• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.17-32
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• 2013

This study examined the visual elements of the Trompe l'oeil design and the combination conditions of each element in order to deduce the form generation diagrams of Trompe l'oeil fashion design. The following is what the study found: First, Trompe l'oeil fashion design can be divided into two based on its subject: 'the combination of internal elements of dress' and 'the combination of external elements of dress'. Looking at the visual components of each type, depending on the subject, 'the combination of internal elements of dress' design was achieved by combining internal dress elements: including textile, detail, item, accessory, layering, etc.. In case of 'the combination of external elements of dress' design, the object of Trompe l'oeil was expanded in scope to environment, which includes the actions of a wearer. Second, as for Trompe l'oeil fashion design through the combination of external dress elements, the condition to combined visual components of the work in the process of creation was related to 'the popularity of object', 'the similarity of shapes and sizes', and 'the probability of location'. Third, deriving a form generation diagrams of Trompe l'oeil fashion design was very effective in delineating specific relationships and conditions, directions among elements combined in fashion design.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.89-104
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• 2006

The purpose of this study is to explain how a power group in a society forms features of sexuality in dress. As for the research methodology, first, historical research was undertaken to study in socioeconomic context in which sexuality has been formed and transformed. Second, demonstrative studies on sexual-image styles were undertaken through the analysis of pictures and photos. Third, analysis of the relationship between the power and sexuality in dress was done by literature research. Masculinity in dress, such as simplicity and concealment, corresponds to the attributes of the viewer, and femininity in dress, such as decoration and exposure, corresponds to the attributes of the viewee. Power struggle is the complex process of forming of the viewer-viewee relationship. The one who grasps the power becomes the viewer. In the shift from the Industrial Society to the Information and Technology Society, powers are horizontally spread over the society and the stereotype of sexuality in both women's and men's dress is fading out. In the field of design, standards and certainty described by absolute power are losing their importance. The 'chaotic' view of a world filled with mutual exchange of masculinity and femininity and uncertainty of sexuality will be sure to be a dominant trend in fashion.

• Fashion & Textile Research Journal
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• v.7 no.6
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• pp.601-608
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• 2005

This research investigated the present state of the dress forms used by clothing manufacturers and proposed procedure to bring out the standardized body type and figure for women in twenties. The result of questionnaire showed chief pattern maker's thoughts that dress form should be differently made for each age group and should be more reflected the standard body than the idea body. The standardized body type was made from the standardized posture and size which were analyzed from the interquartile range(IQR) of 314 subjects. The standardized size could be verified as for the balanced body shape of twenties through making the standard dress form. The standardized form(S form) was compared with three kinds of forms(A, K and P) for investigating the suitability of forms. K form was very similar to S form, Educational P form and manufacturer's A form had quite big differences from S form at the important areas for making clothing. The side shapes of A, K and P forms showed differences at back bending, neck angle and hip shape from S form. A form was comparatively smooth and flat. This results could be used as the practical standard to improve the suitability of size and shape in the dress forms of manufacturers and educators.

• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• Human Ecology Research
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• v.61 no.1
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• pp.53-71
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• 2023

Dressmaking is a high value-added sector of the fashion industry in which the individuality and skills of designers play a prominent role. The appropriate use of the draping and the flat pattern techniques in the dressmaking process also play an important part in perfecting the finished product. The purpose of this study was to improve the understanding of dress design and identify a pattern production technique to enhence efficiency in each of the three elements of the dress manufactureing process. For this purpose, analysis of the design of 1,389 wedding dress photographs published in Wedding 21, Korea's leading wedding magazine, during 2019 and 2020 was conducted. This analysis identified 15 bodice designs and 11 sleeve designs based on neckline and eight skirts based on silhouette which were ranked by frequency distribution. Patterns for the design of samples were then developed according to the highest combined frequency distribution of these three elements. Eight samples were finally produced to test the the efficiency of the patternmaking techniques empolyed and the selected designs. The findings from this study have practical applications, notably in improving the efficiency of pattern production techniques that will facilitate further growth in the dressmaking industry.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.131-140
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• 2004

