• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.155-172
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• 2015

This study analyzed the change pattern of Korean male body size in their 40s-60s and their current body shape based on the research materials of the 5th(2004) and 6th(2010) conducted by Size Korea. The purposes of this study are to make the related fashion industry recognize the changes of Korean male body size in their 40s-60s and suggest basic materials for clothing design that reflects such trend. As a result of analyzing changes of male body size in their 40s-60s by age, it was found that height, length, breadth and weight decreased across most of the items as the age increased. As for circumference, as the age increased, waist circumference (natural indentation), waist circumference (omphalion), and abdominal extension circumference increased, while other items decreased. In relation to the depth, as the age increased, hip depth and armscye depth decreased, while chest depth, bust depth, waist depth (natural indentation), and waist depth (omphalion) increased. Analyzing the change pattern of Korean male body size in their 40s-60s according to measurement year, height size increased in the 6th year across most of the body part items compared to the 5th year. It means that height of body parts related to body height increased in overall. As for circumference, most items showed decrease, which means that Korean male's body shape in their 40s-60s gets slim gradually. While the breadth of the chest decreased, the depth of the chest increased. which is assumed due to the increase in exercise according to high interest in health in a society. It will be possible to design proper clothes for consumer body type and trends if we design clothes that afford multilateral attention to the patterns, design, or material in clothing design by applying the aspects of Korean male body size in their 40s-60s and body type change.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.1-10
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• 2021

Harnesses are used in a variety of industries, such as rescue operations, medicine, and entertainment. However, conventional harnesses have problems as they are uncomfortable to wear and causes continuous pain. Therefore, in this study, the load and pressure applied to the body in the flying state when using a conventional harness were measured in real time and the distribution change was observed. Load and pressure were measured using a modified corset harness, a pressure sensor, and a human mannequin to measure the maximum and average pressure on the waist. As a result, it was confirmed that the load concentrated on the waist in the flying state was 104 N, and the pressure was applied to the left and right sides was 800 kPa or greater. The pressure distribution showed a pressure of 3-45 kPa in 73% in all measurable pressures. The results of the load and pressure distribution are presented as basic data for improving the wearability and reducing the discomfort of harnesses in the future, aid in the development of a harnesses that can minimize discomfort for various activities, and increase the concentration on experiential activities. In addition, using the CLO 3D program, which is a 3D virtual wearing system, a harness was put on a virtual model, and the compression level was checked and compared with the actual pressure distribution. As a result of comparing the measured pressure values in the flying state with the clothing pressure wearing the harness in the CLO 3D program, the total pressure value was found to be about 68% of the actual measured value. This helps develop a harness that can minimize discomfort during activities by predicting the load and pressure on the body by first applying new designs to a virtual wearing system during development. These new harness patterns can solve the problems of conventional harnesses.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Journal of Fashion Business
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• v.10 no.1
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• Journal of the Korean Home Economics Association
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• v.41 no.8
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• pp.33-53
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• 2003

A Study on the color comparison of Korean Saek-dong and Italian futurist fashion It is generally recognized that the color scheme and its characteristics as a product of living culture are strongly reflected in clothing. This study concentrates on the color comparison of Korean Saek-dong which has been used in traditional Korean clothing and Italian futurist fashion which showed dynamic characteristics and brilliant colors. The purpose of this study is to investigate the external format, emotions, functions and meanings of the colors in Korean Saek-dong and Futurist fashion, and to find similarities and differences between them. The results of the study are as follows. The similarities between them are harmony of vivid colors like a rainbow, no-use of black color and expression of rhythm through repeated geometrical shapes. They have been used as festive costumes and have implied meaning of happiness and pleasure. The differences, in the external formats, are as follows. Korean Saek-dong has striped patterns including the color white, and has regular distances among the stripes. But, Futurist fashion includes luminous or fluorescent colors and metallic colors. In addition, it has repeated motifs of geometrical shapes and geometrically divided areas. While Saek-dong expresses Sangsaeng through the conceptual use of color, Futurist fashion shows simultaneity, speed and dynamics through spiritual functions of crossing and inter-penetration. In emotional aspect, Saek-dong expresses pleasure of children's mind and Futurist fashion expresses pleasure of city. In functional aspect, Saek-dons expresses a concept of ceremonial beauty, which is spiritual and symbolizes good auspices, holiness and sorcery. So it is used for ceremonial costume. But, Futurist fashion reflects the harmony of colors created from modem and urban images and shows the willingness and emotion of solving futuristic avant-garde, modernity, dynamics, transformation and bellicosity. So it is used for daywear. While Saek-dong represents succession of tradition, Futurist fashion represents resistance of tradition in cultural aspects.

• Fashion & Textile Research Journal
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• v.19 no.1
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• pp.11-18
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• 2017

The purpose of this study is to investigate the trends of Hanbok pattern research published in journals and theses. We collected 70 articles related to the Hanbok pattern. The articles were divided into 7 chronicles based on publishing year, and analyzed by journal, publishing year, research theme, wearing subject and research pattern. Researches can be categorized into journals, university research paper, and master's theses. After 1981, studies on the pattern of Hanbok have been continuing. Most researches were focused on traditional Hanbok, especially about Jeogori. Research on modernized Hanbok started from Vchronicle(2001~2005), but it has not progressed anymore. According to the analysis on wearing subject, the number of research for female Hanbok was almost three times that of the male. Most researches were performed on adult Hanbok, and subjects were expanded to children, adolescents and middle-aged. The body shape of the wearer did not mentioned on many articles. Pattern researches started from excavated costume, but most researches were about commercial patterns. These researches on the pattern on Hanbok have shown an increasing tendency as the years passed, but researches on modernized Hanbok, including Hanbok pattern development for modern life style should be conducted more actively. In an aging society, as the number of middle-aged consumers increases, pattern research on middle-aged or older people and their various body shapes should be necessary.

• Journal of Fashion Business
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• v.10 no.3
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• pp.117-128
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• 2006

The purpose of this study was to understand changes of the current young generation's lifestyle, aesthetic attitude for an appearance, and way of thinking by making a close investigation into metrosexual, the recent mode, and find out its cultural and social implications. As a method of the study, the literature and the Internet data were reviewed. Articles from newspapers, magazines and the Internet were chosen roughly from the year 2000 to now because metrosexual mode remarkably boomed before and after 2000. Books related to the theory on the mode in a costume culture were referred. Also, articles in daily newspapers which dealt with cultural and social issues were reviewed, fashion magazines for men such as Esquire and GQ showing the new trend in men's lifestyle and fashion were examined, and the Internet providing us the latest news from cultural and social topics to fashion trends were investigated. The backgrounds of the rise of metrosexual mode were a collapse of stereotypes in various fields, spread of lookism in a visual image period, extension of commercialism, and expansion of men's character casual trend. Metrosexual was defined as an urban male with a strong aesthetic sense who spends a great deal of time and money on his appearance and lifestyle. His fashion style was characterized by slim and flowing silhouette, feminine and luxurious materials such as transparent chiffon, silk and cotton with a light and soft touch, and a knitted wear with a flowing line, a wide variety of vivid and pastel colors, floral and geometric patterns, and the decorative details like lace, beads, embroidery, and fur. From spread of this mode, two cultural and social implications were extracted. Firstly, the current young generation's aesthetic standards for the perfect man changed from macho man to considerate man who had a good appearance and this suggested that a conventional sex role broke down. Secondly, men began to explore for their own identity escaping from traditionally standardized masculinity that they had been forced to follow.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.