• 한국의류산업학회지
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• 제15권6호
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• pp.1000-1009
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• 2013

Well-fitting riding breeches provide a comfortable ride. Horse-riding breeches should fit the lower body with patches located on the inside of hip and knees to prevent tears and slips. This study provides information about the fit of women's breeches using 3D human body scan data wearing commercially available two breeches according to posture. To get information about breeches fit, we measured the angle of waist line, the length, and the area of the breeches fit on four 20's women. This research showed the problem which was down for waist back line in the case of the horseback riding pose. The back waistline of the riding breeches should be raised compared to the front waistline; subsequently, an increased waistline angle results in less back waistline decrease. The breeches have plenty of length from back waist to crotch so the breech fit can be improved. The thigh circumference increased when riding in the front; therefore, good elasticity of the weft direction of the fabric is recommended. The length increase and the peripheral increase of the front knee significantly increased the surface area of the knee; consequently, knee patch material should be a two-way elastic fabric in all directions to enhance comfort according to riding motion.

• 복식문화연구
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• 제6권3호
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• pp.217-227
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• 1998

Male underclothing during this period preserved in the shirt its former qualities though somewhat diminished. The habit of leaving much of the waist coat unbuttoned to display the fine quality of the shirt was more than evidence of social ranks : it appears to have had its attractions to the other sex. But in other respects man's underclothing was sinking into obscurity. This was due, in a great measure, to the closer fit of his suit, designed to exhibit the shape of his legs in breeches and stockings, leaving little opportunity for the display of garments beneath. With the latter part of the eighteenth century man's underclothing ceased to serve for sex attraction, a function on it has never regained, while continuing -in the shirt front and cuffs- to indicate class distinction, until, in modern times, that too has disappeared. The term 'smart' was coming into vogue to indicated the well-dressed man, and for at least a century after, the word implied tightfitting garments which, of necessity, reduced underclothing to a very subordinate function, so that only the shirt front survived for display purpose. Artificial calves was introduced by the Macaronis its purpose was to accenturate the captirating shapelines of the calf of the leg appearing below the tight breeches of the period.

• 복식문화연구
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• 제6권4호
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• pp.203-212
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• 1998

During the Baroque Ages, the underclothes of both sexs developed a new significance. They ceased altogether to be merely utilitarian in function, and were exploited, to a striking degree, to indicate class distinction and sex attraction. Up to this period, as e have seen, the underclothes of men and women had very much the same significance, but from now on there is a division. The male garments are designed mainly to express social rank, the female mainly to attract. The man's shirt is an integral part of the visible costume of the find gentleman. After 1660, The fashion portrayed by the men, exhibiting the shirt extruding between the bottom of the waistcoat and the top of the breeches is still more remarkable and significant. The period is important in that it was the last time that the male attempted to give his under clothing an erotic suggestion. It was their experience that silk and linen garments next to the skin were less liable than wool to harbour lice. Until the era of physical cleanliness opened a century later, woollen undergarments were rarely worn. the nineteenth century accepted cleanliness as a sign of class distinction.

• 패션비즈니스
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• 제2권4호
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• pp.13-20
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• 1998

Scandinavia consists of Norway, Sweden, Denmark, Finland, Iceland and Lapland, all linked by historical and geographical ties. In this respect, the objective of this research was to clarify the folk costume of the Scandinavia. Scandinavia many skilled handicrafts are practised, such as leatherwork, silverwork and embroidery. The most popular colours are yellow, blues, reds, greens and white. For women the costume consist of a blouse with a bodice, skirt and apron, over which is worn a jacket or shawl, accompanied by a headdress. Their accessories may be jewellery, belts, kerchiefs and separate pockets. For the men, the costume is a shirt, trousers or breeches, worn with a waistcoat and jacket, neck scarf, and topped with a hat or cap. And the Lapps, both men and women, wear woollen shirts beneath their blue-skirted tunics, and blue trousers. It is one of the most ancient of the costumes worn in western Europe, due to its total suitability to their way of life.

