• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.192-205
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• 2006

This study first aims on preparing a systematic analysis basis for the expression aspects of hairstyle in forms of postmodernism. Secondly, it studies the meanings and aspects the hairstyle trend through a post modernism approach about its expression methods based on the suggestive collection hairstyles. Third, it confirms that hairstyle is also one of fashion that can be represented as modern society and culture by explaining that post modernism appears in hairstyles. This study analyzes the expression aspects of hairstyle in forms of post modernism that appears in modern collections by preparing theoretical theories for this study based on former studies related to post modernism theory and clothes from a qualitative analysis. The results of this study prepared a theoretical analysis frame to study the expression aspects of hairstyle in forms of postmodernism first. Secondly, as a result of analyzing based on the analysis, they show that disoriginality of hairstyle can be freely interpreted by the author through borrowing and restoration, disformation through discord and incompletion, discenterization through non-westernization and sub-culture, and inter-text through many symbols and meanings. Thirdly, as the postmodernism movement that represents modern society, culture, and art movement is reflected on hairstyle, it can be considered as a small culture and a product of the era.

• Journal of the Korean Home Economics Association
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• v.39 no.4
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.5
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• pp.748-759
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• 2000

The purposes of this study were 1) to classify wearing situation of male adolescents and 2) to classify self-image and CPI(Clothing Preference Image) of male adolescents and 3) to segment consumer group by self-image and to find the differences in self-image and CPI by situation among groups. For the data collection a questionnaire was distributed to male adolescents who were residents in Seoul and Taejeon. The statistics used for the data analysis were factor analysis, multiple dimensional scale, mean, percentage, peason-correlation, cluster analysis, one-way ANOVA, Duncan-test by the SPSSWIN program. The results of this study are as follows: 1) The self-image of male adolecents is categorized by seven factors; sophisticate and fashion conscious, active, practical and realistic, flank and pure, young-looking, feminine, and slender. Based on seven factors, the consumer group is categorized to five groups; practical and realistic Group1, young-looking and feminine Group2, characterless Group3, active Group4, sophisticate and flank Group5. 2) Wearing situations are divided into three categories; in downtown, in urban, at festival. In downtown, CPI are divided into six elements; ornamental, simplex, sexy, feminine, neat, young, and sophisticate. In urban, CPI are divided into five elements; ornamental, simple, sexy, feminine, young-looking, and sophisticate. At festival, CPI are divided into four elements; unique, simple, feminine, and formal. To conclude, the male adolescent consumers are categorized by self-image, and the different CPIs are sought by different wearing situations.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.1
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• pp.33-50
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• 2019

This study investigates the decision-making processes of Iranian women in their twenties who purchased Hallyu beauty and fashion products. We conducted ten in-depth interviews of Hallyu enthusiasts who previously purchased Hallyu products. Interviewees were recruited using a snowball sampling technique based on nonprobability sampling. Interviews were conducted in the 1:1 in-depth interview format for one hour of each interview from April 11, 2017, to May 14, 2017, using semi-structured questionnaires, and recorded with consent. Our analysis of the characteristics of consumption behaviors of the women used seven steps of the purchase decision-making process. This study used interviews to analyze the following questions. Research Question 1. What is the decision process for Iranian women's consumer products purchase? Research Question 2. What are the characteristics and meaning of each stage of Iranian women's consumer decision-making process? Data collection in this study was limited to participants in their twenties; however, this research will be helpful for future Hallyu and Iranian consumer analysis. A follow-up study should examine the purchasing decisions of women in additional age groups in order to generalize the results.

• Journal of Fashion Business
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• v.13 no.6
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.642-652
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• 2016

The purpose of this study is to understand the concept of a sexual image and verify the method of its design expression through case studies of the sexual image evening dress shown in an Haute Couture Collection over the last 10 years (2005~2014). The results of analysis are as follows: First, "expression by the seeing through of the natural body" expressed a natural sexual image that combined fashion of the previous times with the beauty of the natural body by using a see-through material and classic or ethnic image. Second, "expression of a sexual-image look that emphasizes romantic detail" illustrated a romantic sexual image that emphasizes feminine sensitivity by mixing various ornamental elements such as see-through material and symbolism of underwear image. Third, "creation of a nude look using skin color" expressed sexual image of an evening dress by inducing erotic sexual association through a combination of opaque material of skin color and design shape that is intended for body exposure. Fourth, "combination of sexual symbol and heterogeneous elements" expressed a decadent, avant-garde and futuristic sexual images by using women's underwear and a sexual symbol as design motif and mixed with mismatching elements. Fifth, "use of a fantastic black image" expressed an exclusive and refined sexual image and a decadent and primitive sexual image by using a fantastic image of black color. The results of this study are expected to be used for the design process of the evening-dress industry that aims for quality improvement.

• Journal of Fashion Business
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• v.19 no.4
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.68-87
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• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.231-239
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• 2013

This research developed a smart girdle for adult women in their 20's that has an inserted carbon weaving heater to help with relief from coldness and abdominal disease through the thermal insulation effect. A pocket of powernet fabric was attached to the inside of the girdle for the easy insertion and separation of the heating device, while the heating device was fixed to a mesh material by cotton yarn and was wrapped with elastic lining material to prevent the mechanical devices from being exposed. A set of 3 hooks was attached to the center of the back of the heating device in consideration of convenience and mobility. Whereas the switch was inserted into around the right waistband, and the battery into the inner pocket around the waist, to integrate the heating device with the girdle. The satisfaction and usability of the fabricated smart girdle was verified by having research participants wear it to evaluate the appearance change caused by the device, the inconvenience of wearing/unwearing, mobility, and the satisfactory functionality of the device. As a result, the grand mean was evaluated to be high, with appearance (4.19), mobility (4.17), and functionality (4.51) being higher than 4.00; which indicates that the heat generation function of the smart girdle is effective. It may be said that such collection and analysis of data that reflect users' opinions have value and significance in that they can be grafted onto future research on new technology as well as they contribute to taking a step forward in the rapidly increasing research of smart clothing, with the new-type clothing equipped with new function.