• Journal of Fashion Business
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• v.11 no.5
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• pp.35-50
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• 2007

The purpose of this study was to investigate the result of a market research on men's jacket in their age of 25 to 35, who wear fitted jackets most, and to examine the comparative analysis of pattern and the wearing evaluation between classic jacket and fitted jacket. The results are as follows; Firstly, according to the results of a market research, 32.0% of the target owned fitted jackets, and 28.7% expressed their desire to buy only fitted jackets. This means their concern and preference for fitted jacket with which they could show up young, fresh and slim look are as high as those for classic jacket. Secondly, classic jacket showed the higher value than fitted jacket in such items as chest girth, waist girth, hip girth, sleeve's hem girth, jacket length, shoulder length, side seam length, and across shoulder point length. On the other hand, fitted jacket showed the higher value than classic jacket in back armhole length, front length, collar point length and sleeve's vent length. Thirdly, classic jacket was larger than fitted jacket in 1/2 chest girth(1.0cm), 1/2 waist girth(2.0cm), 1/2 hip girth(1.0cm), back width(0.5cm), front width(0.5cm) and side width(1.0cm). However, fitted jacket was higher than classic jacket in the armhole depth(0.5). Fourthly, the results of appearance evaluation revealed that there was a significant difference in 6 items. In other words, classic jacket was evaluated more appropriate than fitted jacket in such items as back width, back length, back neck depth, chest girth, waist girth and hip girth. And the fitted jacket had a higher value than the classic jacket in shoulder angle item. Fifthly, In the functional evaluation, fitted jacket was evaluated more uncomfortable than classic jacket. And this means that fitted jacket doesn't have a proper ease amount in each part and it has a high armhole depth compared to classic jacket. Therefore, for more comfortable patternmaking of fitted jackets, it would be required a pattern design which reflect men's own shoulder lines and women designers' flexibility that will satisfy both appearance and function.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.5
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• pp.654-663
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• 1998

The purpose of this study is to improve the classic jacket pattern for Korean young men whose chest circumference is 91~94cm, status is 170~175 cm, and drop value between chest and waist circumference is 15. The study was carried out by the following procedures. 1. Through the comparative investigation on the conventional classic jacket patterns of Hyung-sook Lee's, 문화's in Japan, and SMA's and the clothing experiment, the characteristics of every three patterns were found. 2. According to correct the unsuitable point in Hyung-sook Lee's pattern which was found more suitable than other two patterns and to refer to the product size of the ready-made classic jackets for men, the new suitable classic jacket pattern was achieved. 3. The sensory evaluation for appearance and comfort and one to one comparison was applied to evaluate the new classic jacket pattern by comparing with the Hyung-sook Lee' s jacket pattern. From the result of the sensory evaluation and one to one comparison, it was found that the new classic jacket pattern was more suitable for appearance and comfort. 4. From the result of this study, the suitable surplus of men's classic jacket at present is about 23~24cm on the chest circumference, 31~32 cm on the waist circumference, 14~15 cm on the hip circumference, 13~14 cm on the upper arm circumference, and 14 cm on the wrist circumference and the ease is about 3.5 cm on the armhole circumference. This size is not the absolute size but it helps to make the surplus in any other clothes for Korean young men.

• The Research Journal of the Costume Culture
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• v.20 no.2
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• pp.184-194
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• 2012

The purpose of this study is twofold: it suggests appropriate sizes in menswear slim-fit jackets according to brand zones and number of buttons, as well as jacket patternmaking methods according to jacket styles by surveying and comparing the overall present status of patternmaking and production for both men's slim-fit and classic-fit jackets. The researcher conducted interviews with patternmakers of sixteen brands with prepared questionnaires. Data were analyzed by descriptive statistics using SPSS 12.0. The results of this study are as follows: first, for the production ratios of jacket style, the jacket styles' respective proportions differ distinctly according to brand zone. Second, for a jacket with the same number of buttons according to brand zone, the size in character-casual brand zone (character casual can be defined as high quality brands producing designer style clothes) is slightly bigger than the men's formal suit. As the number of buttons increases, there are increases in the chest, waist and hip circumference; on the other hand, the front neck width and the distance from the shoulder neck point to the bottom of the lapel both decrease. Furthermore, the amount of wearing ease in the chest, waist, upper arm circumference, and sleeve curve is less in slim-fit jacket styles than in classic-fit jacket styles. Fusible interfacing alone is used in slim-fit jackets, while sew-in interfacing is used in combination with fusible interfacing in classic-fit jackets. This research concludes that when slim-fit men's jackets are manufactured, appropriate patternmaking and manufacturing methods should be considered.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.679-685
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• 2011

