• 복식
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• 제66권1호
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• pp.122-134
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• 2016

The Mural Tomb of Xu Xianxiu(AD 571), a high ranking official in Northern Qi period, is located in Taiyuan, Shanxi province, China. Despite having been raided, it was still discovered to contain over 530 pieces, such as artifacts and murals, in excellent state of preservation. These murals are noteworthy for their high level of detail compared to other murals from the same era, and are important for understanding the historical context of active East-West and Han-Hu cultural exchange in the $6^{th}$ to $7^{th}$ century. The murals of Xu Xianxiu's tomb depict round-collared and narrow-sleeved garments as well as straight collared robes typical of the Xianbei tribe's attire. Notable are the ermine fur overcoat and a headwear with flares on the left and right thought to be unique to the Xianbei. The wife and female servants show female attire of the Xianbei at the time; this attire can be characterized by narrow-sleeved long gowns and asymmetrical flying-bird buns. Despite the anti-Han policy of Northern Qi, influences such as the right sided gathering of the robes and embellished hair styles remain. The procession also depicts the three-cornered headdress and long-tailed hood of the Xianbei men, which have been recorded in documents. The large rounded pearl pattern containing the palmette, the divine animal, and bodhisattva's head motifs show the influence of the Western China [Xi'yu]. Considering that Northern Qi had more active interactions with the three ancient kingdoms of Korea than with the Southern Kingdoms[Nanchao], the findings of this study call for further research on the correlation between the attire of ancient Korea and Northern Qi.

• 패션비즈니스
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• 제15권4호
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• 패션비즈니스
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• 제6권1호
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• pp.1-19
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• 2002

The purpose of this study was to suggest the most appropriate design concepts for sportive fashion product based on the analysis of consumers' acceptance of the recent sportive fashion trends according to their lifestyle. The subjects consisted of 295 males and females, between 17 and 35 year-old. A self-report questionnaire with 4 stimuli was employed for data gathering, and the data were analyzed by the methods of frequency, factor analysis, cluster analysis, and Pearson's correlation coefficient. The results of this study were summarized as follows: For the First, the recent sportive fashion trends were categorized into four groups; 'street- sportive' trend, 'futuristic-sportive' trend, 'ethnic-sportive' trend and 'urban-utility sportive' trend. Secondly, based on the result of cluster analysis on consumers' lifestyle, total four consumer groups were identified; 'pursuing sense' group, 'pursuing culture' group, 'pursuing utility' group, and 'indifference' group. Thirdly, the consumers relatively preferred two sportive styles among the four groups, typically representing 'urban-utility' trend and 'street' trend. The typical 'urban-utility' style was particularly preferred by the consumers who desired to express themselves as urban, modern, and luxurious. The typical 'street' style was preferred by the consumers who tried to express themselves as active and fashionable. Finally, preferences of the sportive trends according to consumers' lifestyle were interpreted as follows: the 'pursuing sense' group relatively preferred 'urbanutility' style and 'street' style, the 'pursuing culture' group preferred 'street' style and the 'pursuing utility' group preferred 'urban-utility' style, meaningwhile the 'indifference' group preferred 'street' style and 'urban- utility' style.

• 복식문화연구
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• 제19권5호
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• pp.993-1008
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• 2011

Traditional culture could be a wonderful source of inspiration for creative design. Tteoksal, the stamps used for making decorative patterns on traditional rice-cakes, have been used and passed on to generations to show the emotions of our ancestors. Numerous traditional patterns found in Tteoksal can be used to better understand and transmit tradition in modern ways. The purpose of this study was to develop fashion cultural products with a modern sensibility by understanding the origin, types and characteristics of Tteoksal and its patterns. The method of this study was through considering the proceeding studies and the references published by a specialist and museums having some information about further knowledge on Tteoksal. In line with the aforementioned study, neckties, eco-friendly bags and pouches were developed as fashion goods. Among the Tteoksal's patterns selected were lotus, bats, 樂 letters and complex patterns. Using a computer graphic software program such as Adobe Illustrator CS5, archetypes of patterns were traced as vector graphics, and two design motives were developed in every pattern. The patterns were developed into two types: one was a basic pattern faithful to a basic motive pattern, and the other was a varied type that was changed and applied. The fashion products were developed as two styles for basic and varied patterns for neckties, eco-friendly bags and pouch items. Twelve products were made for each pattern, which totals 48 unique products. In conclusion, the study could be a critical step to better understand the traditional culture and its influence to the patterns applied to modern fashion design.

