• Korean Journal of Human Ecology
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• v.13 no.4
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• pp.609-616
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• 2004

The purpose of this study is to examine the difference of judge's gender and age groups in preference of S/S men's suit fabrics, and to analyze the relationship between the preference and the texture by gender and age group. For this study, 60 types of S/S men's suit fabrics were used with variously-composed fibers, such as wool, wool-blended, and PET, thickness, and weight. To evaluate the texture and the preference subjectively, nine ranks' semantic differential scale questions of 22 texture adjectives and preference of 4 apparel items were developed, Through the factor analysis, texture adjectives were classified into 7 categories: "stiffness," "elasticity," "bulkiness," "coolness," "smoothness," and "drapability." Depending on gender and age groups of judges, statistically significant differences on texture factors and the preference were observed. Especially, men under 30 years of age showed a higher grade of stiffness and a lower preference on pants than other groups. The relationship between the texture and the preference was different by gender and age group: Women evaluated a preference of men's suit fabrics in relation to stiffness and smoothness, whereas men did so in relation to stiffness, smoothness, coolness, and drapability. A young age group put more importance on drapability for preference of men's suit fabric.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1318-1329
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• 2003

The purpose of this study was to examine the effects of the structural characteristics of men's suit fabrics on the texture image and the preference, and to analyze the relationship between the preference and the practical sales ratio. In addition, the texture images and the preference of fabric and jackets made of the same fabrics were compared. As specimen, jackets for men's suit of 2002' S/S and their fabrics were collected. Questionnaires composed of 22 sensibility related and 21 fabric image related adjectives were developed. For the subjective evaluation of the texture image, both jackets and fabric samples were tested. Tests were performed with 100 female subjects in clothing department and apparel industry. For the objective evaluation, structural characteristics such as fiber contents, yarn twist, fabric count, thickness and weight were analyzed. Total Hand Value were calculated from mechanical properties determined by the KES-FB system. Factor analysis showed sensibilities were classified into 6 categories; "surface roughness", "weight", "density", "stiffness", "elasticity" and "wetness". Fabric images were classified into 4 categories; "classic", "original", "practical", and "stuffy". Depending on the method to show the specimen to the subjects, whether it is suit or fabric, statistically significant differences were observed with a number of adjectives for sensibilities and fabric images. The results of THV of KES did not agree with the preference of subjects, which suggests that we should be careful when using the KES system, which was developed for Japanese people. Price was considered to be another factor besides the texture image that influenced on purchase.

• Science of Emotion and Sensibility
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• v.8 no.2
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• pp.117-128
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• 2005

The purpose of this study was to clarify the effects of constituent characteristics and the mechanical properties by KES-FB system on the visual texture images and preference of men's suit fabrics. Twenty different kinds of black fabrics, which were used mainly for the spring and summer men's suits, were selected and the subjective evaluation of the visual texture images was tested. Sixty experts in department of clothing and apparel industries participated in the subjective evaluation. Factor analysis showed visual texture images were classified into 4 categories : 'bulkiness', $'extensibility{\cdot}rapability'$, 'flexibility' and 'smoothness'. All of relationships were established between the mechanical properties and the visual texture images except the relation between 'flexibility' and bending properties. The significant factors affecting preference were 'smoothness', compression energy(WC), fabric count and 'flexibility', As the fabrics had higher value for 'smoothness' and 'flexibility' , and lower ones for compression energy and fabric count, they tended to be more preferred.

• 한국생활과학회:학술대회논문집
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• 2009.05a
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• pp.159-160
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• 2009

• Journal of the Korean Home Economics Association
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• v.12 no.34
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• pp.663-677
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• 1974

The social and psychological approaches to clothing researches by Fluge,l, Hurlock and Barr in the early 1930's have since been developed greatly. It has now been generally agreed that clothing is the symbol of one's personality and social status, for clothing is regarded as the second skin and a manifestation of one's emotional states as well. Based on this consensus, this study was intended to observe the possible relationship between one's clothing design preference-in line, color and texture- and interest. For this survey, 200 college woman students from four universities were selected at random, and an interest-test standardized by prof. Jung Bum Mo and a questionaire made of 20 items on the clothing prferences were given. The results as commputerized and analyzed are as follows : 1. Line Preference a) Structural line : It is quite obvious that those like straight line are interested in fine arts, and curved line in physics. b) Out-line : Among tubular, bell and bustle of the silhouette, those like the bustle have shown particular interest in music, and the tubular in politics and business. c) Style : There is a salient tendency that those like a dressy style are much interested in music, and casual style in physics and physical exercise. 2. Color Preference a) Favorite color : Those like red, orange and yellow show a high interest in artistic activities and physical exercise, and black, grey and white in politics. b) Variety and combination of color ; These have shown no relationship to the interest. 3. Texture Preference a) The touch : Those like the texture with the feeling the crisp and rough are interested in fine arts, and of soft and smooth in the field of social service. b) Fabric surface : Those like naturalistic pattern, i.e. print of flowers, show much interest in music and literature, and plain fabrics in physical exercise.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.3_4
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• pp.396-402
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• 2004

