• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of Fashion Business
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• v.10 no.2
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• pp.40-59
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• 2006

The purpose of this study was to investigate the shirt market, to find out the shirt trend in 2005 A/W, to analysis shirt style Preference, and to investigate the shirts purchase attitude according to the income, age, and occupation of the 321 respondents, for developing the possibility & strategy of the dress shirts market in men's wear for the apparel marketers and manufactures. For this study, the data obtained from 321 respondents were analyzed by descriptive statistics. The results from the study were as follows ; In 2005 A/W, Countessmara, Daks, Dupont, Renoma, and Yesac were commomly distributed in 5 department stores in Daejon and Seoul. There were seen trends that were pursuing a various fabric, colors, details, and high-touch design in shirt. Men workers prefered the Basic and Modern casual style to Soft, Sophisticated, Modern mannish, and Trendy style shirt. The 133(41.4%)respondents estimated that the important viewpoint in purchasing dress shirts was 'Design. The 212(66%) respondents estimated that they prefered the different shirt brand from their suits. And results revealed that Daks ranked best brand (13.7%), and Renoma ranked best two brand (6,5%). The 103 (32.1%) respondents estimated that they possessed the three shirts per one suits. The 201(62.6%) respondents estimated that they prefered the department store for purchasing shirt. And, the 114(35.5%) respondents estimated that the first important information source which influenced on purchasing dress shirts was the store display, next was internet(15.9%).

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.908-922
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• 2010

The purpose of this study is to develop design for daily hanbok with Jacquard textile design developed by using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. This study will also develop Jacquard textile design that has elaborate and luxurious patterns and abundant expression of colors using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. Developing daily Hanbok design for woman's casual and formal occasion will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion genre. The "Texpro Design CAD V8.21" program was used for the textile design. A total of 3 designs were developed as the Jacquard textile design with traditional patterns using lotus flower motifs. One type of fabric was produced for each of the textile design with a color selected from "Pantone Color Chips". And finally, three woman's daily Hanbok design for either casual or and formal style were developed and these daily Hanboks were consisted of Durumagi, one-piece dress, and one set of jacket and trouser. And the actual garments were constructed and the design procedure and the photos of these works were presented. This study showed the possibility of producing highly sensible daily hanbok that suits the fashion trend of middle aged women and the widening of consumer range and the creation of new market by developing Jacquard textile design.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.669-676
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• 2020

The purpose of this research was to revive the bathochromic effects of wool fabrics by using natural dyestuffs with minimum heavy metallic mordants. The natural dyestuffs used in this research were the indigo plant, Phellodendron amurense, and Caesalpinia sappan. Sample no. 1 was pre-dyed five times with indigo. Sample no. 2 was pre-dyed five times with indigo and then once dyed with Phellodendron amurense. Following the same method as sample no. 2 with an additional Phellodendron, Sample no. 3 consisted of a pre-dye five times with indigo and twice with Phellodendron amurense. Sample no. 4 was pre-dyed six times with indigo and then once dyed with Caesalpinia sappan. Sample no. 5 followed the same method as no. 4 with an additional dye of Caesalpinia sappan. Sample no. 6 was pre-dyed five times with indigo and then once dyed with Phellodendron amurense and once dyed with Caesalpinia sappan. The results were as follows: first, all samples showed deeper colors. Second, according to the results of the surface K/S measurement, the surface K/S of wool fabrics was >20. Third, the results of lightfastness measurement showed superiority over grade 4 in samples no. 1, 2, 3, 5, and 6. However, sample no. 4 was grade 3. In the colorfastness to washing measurement, sample no. 2 showed greater superiority than grade 3-4, while samples no. 1 and 3 were grade 3. In addition, the colorfastness to dry cleaning for all samples was satisfactory or excellent by more than grade 3.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.1 s.1
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• pp.103-109
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• 2004

It surveyed consumers between 20s and 60s to understand how often they wear ramie clothes and what they are dissatisfied with wearing ramie clothes. First, people who are older than 50 have more ramie clothes than people who are younger than 50. They purchased ramie clothes at a store of Korean traditional costumes(35.1%) and special sales shops including departments(33.8%). People older than 50 washed ramie clothes with hands in their houses. But people younger than 40 washed their ramie clothes in a laundry. Third, it surveyed what was their dissatisfaction with ramie clothes. They responded that the type and design is limited.(44.4%) There isn't a design for young people.(33.3%) In the survey of color and patterns, they responded that the colors are not classified for people of different ages.(57.7%) The others complained that the patterns are not enough.(22.5%) They are dissatisfied with ramie clothes as it is easy to have wrinkle and it isn't elastic.(66.7%) Fourth, it surveyed the tendency to purchase ramie clothes based on different four factors. The factor 1 is the tendency to have good quality. Factor 2 is the tendency of reluctant purchasing. Factor 3 is the tendency of variety of distribution routes. Factor 4 is the tendency of design.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.77-90
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• 2015