The objectives of this study were to investigate the effect of the color of jacket. dress shirt, necktie. and perceiver's gender on image perceptions of male, and to examine how clothing color preferences varies according to perceiver's gender and age. The stimuli of 8 pictures of male and the semantic differential scale were used to evaluate image perception. Subjects were 192 males and females in Seoul. The colors of jacket gave significant influences on perception of potency. elegance, preference, and manliness. The colors of dress shirt gave a significant influence on perception of manliness, the necktie's colors gave influences on elegance and visibility. Perceiver's gender did not give significant influences on the image perception. Visibility had an interaction effect by the colors of jacket and dress shirt. Potency and preference evaluation had interaction effects by the colors of jacket. dress shirt. and necktie. White dress shirt had positive effects on the perception of potency and preference in the case of matching with dark blue jacket and red necktie, and blue shirt had a positive effect on the perception of potency and preference in matching with dark blue jacket and blue necktie. The preference of dark grey suit and black shirt showed significant differences according to gender. Dark blue suit, white shirt, and blue shirt had significant differences according to the age group.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.4
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• pp.477-491
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• 2015

This study analyzes Chinese dresses featured in propaganda posters since the mid-$20^{th}$ century as well as explores the political characteristics of dress. This study used an in-depth interview method to investigate information from 10 Chinese familiar with public awareness and donning practices of the Chinese from 1949 to present. Interviews and analysis provided the following conclusions. First, Zhongshan-zhuang, Liening-Zhuang and Bulaji were widely worn in the Reconstruction because of the revolutionary spirit; in addition, Huayishang also became simultaneously popular as a means to reflect the new aspects of socialism. Second, Jufu/Junbianfu were the most common dresses during the period of Cultural Revolution because the government used various mechanisms to control public opinion. Third, Western fashion began to enter the Chinese market and suit wearing by the Chinese became a symbol of the Reformation and Open-door policy. Traditional dress is no longer a symbol of Feudalism and is a part of Chinese culture that has been reaccepted in the Reformation and Open-door times. Finally, during these 60 years, Chinese dress has obvious political characteristics, but began to change. The changes of political characteristics were, de-politicization expressed by the introduction of Western ready-made, permissions for traditional dress and diversification/ individualization.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.656-664
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• 2019

This study was to develop the patterns based on the study of commercial Cheollik dress pattern analysis that verify the effects of pattern improvement by performing wearing evaluations. The commercial Cheollik dress pattern analysis was divided into A type composed of a traditional hanbok flat sleeve type and B type composed of western three-dimensional sleeves type. The prototype pattern of A type and prototype pattern of B type were fabricated after modifying and supplementing the pattern on the basis of precedent research. Appearance evaluations and mobility evaluations were also conducted. In the evaluations of the appearance, the prototype pattern in both A type and B type rated better than the control pattern in all items, so it can be judged to be a pattern that creates a better appearance in terms of allowance and design ratio. In the evaluations of the mobility, the prototype pattern was more convenient and a functional pattern with better scores in both A type and B type. If the Cheollik dress prototype patterns developed in this study are distributed, the Cheollik dress will be easy and comfortable to wear as a casual wear, which will help to make dailyization and popularization of Hanbok.

• Journal of Fashion Business
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• v.24 no.5
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• pp.89-105
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• 2020

This study considers aesthetic characteristics by examining red carpet dress in China film festival. The research methods were quantitative and qualitative analysis of red carpet dress images collected from 2015 to 2019 on websites according to four criteria following previous research on red carpet dresses. The results of the study are as follows. First, the analysis of red carpet dress silhouettes showed that A-line silhouettes, slim silhouettes, and mermaid silhouettes appeared. Second, in terms of colors, one color, black, represented a higher proportion of the dress colors than the combination of different colors. Third, soft texture occupied the highest proportion of material textures, and combinations of materials with different textures were also used. In the case of patterns, the proportion of dresses without patterns was high, and natural patterns were found in the largest proportion. Beads and sequins accounted for most of the dress details, and the analysis showed that various detail types such as embroidery, slits, ruffles, and belts were used in the red carpet dresses. The aesthetic characteristics of the red carpet dresses worn at the China film festival were analyzed as sensual, elegant, decorative, and simple.

• Fashion & Textile Research Journal
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• v.4 no.2
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• pp.128-136
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• 2002

This research was designed to study the Korean dress design trends and different kinds of ancient patterns applied to the Korean dresses in 2001. The trend sources were collected by the HANBOK monthly journal and the symbolism of patterns associated with these patterns being used the prevalent Korean dress collection in markets. The results of the research can be summarized as following; The most of Korean dress image was elegant of ancient mode. Main colors of the traditional Korean jacket were white, yellowish white and green. However, main color of the traditional Korean skirt was represented as red. A plant pattern was the most popular pattern in a practical purpose. It looks beautiful and it is also easily manufactured with open space. Copying other patterns definitely damage the elegance of the Korean dress. It is time for us to not only keep our own traditions but also study and develop new patterns. Designers must study to develop the image and patterns which are agreed with consumer's taste.