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Power suit in 1980s and the images of the Power suit styles shown in 08/09 F/W, 09 S/S, 09/10 F/W and 10 S/S collections. The results of this study are as follows: 1) The aesthetic values of the Power suit in 1980s are authority, sexuality and luxury to express the power, body and wealth. Authority is represented in wide and hard shoulders with pads and dark colors with stripe and no patterns. Sexuality is represented in tight waist jacket and tight skirt. Luxury is represented in luxurious fabrics and handicraft ornaments. 2) The Power suit styles shown in collections are expressed in classic, romantic, avant-garde and ethnic images: Classic images appeared in jacket which exaggerated shoulders with pads, mini skirt, tapered pants, dark colors with stripe and check patterns, rough materials and a waist belt. Romantic images are represented in the skirt with an asymmetric hem, pastel and splendid colors, lace and silk, romantic details made with gathers and flounces and fantastic accessories. Avant-garde images appeared in the deformed jacket, unperfected skirt, special materials and exaggerated accessories. Ethnic images are represented in big silhouette forms with wide shoulders jacket and wide pants, ethnic patterns, gold, orange and other vivid colors and ethnic accessories.

• Journal of the Korean Home Economics Association
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• v.49 no.1
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• pp.121-133
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• 2011

This research was designed to compare the subjective evaluation of texture image and preference between offline and online by structural characteristics of women' jacket fabrics for spring and summer. 78 participants evaluated the sensibility image and preference of various fabrics. The data were analysed by factor analysis, t-test, Pearson's productive correlation, regression, and multi dimensional scale. The results were as follows: Sensibility image factors of women' jacket fabrics were 'classic' 'sophisticated' 'natural' 'characteristic' and 'practical'. Between offline and online, sensibility images showed no differences. In sensibility images, 'classic'-'sophisticated', 'natural'-'practical', and 'practical'-'characteristic' images showed significant correlation. By analyzing the contribution of fabric structure on sensibility images, density affected on the 'classic' image offline and online. By the results of regression analysis, thickness, density and weave affected on the tactile preference. In sensibility images, 'classic', 'sophisticated' 'characteristic' images were the influencing factor. 'Sophisticated', 'natural', 'characteristic' and 'practical' images affected on the purchase preference.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.3
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• pp.525-536
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• 2001

The purpose of this study is to evaluate the combination of suit details through visual evaluation which helps compensating middle aged womens body defects for their more attractive fashion styles. In this study, styles of the evaluated suits are formal and classical. The designs of evaluated suits are manipulated in 40 different kinds by the essential elements such as collars, necklines(tailored collars, soutien collars, stand collars, round necklines, V-necklines), bottoms(slacks, skirts), pocket(flap pocket, none) and opening(opened, closed). The data evaluated by a multiple ranking test were analyzed by mean, paired t-test, ANOVA and Duncans multiple raged test. The results are summarized as follows: 1) The classic style suits-middle aged womans body construct looks better when she is wearing it with the combination of suit details; opened tailored collar jacket with flap pocket or non-pocket, opened stand collar jacket with non-pocket, closed soutien collar and round neckline jacket with non-pocket, closed V-neckline jacket with flap pocket or non-pocket on slacks. 2) The middle aged woman wearing slacks looks smaller in upper body, longer in lower part of her body and taller as a whole than when wearing a skirt suit. And Opened jacket makes a middle aged woman be seen with less appeared abdomen than that on closed jacket. The stand calar and round neckline jacket with non-flap pockets makes her look smaller in upper body and hip. 3) With tailored, soutien, stand collar jacket, it looks slimmer in a neck, narrower in shoulder, smaller in upper body, and taller than on a round neckline and V-neckline jacket.