This study is to designed to provide foundation for knit design which can apply the thickness and flexibility of jacquard knit by analyzing and comparing mechanical properties of 7 types of jacquard (normal jacquard, bird's eye jacquard, floating jacquard, tubular jacquard, ladder's back jacquard, blister jacquard, transfer jacquard) widely used in knit design to achieve the results. The sample was projected by using 7 gauge and SES-122S type computer knitting machine house tooth pattern with two colors were applied to 7 types of jacquard using Acrylic/Wool(30%/70%) $2/50.5^{\prime}s{\times}4ply\;yarn$ by Shimaseiki MFG., Ltd computer knitting machine. The mechanical properties of 7 types of jacquard samples were measured using KES-FB (Kawabata Evaluation System for Fabric, Kata Tech Co. Ltd). HV(Hand Value) and THV (Total Hand Value) were calculated by using the formula of KN-402-KT and KN-301-WINTER respectively. The measurements were evaluated by 0-to-5 rating scale. As result, the floating jacquard was found to have excellent drape, making it suitable for express feminine silhouette with its most flexible and smooth touch. On the other hand, bird's eye jacquard is adequate for a suit jacket and coat regarding its excellent volume and flexibility. Blister jacquard and tubular jacquard are thick, heavy and stiff knit and both are suitable for simple box-style design. Ladder's back jacquard, however, is more appropriate for expressing the design of feminine charm and voluminous design. Based on the result of this study, it is supposed to provide basic information for development of knit industry regarding jacquard knit by designing the creative knit wear with high production efficiency.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.29-42
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• 2012

Historically, the pattern and technology of Copts' textiles, who were a minority in Egypt, have been studied a lot in the textile sector due to its unique characteristics. Unlike ones in other regions that appeared around the same time, the overall configuration ratio of the patterns looks exaggerated or distorted because they expressed it plainly by interpreting the world with ordinary people's eyes. Also, because it had used mixed linen and woolen yarns, harsh expression way and the use of various colors have been one of the features in Coptic textiles. Coptic textiles, which have been developed along with the historical development of continued domination from neighboring countries, have expressed the effects of the Roman Empire, Christ, Christianity, and Islam on the pattern of its fabric. This study analyzed its characteristics which make people smile by the way of expressing a simple and humorous representation of the textiles and categorized them as Humoristic Beauty - the aesthetic category of humorous feature. In this study, the Humoristic Beauty in Coptic textiles has been analyzed in terms of the following three smiles; the smiles coincidental with the flow of time, the smiles made by the shaping of distorted proportions and appearance, and the smiles like folk-paintings made by a rustic expression way. This study shows the possibility of the further studies on the textile patterns history from a different angle. I look forward to more detailed analysis in the follow-up studies in the future.

• Fashion & Textile Research Journal
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• v.8 no.3
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• pp.258-268
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• 2006

The purpose of this study is to consider incense culture found in costume and life in forms of carrying and decoration. Here, incense for carrying and decoration is classified into two cases, using it as a costume accessory and life space. Hyangjumony, Hyangnorigae, Hyangjul, Hyangdae and Hyangseonchu were costume accessories. Hyangjumony was not only used for the royal palanguin, but also for bedroom. When Poetic Literature, and other ancient publications were reviewed in regard to incense for carrying and decoration, it was estimated that incense began to be carried for the first time before the late period of Shilla(9C). In addition, it was found that incense was not just a personal taste, but one of important gifts exchanged between states, envoys of different nations and between sovereign and subject and that incense was a necessary costume accessory for men. Types of incense for carrying and decoration used in this nation are classified into Hyangjumony, Hyangnorigae, Hyangjul and Hyangseonchu. Hyangjumony is a fabric pouch that contains incense. Hyangnorigae is Norigae whose main material is incense. Hyangjul is a string to which incense is hanged. Hyangseonchu is Seonchu whose main material is incense. Incense for carrying and decoration was based on five colors that symbolize cosmic order and harmony, of which red and purple were mostly used. Red strongly suggests expelling Yin with Yang, or exorcism. The color gives a strong impression, so it was often used to make a carried incense more decorating. Main materials of incense for carrying and decoration were gold, silver, precious stone and horsehair. They are different in characteristics, but were used appropriately for incense fragrance and decoration. Patterns mainly used for the incense had shapes of animal, plant, sipjangsaeng and letter. These were all auspicious patterns that symbolize human wishes and desires, especially individual and family happiness.

• Journal of the Korean Society of Clothing and Textiles
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• v.6 no.2
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• pp.49-55
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• 1982

The purpose of this study was to analyze the factorial structure of the criteria on clothing selection. Data were obtained from 219 housewives in Seoul. 95 likert type questions were selected from the existing questionnaires and from the open end questions. The items were analyzed for discriminating power, followed by the factor analysis. 57 items were subjected to the principal component analysis with orthogonal rotation after extraction of 5 major factors. 47 items were found to be significantly loaded to at least one of the five factors. The factors had the following characteristics: Factor I. The persons scoring high on this factor would invest time and energy in their clothes to achieve their image and individuality. They were interested in clothes, appearance and fashion. Factor II. The persons scoring high on this factor were more concerned about the practicality of clothing, such as ease-of-care, comfort, texture and quality of fabric. They would not select the clothes which soiled easily and would not perform as expected. Factor III. High scores on this factor were associated with the eagerness to get the cloth-ing value for the money. They would make a long plan to buy an expensive clothing and choose a unique clothing regardless of fashion. Factor IV. A high score on this factor was suggestive of modesty. They were willing to buy inconspicuous clothes, such as dark or muted colors, small prints and conservative styles. Factor V. High scores on this factor were characterized by the desire for conformity and approval of their friends. This result may be used to develop an instrument to measure the criteria on clothing selection of consumer.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.384-397
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• 2019

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children's collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children's clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children's collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in $appliqu\acute{e}s$ and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children's clothing collections. Fifth, playfulness functioned to enhance the children's clothing's wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing's value by fusing with other characteristics such as handcraftedness and naturalness.