• 대한가정학회지
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• 제44권11호
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• pp.35-42
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• 2006

A criticism model for dress was developed to offer a methodological insight into research on aesthetics of dress. Concepts from Edmund B. Feldman's art criticism model, James D. Carney's style-relative model of art criticism, and Sung Bok Kim's fashion criticism model were borrowed and integrated to create a criticism model for dress, comprising identification of styles, descriptive features, aesthetic value features, external interpretation, socio-cultural interpretation, and evaluation. Both inductive and deductive approaches for the identification of styles can be made in the process of dress criticism. In the former case, descriptive features and aesthetic features are sequentially identified to locate the styles of dress. In the latter case, styles are identified first, and descriptive features and aesthetic features are identified accordingly. Logical criticisms can be made based on the critics' background knowledge of the history of dress and art.

• 복식
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• 제50권5호
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• pp.65-75
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• 2000

The purpose of this study was to survey about the suitability of maternity dresses on the market and thus to contribute for the maternity dress makers to produce clothes which are ergonomic and wanted by customers. The chief designers of the two major maternity dress makers were questioned about design and production planning, and 195 subjects who had an experience of delivery within a year were questioned about their consumer behavior, preference, and body fitting. The suggestions according to the results of the questionnaire of maternity dress makers and customers were as follows : 1. The most important item, an one-piece dress should be produced a lot more than other items. 2. The designs of maternity dress should be more simple, sophisticated, and natural. 3. The colors of pastel tone rather than trendy colors should be used. 4. The materials of maternity dress should be washable and able to help pregnant women's activity. 5. The front patterns of maternity dress should have more ease than the back patterns have, to cope with increasing abdominal girth and bust girth.

• International Journal of Costume and Fashion
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• 제14권2호
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• pp.81-96
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• 2014

The meanings of colors vary with time and space. For the most important events in a person's life, such as wedding or funeral, people use color to symbolize their identities or roles. Traditionally, the colors of dress had indicated the wearer's age, class, or marital status in Korea. However, Korea's exposure to western cultures has affected in many dimensions of its modern history. Especially, influenced by social change, the traditional dress has undergone many modifications in forms, silhouettes, materials, and color. However, women's mourning dress has been maintained as a long lasting tradition and the use of white in mourning dress has been regarded as a norm until recently, while men have worn a regular black suit with a black tie. But, the shift from white to black in mourning dress has been observed in recent mourning practices. To examine this change of color in Korean traditional mourning dress, a historical approach utilizing multiple resources, such as interview, observations of events, documents, and archival records was applied.

• 복식문화연구
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• 제14권2호
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• pp.299-309
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• 2006

This study was intended to analyze the wearing practices and the subjective fabrics preferences for men's dress shirts. It was performed by means of convenience sampling survey of male office workers wearing dress shirts who were living in Seoul, Geonggi, and Chungcheong area. Collected data were analyzed by frequency analysis, cross-tabulation analysis, t-test, and ANOVA using SPSS. The results were as follows: Most of the male office workers owned 5 dress shirts, and blue color dress shirts were preferred to white one. It was shown that most of the respondents wore dress shirts at the office almost every day with necktie. The preferred sensations of the dress shirt fabrics were the soft, wrinkle-free, smooth and dry ones. There were partially significant differences according to gender and age of male office workers in the wearing practices and subjective fabrics preferences of dress shirts.

• The International Journal of Costume Culture
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• 제13권1호
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• pp.12-22
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• 2010

As an influential political leader, Queen Elizabeth II holds the link between past queens and today's women political leaders and her dress represents so much in accordance to her role. It is important to analyze the dress and role enactment of Queen Elizabeth II in order to provide a guide to the future women political leaders all over the world. The Queen's dress helps her show tradition which has developed over one thousand years of history. She represents Britain to the world focusing on national identity and unity. The Queen always distinct herself from the rest of the world to show the pride of British Monarch, but when she is visiting other counties for diplomatic relationships she would surely show a friendly gesture on her dress to assimilate herself with that country. Also, same as all other women, the Queen seeks practicality in her dress. Therefore, I was able to classify the Queen's dress into jive groups as a way of role enactment. They are tradition, representation, distinction, assimilation, and practicality.

