• 대한가정학회지
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• 제43권5호
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• pp.43-55
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• 2005

This research was designed to investigate and compare the characteristics of preferred clothing textiles for slacks and skirt of college students. One hundred five subjects majoring in fashion design were surveyed and the subjects selected three favorite materials among 120 samples presented in a swatch book. The subject's weighted frequencies were added tv order of preference. The results of this study were as follows: 1. In the spring and fall seasons, black twill cotton drill was preferred foremost as a textile for slacks, and medium gray basket weaved cotton pinhead with stripe pattern was preferred as a textile for skirts. 2. In summer, dark bluish gray plain linen crash was the most preferred material for slacks, and pale yellow plain linen tropical cloth was preferred for skirts. 3. In winter, olive gray cotton corduroy was the most favorite textile for slacks, and moderate brown twill wool hound check was preferred for the skirt. 4. In thickness and weight, textiles for winter were thicker and heavier than those chosen for other seasons, and textiles for skirts showed various thicknesses and weights as compared with those of slacks. 5. In fiber content, natural fibers such as cotton and wool were preferred for an seasons. 6. In the weave of textiles, twiu we,3ve was preferred for spring, fall and winter season, and plain weave was preferred for summer. 7 The most preferred colors for slacks were B and PB, and those for the skirts were YR and PB. For color characteristics, solid fabrics were generally preferred, and patterned fabrics were preferred for skirts as compared with slacks.

• 복식
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• 제56권3호
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• 패션비즈니스
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• 제17권6호
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.

• 복식
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• 제5권
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• pp.103-112
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• 1981

In Koryo Dynasty, during the reign of uijong, Choe Yun-ui and others countries collected the royal orders of the Koryo kings and adopted the Tang institutions, and compiled 50 volumes of a book, called "Detailed Ceremonies of Old and New." Recording about clothing, with a special focus on dress and its ornaments of armed vassals, when they attend the king while he is conducting his business. 1) As for the headgear's were the Pokdu, Moja, Kwan, Tumo (official hat to be worn with armors) and Malye (for protection against the cold). There were II kinds of headgear's name in all. 2) As for the clothes, (1) Kongbok (formal costume) (2) Dress, there were 34 kinds of clothes name differented by (i) flowerage on clothes (ii) size of sleeves (iii) color of clothes (iv) fabrics (v) the belt used with the dress. Others were; (3) Baeja (4) Hansam, (5) Poto, and (6) Armor. 3) As for colors of clothes, there were (i) Purple, (ii) Red(Scarlet), (iii) Green, (iv) Blue, (v) Yellow, (vi) Black and (vii) White. 4) As for materials, there were (i) Kum, Ra, Sa (all kinds of silk), (ii) Iron and (iii) Leather. 5) For belts, there were (i) Sockdae, (ii) Hongjung, (iii) Kayeundae, (iv) Dongdokum-dae, (v) Jojung and (vi) Dongshimsokdae.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 한국의류학회지
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• 제30권9_10호
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.

• 한국의상디자인학회지
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• 제20권4호
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 복식
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• 제36권
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• pp.121-137
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• 1998

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

• 패션비즈니스
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• 제1권3호
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• pp.19-34
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• 1997

The role of fashion image in modern society is being diversified from product planning to consumer satisfaction. In this research, after surveying female college students, the diversified modern fashion image was patterned. On the analogy of the relationship between these patterned image and design factors, the following conclusion was obtained. 1. The most popular styles are jacket and pants suits, three-piece outfits, tight mini-skirts and X-silhouette. Little decoration is used in general. simplicity is shown as trend by utility fabrics in single color-black, brown, beige and blue-with no pattern. Various materials such as wool, cotton, wool or cotton blended with other materials, silk, satin, knit, lace, vinyl and leather are used. 2. Fashion image is divided into four factors; factors that show fad, dignity, activity and simplicity. 3. Factors that show fad; style of tops, material of bottoms and length of bottoms reflect fad. blousons, three-piece outfits, pants rather than skirts, X-silhouette and mini-skirts are prevailing. Vinyl, leather, knit, lace and satin are the materials well used. 4. Factors that show dignity; Style and material of tops, the way of top and bottom pieces are matched and length of bottom or pieces reveal the characteristics. Jackets, blouses, half-coats and one-piece outfits rather than two-pieces are popular. Tight skirts in natural or midi length or pleated skirts are common. Wool, wool blended with other materials, leather and X-silhouette are design factors that reveal dignity well. 5. Design factors that show active image; Straight pants, three-piece outfits, T-shirts, shirt -blouses, vests, and blausons are popular. Knit and lace are used for tops, leather and vinyl are used for bottom pieces and cotton is widely used. Y- or H-silhouette are used to show active image.