• 복식문화연구
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• 제21권5호
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• pp.708-725
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• 2013

In the 2010s, skinny jeans were trendy, and they became a must-have for young women. The styles, clothing pressure and buying behavior of skinny jeans have been studied, but the patternmaking of skinny jeans has not been researched yet. To analyze skinny jeans patterns, we grouped skinny jeans into nine brands. They were sorted into three groups: special jeans brand, trendy jeans brand, and SPA brand. This study compared skinny jeans' sizing systems, product dimensions and pattern measurements in three brand groups. The appearance and fit of skinny jeans were evaluated by random groups of people in their 20s and 30s. The sizing systems for skinny jeans were different with KS K0051, and they were shown waist girth in inches. The waist and hip circumferences were different among brand groups. In product dimensions, trendy jeans brands had a shorter crotch length, a lower crotch depth, a narrower back crotch width, and a longer inseam than the others. The measurements of skinny jeans flat patterns were significantly different in as below; front crotch depth, front crotch height, front crotch length, back crotch extension, gap between back and front crotch depth, back crotch height, back crotch length, and center back angle. In the sensory survey results, trendy jeans brands were evaluated well in the fit of the waist line, hip line, crotch line, midthigh line, outseam, inseam, side waist line, crotch length and overall fit.

• 복식
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• 제67권2호
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• pp.131-146
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• 2017

The aim of this study is to investigate the operating characteristics of fashion start-up companies and the characteristics of their founders. For this purpose, this study surveyed fashion start-up companies via online survey in May 2015, and analyzed the data from one hundred companies. The results are as follows. First, for the characteristics of the founders, female founders constituted 65.0% and male founders 35.0%. At the time of establishment, founders aged 26-35 constituted 77.0%. Founders with less than five years of work experience made up about 80%. 82.1% of the founders participated in domestic and foreign exhibitions/fairs. 41.0% of the founders were awarded fashion contest and competition awards, and 33.3% of the founders were supported by rising designer support projects. Second, for the operating characteristics of the start-up companies, clothing at 78.0% was the most popular entrepreneurial item, and the majority targeted the age 20-30 group. 78.0% of the companies had less than 40 production styles per season, and all the enterprises had less than 5 employees. 59.0% of the companies had export experience. Exports to China, Hong Kong, and Japan accounted for 67.4% of all exports. Major distribution channels were mainly select shops(offline select shops 79.8%, online select shops 62.8%). The main methods of promotion were fashion media articles/interviews, product sponsorship, and SNS. The most preferred distribution channel was becoming a part of online/offline select shops(92.6%). Viral marketing(84.4%), star marketing and costume sponsorship(66.7%) were the most preferred method of promotion. The most preferred way to enter foreign markets was to participate in domestic and foreign exhibitions/fairs/trade shows. This study provides basic data necessary for future founders preparing to launch fashion start-up companies. It also aids fashion start-up companies in developing more advanced business operation strategies.