• Journal of Fashion Business
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• v.19 no.2
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• pp.182-199
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• 2015

This research aims to design a new style jacket by developing patterns with dart manipulation, to achieve a tailored jacket which has been familiar to us, but with a more creative design. Tailored jackets has been widely worn both by women and men, and used to create various fashion styles. Generally the classic design with a basic lapel and collar is worn the most, and this shows demonstrates an importance of its design. Giacomo Manzu's work of relief art inspired for a creative design of tailored jackets. As a result of the analysis on the visual properties of the relief sculptures, it was found that an omissions of line for cubic effect and dramatized expression give an illusion effect. Based on the illusion effect shown in the case of a relief design, it was patterned and designed with dart manipulation. Through dart manipulation, the shape of a lapel was designed to meet the rear collar, which corresponds to a background plane, by making it like a sculpture at the front background pattern. Then it was found through dart manipulation could be extensively applied for various designs, as well as used to generate massing. Hopefully this creative pattern and design development would be helpful not only in diversification of consumer's needs, but also in the educational field for pattern and development of the fashion design industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.1
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• pp.129-141
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• 1995

The Purpose of this study was to investigate the preference of fashion style, the clothing attitude and the preferred fashion style based on sex-role attitude. Sample.; in this study were 305 white collar adult male in Seoul, Korea. The stimuli consisted of 16 color photographs made by identical manipulations of 4 independent variables (jacket, pants, vest, neck-tie) consisting of two levels each (classic and fashion style). For analyzing data, frequency analysis, percent, mean, standard deviation, ANOVA, $X^2$ test, Duncan test, and Cronbach's u were used The results are as follows. 1. According to the preference analysis of the fashion style, white collar adult male prefer to wear clothing style than fashion in all clothing style, except for rolled-up pants. 2. According to the fashion interest (I) based on the preference analysis of the fashion style, the fashion oriented group had high fashion interest (I) in jacket, pants, and neck-tie. 3. According to the clothing attitude based on the preference analysis of the fashion style; for jacket, the fashion oriented group had high fashion interest, but had no relation with status symbols consciousness, clothing conformity, individuality; for vest, the fashion oriented group had high fashion interest (II) and individuality, but had no relation with status symbols 4. According to the clothing attitude based on the sex-role attitude, the group of masculine and feminine had high score in fashion interest (II), status symbols consciousness, and individuality

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.806-814
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• 2011

A solar jacket, which utilizes solar energy for generating electricity, is an example of clothing developed by the fusion of multiple technologies; such fusion of technologies can lead to further developments in the clothing industry and other industries in general. Many research institutes and garment manufacturing companies in Europe and America are developing solar garments; various solar-based products manufactured using solar cells, photovoltaic batteries, etc. are being sold at high prices. The purpose of this study was to investigate the development status of solar garments and their application for generating photovoltaic energy; the study also identified the type of design and upper body clothing preferred by Korean in their early 20s. The survey participants were 188 university students aged between 20 and 25. The design of the proposed six types of solar clothing was evaluated and rated; they were then ranked on the basis of the ratings. A survey on the management of solar garments was conducted, and ratings were assigned according to a 5-point Likert scale, with 5 indicating the strong affirmation. The survey results showed that among the six types of clothing, protective clothing (50%) and sportswear (22%) were more preferable than the others (working clothes (16%), casual clothes (3%), everyday wear(6%), and suits(1%)). Among the six proposed designs, the jumper design (22%) and jean jacket design (21%) were preferred over the others (casual jacket (19%), casual jacket I (15%), classic suit (14%), and climbing jacket (9%)). Factorial analysis of the management of solar garments revealed that the most important factors were the properties of the solar cell and time required for battery charging, and the second important factors were clothing weight and comfort.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.