This study aims to improve the uniform functionality of the workers who work in Electric Technology Division, Korea Railroad Corporation. Former study of questionnaire survey was taken to examine the current state of wearing working clothes for the workers. Based on the results of the former study, an experimental clothes, the functionality of which has improved in terms of design, materials, and patterns, was created, and existing working clothes and the treated experimental clothes were compared through simulation wearing evaluation comprising appearance, activity adaptability, quantitativeness, and on-site adaptability evaluation comprising appearance and activity adaptability. The followings are the results of the study: Simulation wearing evaluation is composed of 5subjects and 11experts specializing in costume, and as a result of evaluation the experimental clothes were evaluated superior to the existing working clothes in all items. On-site adaptability evaluation was conducted by workers in the Electric Technology Division, who are the subjects in this study. In that evaluation, the experimental clothes were also evaluated superior to the existing working clothes in all items. While the five subjects who participated in the simulation wearing evaluation move, the quantitative evaluation measured the distance of location transfer of the back length in the jacket and the distance of location transfer of the back waist in the trousers. As the distances in the experimental clothes were measured shorter than the distances in the existing working clothes, the subjective evaluation results are objectively supported.
This study was performed to investigate purchasing practice and size satisfaction in order to establish marketing strategy and produce free-size clothes for the male and female in their 20s. Results were as follows; first, regarding the size selection method, it has been found that 71.5% of subjects answered that they buy clothes as a sales clerk chooses for them without knowing the old size name or notation. Second, 47.5% of subjects answered that free size is the size, which fits well to 55~66 size. Meanwhile, 36.1% answered that free size fits well to any body type; while 4% answered that free size fits well to 77 size. Third, regarding the clothes kind, which consumers buy most as free size, consumers buy shirts and sportswear by free size. Fourth, they were observed to purchase free-size clothes "free-size clothes what I want" and to not purchase clothes "due to the lack of right sizes." The size notation of clothes products is basic information, by which consumers can tell whether the clothes fit to self or not before the consumer would wear the clothes and confirm its fitness. Therefore, it is suggested that all clothes products would be manufactured by having KS clothes size as basic data and they would use standard size notation so that consumers would not have confusion. Standardized size notation by proper education and utilization on new KS notation method and attitude change of companies and consumers on size are suggested.
For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.
In this study, I examined the psychological visual effect and clothes preference by clothes designs for the mid-aged Korean and American women's somatotypes. The psychological visual effects of each somatotypes' clothes are like these. First, the primary factors for psychological visual effect were analyzed into 5, neat, feminine, polished, modern and active. Second, in thin somatotype, Korean evaluated that china collar and V-neckline are the least feminine, and stand collar is the most polished and the modernest. American evaluated that V-neckline is the most feminine, and tailored collar is the modernest. It shows that there's the difference of culture. In standard somatotype, Korean thought stand collar with pants is the neatest, but tailored collar and china collar with pants are not neat. Contrary, they thought tailored collar with skirt is the neatest and stand collar with skirt is not neat. American thought tailored collar with skirt is the neatest and modernest. The neat visual effects are evaluated differently according to the clothes' styles of bottom. In obesity, Korean evaluated that tailored collar with skirt is the neatest and modernest, but stand collar with skirt is not modern. Stand collar with pants is the modernest, but tailored collar with pants is the least modern and active. American evaluated that round neckline with pants is not neat, modern and active, and round neckline with skirt is the modernest and the most active. So neckline's visual effects are differently showed by culture and the clothes' styles of bottom.
This research is aimed to develop the functional clothing designs for disabled women in the manner of investigating design preferences among them by means of questionnaire and interview with 150 disabled women as respondents and interviewees. The findings of this research are summarized as follows: 1. Regarding satisfaction with ready-made clothes, the respondents answered 'very satisfied' (1.6%), 'usually satisfied' (14.1%), 'moderate' (20.3%) and 'unsatisfied' (53.1%), suggesting that they had been generally unsatisfied with ready-made clothes. 2. There were more disabled women preferring to ready-made clothes with one-grade bigger (loose.) size than the actual one (53.1%) instead of completely fitted size (43.8%) when they purchased such clothes. This result indicates that they prefer to ready-made clothes with bigger size than the actual one because most of such clothes are made up of non-elastic materials which may be unfavorable for wearer's activities. 3. It was found that primarily worn upper garment among them was T-shirt (59.4%). The reason may be that T-shirt is favorable for using prosthesis and orthotics such as wheelchair, walking stick and crutches thanks to its remarkably high activity as well as simple to maintain, compared with other kinds of upper garments. 4. Regarding preferences to functional clothing designs, the primarily worn lower garment among them was trousers (85.9%); the reason was easiness to move. The main reasons of avoiding to wear a skirt included 'difficult to move' (40.6%) and 'exposed disabled region' (30.3%). Accordingly, functional clothing for disabled women should be developed in consideration for their individual characteristics of disability associated with the disabled region such as wheelchair user, crutch user or brace user, In addition, the designs should be made so that they are not different from those for non-disabled people.