• 복식
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• 제52권5호
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• pp.129-144
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• 2002

Kyung(경, 경의), Which is Wedding ceremonial head dress, Veil. Ancient China, When dynasty is changing, wedding head dress form is different. Old china, Kyung(경) was sleeves attached dress form. But, after Dang(당) and Song(송) Dynasty changed square formed clothes, which is put on from head to the shoulder, and another is sleeves attached dress form. Ancient Korea have been face covered clothes. Myunuei(면의). from Buyo(부여) to the south Silla(남국신라) Dynasty. Koryo(고려) dynasty. likeness of the Song Dynasty square formed head wear, Mongsu(몽수), and Kedu(개두). When Chosun(조선) Dynasty, Kyunguei(경의), which was square formed 12 chuk size head wear of the blue colored veil. When King and Queen finished wedding ceremony in the another palace, Queen following the King, so to the palace. who put on the wedding veil, Kyungui(경의) , in the papanquin. and take out of the veil by another mother. before the hapkun(합근) ceremony. also Chosun dynasty has been another Queen's wedding ceremonial veil 'myunui (면의)'. It has been put on the head dress with ceremonial dress Juckui(적의) . And, take out of the veil by another mother, before the hapkun(합근) ceremony. also. common people has been put on the head dress with ceremonial dress Youmui(염의). And. take out of the veil by another mother. before the hapkun(합근) ceremony. also common people has been put on the Mongsuui(몽수의,장의). head dress with ceremonial dress round neck dress. And, take out of the veil by another mother, before the hapkun(합근) ceremony.

• 한국의류학회지
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• 제39권5호
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• pp.695-702
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• 2015

This study provides basic data that are helpful to prepare a sizing system for dress shirts that improves the wearer's size fitness. The 16 different parts of the dress shirts were measured for 24 pieces of dress shirts with three kinds of size (95, 100 and 105) among the eight different brands on the market. The measurement sizes of the dress shirts analyzed the accuracy of the size information, size classification by size designation, and differences of size by brand. The results of the study were: 1. The size information of dress shirts differed from customer demand. 2. The size increments between size designations differed from each other even though measurement sizes of the dress shirts increased as the size designation increase. 3. Measurement sizes of the dress shirts were different between brands even for dress shirts of the same size designation. It is necessary that manufacturers secure an accurate and standardized sizing system and provide accurate information for the measurement sizes of dress shirts on an online shopping mall.

• 복식문화연구
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• 제19권3호
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• 복식
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• 제41권
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• pp.5-21
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• 1998

This study aims to show how tradition and modernity has interacted to produce the aesthetic consciousness of body and dress in contemporary Korea. For this purpose, documentary studies were proceeded. And photos of the modern Korean dress from 1980 to 1997 were analyzed. The results are as follows: First, the body form was studied in terms of exposure and concealment of the physical body parts and the perception of body was classified into two categories, the abstract and the realistic. And the dress form was studied in silhouette and the perception of dress was assorted as body priority and clothes priority. Second, the aesthetic values of body were categorized to divinity, humanity and sexuality. And the aesthetic values of dress were defined in relation to the aesthetic values of body as ascetic beauty, pure beauty, natural beauty and erotic beauty. Third, while the traditional Korean costume (Hanbok) pursues the aesthetic values of divinity and humanity of human body and ascetic beauty, pure beauty and natural beauty on the aesthetic values of humanity of human body and the pure beauty and natural beauty of dress. The contemporary Korean fashion expresses the aesthetic values of divinity, humanity and sexuality of human body and the aesthetic values of ascetic beauty, pure beauty, natural beauty and erotic beauty of dress. In conclusion, the emphasis of sexuality of body and erotic beauty of dress in the modern Korean dress can be interpreted as the change of the aesthetic consciousness of body and dress in contemporary Korean by the influence of the western modernity.

• 복식
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• 제50권2호
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.