• 한국의류산업학회지
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• 제8권1호
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• pp.7-16
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• 2006

What enabled Armany to grow into a world fashion designer is based on two factors : postmodernism of the new spirit of the times and the fashion industry of Italy, his mother country. That is, his capability to connect the spirit of the times with his works and use local advantage for his works led him to be a maestro of fashion circles. Founding on his outstanding ability, he established his own world of unique design, where his philosophy of design remained. This philosophy was a distinctive character from other designers. Since he was founded on this philosophy, his own features that other designers can't imitate are dissolved in his designs. Armany is very suggestive to our design circles which look for globalization of fashion. A fashion designer should look straight at the fact that the final aim of fashion is to satisfy customers who buy it. In addition, he should recognize that understanding customers' demands and developing products with his fashion style in accordance with them are the way to success and study new things continually by setting up the direction of the future based on the recognition. It is essential to cultivate sensitivity to create a new beauty from a basis just like Armany expresses modern women's image by harmonizing rationality and functionality, the existing male features, with female pliability adequately. As well, the analyses of design made by Armany are thought to be helpful in reestablishing fashion design education so that unique design styles may be maintained and future-oriented international fashion products may be produced.

• 복식문화연구
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• 제4권2호
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• pp.219-245
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• 1996

Throughout her life time, Edith Head produced cinema costumes for over one thousand movies. She was the leading cinema costume designer in Hollywood. Since the Academy Awards added the area of costume design to be recognized [during 33 years of her work(1948∼1981)], she was nominated 35 times an awarded eight times. However, there were no significant studies done on her work or accomplishments although she was acknowledged as an ingenue and creative designer who elicited artistic effects by reflect character's images through their costumes. The purpose of the study was focused on revealing Edith Head's life and work as her creations had a great impact in he field of cinema costumes. It was also to emphasize the forceful affect of cinema costumes on fashion and to disclose the powerful influence of cinema costume designers. The method of the study includes reviews of literature, movies for which she created costumes, her own possessions, and fashion magazines as well as her works that were nominated and chosen for the Academy Awards. Edith head's emphasis in costume design was based on a blend of both simplicity and sophistication avoiding excessive exaggeration and transformation in her work. Her work was also realistic and contemporary. She developed a dramatic ambience through an innovative design while preserving the actor's individual character and uniqueness. Through this accept her her work was highly renowned as an art form as it was gaining popularity. She was also a dominant figure who influenced trends in the areas of fashion magazines, uniforms, and public clothing. In the review of her cinema costumes, it was revealed that the styles of cinema costumes can be as quickly adapted by the public as movies are viewed because the cinema costumes are highly projected through a visual channel. Subsequently, a follow up study on the affect of cinema costumes on fashion would be beneficial.

• Journal of Preventive Medicine and Public Health
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• 제39권2호
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• pp.171-176
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• 2006

Objectives : The objective of this study is to assess the factors influencing biological monitoring of textile coating factory workers exposed to N,N-dimethylformamide(DMF). Methods : We studied 35 workers who were occupationally exposed to DMF from 9 textile coating factories. The study was carried out in two phases; summer and winter. While air concentration of DMF, temperature and humidity were assessed in order to monitor the atmospheric conditions, biological monitoring was done to determine the internal dose by analyzing the N-methylformamide(NMF) collected from urine at the beginning and end of the shift. Questionnaires and medical surveillance were also obtained during the two phases. Results : Median air concentrations of DMF in winter and summer were 1.85 ppm and 2.78 ppm respectively. Also the difference between the urinary NMF concentration at the beginning and end of the shift $({\Delta}NMF)$ was always significant in each season (P < 0.001). The correlations between log DMF in air, log end-of-shift urinary NMF (r=0.555, P < 0.001) and log ${\Delta}NMF$ (r = 0.444, P < 0.001) was statistically significant in summer. The temperature, humidity, a shift system and different styles of clothing worn were significantly different during the two phases. In a multivariate analysis, temperature and the concentration of DMF in the air were the main factors influencing biological monitoring of textile coating factory workers. Conclusions : Concerning more comprehensive prevention measures to reduce exposure for those workers occupationally exposed to DMF, dermal exposure conditions such as temperature and humidity together with the air concentration of DMF should be assessed and biological monitoring is necessary to reduce adverse health effects, especially during the summer.

• 패션비즈니스
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• 제19권3호
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.