, most knitwear companies produced knitwears in which armhole lines were different between the front part and back part of the body, while identical between the front and back parts of the sleeves. Fourth, people with experience in the knitwear industry had the tendency to recognize that armhole lines should be different between the front part of both the body and sleeves and their back part as well, and workers in charge of knitting recognized better than programmers and designers did. Considering the opinions of experienced workers that armhole lines differ between the front and back parts of both the body and sleeves would improve the appearance of knitwear, this study also suggests knitwear patterns of 10G and 16G by using ESMODE's basic knitwear pattern.

• 복식
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• 제37권
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• pp.163-180
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• 1998

In western clothing, woman's body was port-rayed sexually as the distinction of sex was appeared, and the parts of body contain some kind of symbol of sex. Woman's body was diversly accentuated according to the divers ideal beauty concepts pursuits in the different periods. Today, in a Post-industrial Society whose social structure is very divers and complicated, the interpretation of woman's body reveals so various as the complex social structure. The purpose of this study is to comprehend the various interpretations of woman's body in the contemporary clothing. The concrete purposes of this study is as follows. First, this study is to define the concept of natural body and built body by differentiating the parts of body and searching for the sexual symbols accentuated in the western clothing. Second this study aims to review, the histori-cal process of prejudged distinction of sex in the western clothing, and to analyse the con-temporary sociocultural which forced to change this prejudged distinction of sex. Third, on the bases of this analses, this study also aims to present various interpretation on divers aspects of woman's body portrayed in the contemporary clothing. The interpretation of woman's body in the contemporary clothing were as follow. First, it is a body interpreted as a natural and neutral body which is based not so much on prejudged division of sex as on the expression of the body structure. And, it is a decomposed and recomposed body which is based on plastic principles. This body is portrayed by a layer-ing and wrapping which interrogated such traditional symbols of western clothing as collar, sleeve or trousers, skirt, etc. Second, it is a sexually symbolized body. This body is display-ed by exposure or sexual accentuation in the clothing. To conclude, a body interpreted in the contemporary clothing is no more a body accentuated by division of sex, but a body which per-mits indefinite hypotheses and interpretations under synthetic imagination.

• 패션비즈니스
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• 제16권1호
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• pp.103-120
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• 2012

The study aimed to evaluate the appearance of the men's work clothes jumpers developed to suggest the prototype work clothes jumper patterns by using the 3-D clothing simulation technology. The 3-D simulated clothing images considered the upper body features of men in the age range between 20 and 59 in South Korea. A questionnaire survey conducted previously suggested a basic jumper style with shirt collar and snap opening cuffs for the heavy industry workers; and discomforting parts of the work clothes jumper of the subject workers have been referred to for the experimental jumper appearance test. Besides, defining the measurements of men's upper bodies enabled to generate the men's 3-D virtual models representing each age group's average body feature. The significant body measurement factors for men's 3-D body modeling and jumper pattern-making were stature for the height factor; chest, waist and hip circumferences for the circumference factor; waist back, hip and arm lengths and interscye front/back for the length factor; and back neck breadth for the breadth factor and armscye and scye depths for the depth factor. The men's body measurements of 30's were implemented to three experimental jumper pattern-making methods, i.e. the 1st method using the relations based on stature and chest circumference; the 2nd method using the direct body measurements; and the 3rd method adopting the maximum ease amount of given body measurements whether relations or direct measurements except the direct measurement of scye depth. A comparison among the three experimental jumpers' simulated images highlighted that the appropriate ease amount of the jumper gained higher scores in terms of the jumpers' front, side, back and sleeve parts and the total silhouettes. Therefore the 3rd experimental jumper was finally selected for the heavy industry workers.