• Journal of Korean Home Economics Education Association
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• v.24 no.1
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• pp.49-59
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• 2012

This research aimed at identifying the influential factors on high school students' dress code compliance. Specifically, the relationship between the perceived strength and importance of dress codes and dress code compliance, and the relationship between dress code compliance and creativity, self esteem, and school adaptation were examined. For this purpose, reliability tests, multiple regressions, and t-tests were conducted using the data collected from 866 male and female students from six Co-Ed high schools located in Seoul. The results are as follows. First, the more students perceived the school dress codes to be stronger and more important, they were more likely to comply to the dress codes. Second, compared to the low-compliance group, the high-compliance group had higher self-esteem and creativity. Third, compared to the low-compliance group, the high-compliance group showed better adaptation to their teachers, classes, and school rules. However, the two groups were not significantly different in terms of their adaptation to peer groups.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.104-115
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• 2008

Party is an important communication method in the 21st century and this tendency is not exceptional in Korea. With this noteworthy phenomenon, this study summarized the concept and history of party first, and then analysed "belief - attitude - behavioral intention" model based on the one-dimensional attitude theory. The variables included in this research were western culture familiarity as belief factor, three variables evaluating the party culture(i.e., non-popularity of party, marketability of party, sociability of party) as attitude factor, and dress code receptiveness as behavioral intention factor. The samples of this study were 498 women in twenties and thirties from metropolitan areas in South Korea. SPSS 12.0 and AMOS 4.0 packages were used for statistical analysis. The results of this research are as follows: First, western culture familiarity had a significant effect on attitude toward party culture. Specifically, western culture familiarity negatively influenced the non-popularity dimension of party and positively influenced the marketability and sociability dimension of party. Second, attitude toward party culture significantly influenced the dress code receptiveness. Consecutively, all of three dimensions about attitude toward party culture positively influenced the dress code receptiveness. Managerial implications were provided.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.76-82
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• 2008

Most of the students in middle and high schools today wear school uniforms. The school uniform is the most important and intimate clothes in adolescences and makes students feel a sense of group identity and belonging, and lessen the difference of economical capabilities. However levels of satisfaction is low because school uniforms do not express their individualities and do not keep up with the fashion. In this paper, we studied the partial liberalization of schools uniforms to raise the levels of satisfaction. The subjects were 378 male and female students from middle schools and high school in Ulsan, and a questionnaire was sent out. The survey was conducted in February 2007, and frequency analysis, ${\chi}^2$-analysis, and t-test were used for the analysis of the data. The results are as follows: The students recognized the partial liberalization of the dress code as loosening of the regulation As the result of analysis on attitudes toward the partial liberalization of the dress code, most of the students support the introduction of the plan. They chose a shirt as the most appropriate item and length as the best extent in liberalization. Among the elements of school uniform required to be unified, they selected a jacket and design as the item and extent, respectively. Through this study, we came to know the demands of students for school uniform and confirmed the possibility of the partial liberalization of the dress code as an improvement of consumer-oriented school uniform. In the future, it seems that their desires would be accepted and reflected in the design and school uniforms would be manufactured from the view point of consumer.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.147-160
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• 2012

The costumes as an expression system in film are inserted intentionally for a particular purpose. Costumes in film, namely the cinematic dress code, and that in reality are dissimilar in meaning structure. The costumes in film perform a role of a complicated eye-catcher in correlation with the other filmic factors. But the previous studies on the costumes in film are focused on the keywords 'fashion style', 'fashion trend', or 'PPL (product placement)'. In film studies, however, the costumes should be observed from the point of view as semiosis, not as fashion, in other words, from the angle of symbol, icon and index. And the meaning and the process of the communication, which that produce, should be pointed out. It could expose, that costumes play one of the key roles for the developing of narratives and the creating of characters in film. Therefore, this study's aim is to examine the semiosis of costumes in film and to analyse the dress code, dress plot, and dress message in (1990) by Garry Marshall. But this work does not try to indicate the problems of the film-semiotics or to intensify the concept of the semiotic terminology. Thus, this study attempts to approach the theme of costumes in film from the perspective of the semiosis and its meaning process. With this, it has been proved, that semiotic systems are in hiding beyond the conventional forms of cinematic costumes and its natural harmony with characters.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.541-550
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• 2003

This study is to research the costume of Korean envoys of the Chosun dynasty. The research results follow. The costume of three envoys including senior envoys and vice envoys is by, its different kinds, Gwandae, Jobok, Gongbok, and Pyongbok. According to the different purposes of occasions, these dresses were classified as the dress for ceremonies, the dress for banquets, and the dress for travel. For the ceremonial purpose, Gongbok and Jobok were mostly used. Gongbok was chosen when the envoys entered into the major cities or when they had ceremonies with the lord of the manor. The envoys wore Jobok for important ceremonies such as when receiving or presenting credentials or when entering into Chusima. For travel costume, Pyonbok of nobleman was used. The envoys wore Pyonbok during journey but they changed into Gongbok when they entered into the major cities such as Osaka or Kyoto in order to show their diplomatic etiquettes as representatives of the Chosun dynasty. And for the banquets, they wore Gongbok for official banquet and Pyongbok for private banquet. These findings of the different dress for different occasion indicate that there was a strict dress code according to the occasions and purposes.

• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.860-870
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• 2014

This study considers style types and examines aesthetic values by analyzing images expressed through bridesmaid dresses in the movie '27 Dresses'. The research method used was a case study on fashion types from movie costumes. The conclusions of this study are as follows. There are three fashion style types in the movie '27 Dresses' presented by diverse dress type according the bride's dress code, dress style that reflects a country's culture and tradition of how bridesmaids wear traditional costumes particular to each country as well as a dress style that suits the overall wedding's atmosphere and theme. The aesthetic values of the movie '27 Dresses': First, it reflects a complementarity synergy between the bridesmaid and the bride at the wedding. It plays a complementary role in creating synergy through a harmonious presentation at the wedding. Secondly, it represents traditionality. Traditional costumes of different cultures were used as bridesmaid dresses. These costumes play an important role in denoting the bride's nationality and tradition. Third, it represents a sense of amusement using a wedding as concept. The bridesmaid dresses were unique in a way that elicited surprise and unexpected laughter as well as a feeling of pleasure and interest in the audience. The different styles of bridesmaid dresses in movie costumes can help expand more diverse wedding cultures in a modern society.