Recently, hats have been used more frequently as an accessory, contributing to the general image of clothes in men's collections. This study compared and analyzed the frequency and styles of hat usage in men's brand collections according to the collections' images. Types of hats and their frequency of usage in men's clothes were analyzed among 857 collections from 74 brands between S/S 2006 and F/W 2012. This study also examined the relationship between clothes image and type of hats used. Hats were used in 622 out of 857 collections, and 24 different types of hats were used. In 67 collections, hats were used in at least 71% of clothes. The most frequently used hat was the fedora, followed in frequency by the beanie, cap, bowler, and high hat. The styles of hats in collections varied depending on seasons. In S/S season collections, fedoras were often used, while beanies were more common during the F/W season. This study analyzed styles of hats used in formal, casual, uniformed, and deformed images. Beanies and fedoras were frequently used for the formal image; fedoras, beanies, and plat caps were often used for the casual image; more than 3 types of hats were used together for the uniformed image; and design hats and hats in various styles were used for the deformed image. The results show that hats of various styles were used in collections to express the image of clothes.
In this study, we analyzed the images of women in Korean society through the female body expressed in nude paintings from Korea. The study included a literature study and a case study. Through prior research, we examined the history of nude paintings in Korea and the way people conceptualized the female body in Korean society. The case study focused on nude paintings of Korean artists, produced since 1910, when Western painting concept was first introduced to Korea. The social perspective of the female body in Korea was categorized into the three concepts: Eros, Motherhood and Power. Next, we examined the role of drapery and clothes in expressing these three concepts. Drapery and clothes played active roles in hiding and emphasizing the female body, showing the psychology of a woman or the artist's intention, showing the entire mood of the work, and giving three dimensional feeling and elegance to the work. We could see that the role of clothes changed from expressing a virtuousness in the past to stimulating a voyeuristic gaze in the present.
Although they generally undergo less change in somatotype than other age groups, women in their early twenties have postural changes incurred with their inappropriate postures during the growth period. Since such somatotype changes reduce their satisfaction in the fitting of ready-made clothing, the study intends to examine the inadequate postures and life habits of women in their twenties and to analyze their self-recognition and actual conditions of the bad fit of ready-made clothes. A survey questionnaire was conducted on 225 customers and 29 sellers of ready-made clothes. According to the result, it was found that their inappropriate postures had made their back and shoulders undesirably bent and led to their low satisfaction in the fitting of ready-made clothes. Therefore, it is necessary to perform researches for developing renovated design in consideration of their somatotype changes.
This study targets adult females and shows the analysis of physical images affecting clothing behavior, satisfaction or dissatisfaction of ready-made clothes, favorite ready-made clothes design, and weight control as well as the result of demographic characteristic influencing clothing behavior. An individual satisfied with their body prefers bright colors and shiny clothes, on the other hand, an individual who is dissatisfied with their body do not like ready-made clothes and favor loose suits. This study shows that individuals not satisfied with their body are afraid of becoming fat and are following a weight control program. The analysis explains that women (who care for their appearance well) pursue aestheticism, superiority, and are more satisfied with ready-made clothes with casual, feminine, and fancy motifs. It also shows that women who have no confidence in their body follow feminine modesty; on the contrary, those who are confident of their body are satisfied with ready-made dresses and prefer a sexy image. As a result, those who do not care about their looks seek feminine modesty, functionality, and easy-management.
This paper examined the kinds and characteristics of leather and also analyzed the expression techniques and characteristics of leather in contemporary fashion. The objective of this study lies in re-interpreting the current location of leather in contemporary fashion design, enlarging unlimited potential expression fields of leather, and at the same time, helping create new viewpoints and expression types of leather. For this purpose, this paper examined the kinds and characteristics of leather through the existing literatures, and it also carried out positive analysis of the expression techniques and characteristics of leather clothes through local and foreign fashion magazines and collection papers, such as Gap, Vogue, and Mode & Mode, focusing on the works presented in the fashion collections after 2000. Leather in contemporary fashion is expressed in different colors through dyeing. Through various expression techniques such as wrinkles, ruffle, stitch, embossing, quilting, patchwork, holing, nailing, cutting, laser cutting, fringe, weaving, printing, and collage, leather breaks the fixed ideas of itself and further, it makes the images of fashion design affluent. Leather clothes, which are made through various expression techniques, have some characteristics. First, leather clothes emphasize women's voluptuous beauty. Second, leather clothes create a decorative effect through mixture of materials and various expression techniques. Third, through the feel of materials and the emphasis of shapes, primitive beauty is expressed.
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