• 복식문화연구
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• 제7권5호
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• pp.56-67
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• 1999

At the turn of the 19C, the first development, spreading to the all classes that peculiar attitude of mind associated with the term prudery. The second changes of habit which affected both sexes and their undergarments were the novel idea of personal cleanliness. Drawers appear to have been of two lengths, short, when worn under breeches, and long when worn under pantaloons and trousers. The dandy wore corsets for beauty. In the early part of the 19C, the differences between day and evening style came to be accentuated. Not only the beau, but the soldier and hunting man were addicted to stays. The high standing collars of the early 1800s became fairly low in the middle of the century. in mid of the 19C, a woolen under-vest was worn next to the skin and studs were an usual fashion. At about 1850 the bottom of the shirt was cut in a curve. For evening dress the elliptic collar was introduced.

• 한국의류학회지
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• 제37권8호
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• pp.1075-1094
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• 2013

This study analyzed the lower body type of women aged 20 to 30 to understand their respective characteristics. The research method was restricted to the use of direct measurements data and 3D measurements data of the Sixth Size Korea. Factor analysis, cluster analysis, ANOVA, Duncan's test, discriminant analysis, t-test, and ${\chi}^2$-test were performed for the statistical analysis of the data using SPSS Win 20.0 program. The results of this study are as follows. Lower body type based on 3D measurements were classified into 3 types (obese lower body, long lower body, and small lower body). Lower body type based on direct measurements were classified into 3 types (obese lower body, thick and long lower body, and small lower body). Lower body type based on the direct measurement of sitting pose were classified into 3 types (obese lower body, long and thin lower body, and short lower body). The age differences in the lower body types could be analyzed by an evaluation of the 3D simulation of the lower body.

• 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.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 복식
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• 제60권6호
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• pp.62-73
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• 2010

The purpose of this thesis is to make an effective Korean Hip Hop culture and suggest a new style direction in classifying the types of fashion styles of the Hip Hop musicians and studying their features. They are surveyed in stage costumes, hair styles, make-ups, accessaries, and total fashion styles, and then classified into Normal Hip Hop Style, Casual Hip Hop Style, Sporty Hip Hop Style, Mix & Match Hip Hop Style, and Classical Hip Hop Style. The results of the study are as follows: First, Normal Hip Hop Style is the most general and universal Hip Hop fashion type. They wear clothes in bigger sizes and exaggeratively. And also a cornrow hair style, a tattoo, and a piercing represent marked individualities. Second, Casual Hip Hop Style is more active and practical than Normal Hip Hop Style. Their blue jeans and T-shirts express more simple and polished style. And also they make variable fashion styles and hair styles such as a cornrow hair and a buzz cut. Third, Sporty Hip Hop Style is from B-boy's clothes when they do active and violent break dancing. As NBA basketball games are popular, they wear training clothes, breeches, big T-shirts, and jumpers & caps on embroidered sport team's names. Their hair style is short or natural and also they have caps or hoods to present active mood. Fourth, Mix & Match Hip Hop Style is existed variable elements in one style. The typical type of this style is jacket & blue jean. It is characterized by dress shirts, neck ties, blue jeans, sneakers, beards, and moustaches. Fifth, Classical Hip Hop Style is from African Americans. They try to express assimilated appearance of Anglo-Saxons. They wear black suits, shoes, hats, and sunglasses to represent formality and elegance. In the above results, there are variable fashion styles in one Hip Hop music genre and also fashion style is changed with musical inclination. This thesis is an important guide to produce variable and creative Hip Hop fashion styles in Korean Hip Hop culture.

• 한국의류산업학회지
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• 제17권3호
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• pp.327-340
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• 2015

Male skirt is found in traditional costumes all over the world. Due to the development of tailoring skills in the early Middle ages, men started wearing breeches and pantaloons gradually distinguishing the different characteristics of menswear and womenswear. Since then, skirt became the strong representation of the female gender, symbolizing the feminism. However, under the influences of technological development and diversification in 2000s, gender identity has been diversely expressed in modern fashion allowing male gender to embrace different sexual identities. The purpose of the study is to analyze the nature of male skirts, which have been popularized in modern men's fashion through both the expressional elements and compositional elements. This study associates design elements of male skirt, gradually appearing in the contemporary men's fashion with the sexual symbolism and reinterpreted it's significance in the flow of the modern fashion. Reinterpretation of the gender image in costumes are considered to contribute to the cultural context and extension in diversity. These research results forms a basic foundation to expand in studies of men's fashion design and gender image of costumes through cultural contexts and it's changes. It is considered that this can lay groundwork to make various attempts at passing over the archetype of the gender image besides the continuous appearance of male skirt in the field of fashion design.