The purpose of this study was to investigate the difference of cotton fabric texture perceived between on-line(screening fabric) and off-line(real fabric), and to analyze fabric characteristics having an effect on the difference. The similarity of 55 various cotton fabrics perceived between on-line and on-line were measured showing simultaneously real fabrics and screening fabrics by 7-scale questionnaire. And the characteristics of cotton fabrics such as weave structure, thickness, weight, fabric density, stiffness, Hunter's L, a, b, and hue were measured. Cotton fabrics were classified into 3 groups by extent of similarity. There were no significant differences in weft density, stiffness, Hunter's L, a, b, and hue among 3 groups. But there were significant differences in weave structure, thickness, weight, warp density, and difference of warp ＆ weft density. The fabrics having large similarity were thick and heavy, had small warp density and difference of warp ＆ weft density, and distinct surface texture. The group having medium similarity included fabrics of medium thickness and weight, having weak surface texture, large warp density and difference of warp ＆ weft density. The group having small similarity, which the differences between on-line and off-line were large, included thin and light fabrics having smooth surface and large warp density and difference of warp ＆ weft density.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.160-171
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• 2009

The purpose of this study was to classify the classic image by clothing design elements. This research was done by survey method with 20 kinds of classic image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. Classic image was classified by 4 factors. Those were retro-classic, mannish-classic, elegant-classic and contemporary-classic images. 2. Retro-classic image was well-expressed by A silhouette and chromatic and chromatic color coordinations. Mannish-classic image was well-expressed by H silhouette, chromatic and achromatic color coordinations and hard texture. Elegant-classic image was well-expressed by fitted silhouette and chromatic and chromatic color coordinations. Contemporary-classic image was well-expressed by achromatic and achromatic color coordinations and hard texture. 3. Classic image was positioned into mostly retro and masculine on image scale.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.910
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• pp.1329-1340
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• 2004

The purpose of this study is to survey about the images of the sexy clothes that young women sympathize in modern society, that is, to make a research into the cognitive dimensions of 'Sexy image' and the constructive peculiarity of clothing. The researches into dimension of image by sexy clothing make that female mainly consist of in their twenties during May to October in 2003. The independent variables were: 1) The physical beauty dimension, 2) The negative estimate dimension, 3) The characteristic devaluation dimension,4) The elegance/ high grade dimension,5) The freshness/ beauty dimension,6) The sex appeal/ exposure dimension. Judging from each characteristic of costume in classified by articles, that is, colors, texture, shapes, details, and others-phenomenon of outerization of under clothing, print. We can know the clothes showing up our nice figures are the sleeveless design tied with strap, soft texture as silk chiffon and the colors that are not strong. And there were no embarrassed, ugly and pitiful clothing. Expressing sexy beauty by clothing is the result that the wearer produces intentionally by compounding design factors, it's the ideal when the observer's reaction and the wearer's intention correspond. Therefore, it will be helpful in expressing ideally if the subject, what kinds of sexy beauty the compounding design factors express, is studied carefully. Also it is expected to be used in grasping modem consumers' desires that want to look sexy, finding out how to express, dealing with the consumers' desires correctly, and the reference materials of the planning goods, sales promotion, and selecting of a medium of advertisement according to the consumers' desires.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.193-204
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• 2002

Many fashion forecasting companies propose the fashion colors in every season. Modern fashion consumer respond to fashionable trends with utmost sensitivity. Therefore to satisfy the consumer with an trendy image, the fashion design must be found first, as image matters, followed by an analysis of each design element's effect on the total image composition. In previous studies of fashion image, has been discussed the positive correlation between fashion design elements of color, fabric, and form as the central issue. In this thesis, two of the fashion design elements, color and fabric are simultaneously considered to classify the image of fabric in fashion. For the color variables, 10 hues are selected from Munsell's system of color notation, and 12 tones from PCCS color notation., which are currently used in the domestic fashion industry. Texture variables used in this survey are classified by luster, prominence-depression of surface, thickness, and density of fabric. Graduate students from 20 to 50 years old and the specialists in fashion companies participated in the survey. The results of this survey are as follows: 1. The fashion fabric image is classified as 5 main images: 'elegant', 'comfortable', 'characteristic', 'light'and 'simple'. 2. The influence of hue, tone and texture is significant to the fashion fabric image. Following colors, yellow-red, red hues and light grayish, dark grayish tones convey the elegant image. The texture property for the elegant image is luster, thin and low density. Properties of fabric conveying the comfortable image are yellow-red and green-yellow hue, soft, light tones, matte and high density. Furthermore, hue turned out to be a insignificant variables for the unique image, whereas dark grayish, grayish tone, luster and prominent texture convey a unique image. For light image, properties of fabric are blue-green, purple hues, light, bright tones with thin, low density texture. Properties of fabric conveying the simple image are blue-green, purple-blue, green-yellow hues, and strong, vivid tones, with luster and flat texture.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.