• Fashion & Textile Research Journal
• /
• v.23 no.2
• /
• pp.151-158
• /
• 2021

The purpose of this study was to develop high-quality naturally dyed leisurewear with images of traditional Korean clothing that keeps a psychologically comfortable and physically pleasant environment at home and in vacation spots. The root bark of elm trees, the atopic skin, is also known to be effective for the relief of rhinitis and atopic diseases as well as stress and insomnia. However, there is insufficient color in the bark for the dyeing of fashion products, so to compensate for the lack of color, for dyeing purposes it was combined with a composite extract called Rubia akane Nakai resulting in a relatively bright red color. Except for the light fastness, all the fastnesses were rated 4 to 5, showing excellent results. Through complex dyeing using elm bark and pods extract the author produced four high-quality vests, one-piece, a gown, and jeogori-pantsuits of silk materials with Korean images that are suitable wear for relaxing comfortably at home and during breaks and which provide a comfortable and physically pleasant experience. The vest was made with the formal style of Bae-ja and Dang-eu, the dress is made of Cheok-lik, and the gown is made of Wonsam. It will be meaningful at a time when the importance of rest is increasing due to the healing clothes worn by busy modern people.

• Journal of Fashion Business
• /
• v.10 no.4
• /
• pp.16-28
• /
• 2006

The purpose of this study is to investigate the content and changes of modern Korean men's wear advertisement from the 1960s to the 1990s by reviewing fashion magazines and pictorials. Research problems were as follows.; First, analyze the types and their units of measurement in men's fashion advertisements from 1962 to 1998. Second, examine the differences of quantitative change in men's fashion advertisements according to each period. The total 857 advertisements were selected from Shin Dong-A, Joongang Magazine, and Bokjangwolbo from 1972 to 1998. For analyze the result, frequency analysis and $x^2$-test were used. Results were as follows. First, through the review of literatures and pre-tests, 6 units of measurement were identified. They were product type(formal wear, casual wear, sports wear, dress shirts, accessory, inner wear, fabric and the others), brand type(national brand, licensed brand, imported brand, others), appeal type(image, product, others), representation type(photograph, illustration, others), medium type(man, product, others), and color type of advertisement(black & white picture, color picture). Second, for the types of advertisements, formal wear, national brand, image appeal, figure medium, photograph for presentation and color picture are the most frequently shown in men's fashion advertisements from 1962 to 1998. Third, for product, more accessory advertisements were found than the clothing in the 60s and the 70s, and casual wear advertisements in the 80s and formal wear advertisements in the 90s were dominated. National brand type was dominant through all four period. Product appeal type in the 60s and the 70s and image appeal type in the 80s and the 90s were prevailed. For medium, product type in the 60s and the 70s and figure type in the 80s and the 90s were dominated. Black & white picture in the 60s and the 70s and color picture in the 80s and the 90s were prevailed. Lastly, photograph was the most frequently used for presentation type through all periods.

• Journal of the Korean Home Economics Association
• /
• v.18 no.2
• /
• pp.1-13
• /
• 1980

When we design a dress, we should not only consider the esthetic sense and the relationship between movements of the body and the type of dress, but also the combination between the qualities and proper uses of textiles. recently the sale of ready-made clothes has been booming but I wonder whether they have been made in accordance with research concerning body movements and dresses. I would like to make the following observations on dresses, because I have personally suffered the inconvenience of restricted arm movements when wearing ready-made clothes. I have made four types types of foundations with muslin and Jersey, with these foundations I measured the degree of tension or how much the waist-line was drawn up then the arm was moved in increments of 45 degree angles and there by covering the entire span of vertical and horizontal movements. I have intended to experiment with sleeves of differing height in several ways. Concerning the movement factor, I have determined that with excessive activity vertical movements are twice as uncomfortable as horizontal movements. Concerning the faburic, I have found that because jersey has more elastic qualities than muslin, it has proven to be more responsive to body movements. concerning dresses, I have fund that the higher the height of the sleeves, the more uncomfortable it is to move the arms and the greater the degree to which the waist-line is drawn up. As a result this experiment I have made the following observations. Firstly, the vertical movement of the arms to a 180 degree angle has the most extreme influence on the breadth of movement of the waist-line. Secondly, because jersey permits freer body movements than muslin, it should be the preferred material for use in making sportswear. Thirdly, the formula A·H/4+3 of the sleev's cap height is suitable for making street dresses and formal wear. The formula A·H/5 and A·H/6 are properly used when making working clothes and sportswear, and the formula A·H/8 is proper for a sleeping garment and clothes for patients. Fourthly when deciding to any garments, it is important to consider the amount of arm movement anticipated and the relationship between the material and the degree to which the waistline is drawn up. In nder-blouse, when we raise our arms to the most extreme position, we should at that point still have 20∼25 cm of material remaining under the waist-line which includes the maximum of 14.1cm plus part of the blouse and breath of skirt's belt. In the case of the over blouse it is proper for us to have the length of 17∼20 cm remaining below the waist-line.

• Journal of the Korean Society of Costume
• /
• v.63 no.8
• /
• pp.125-142
• /
• 2013

Soek(Xi) was the highest ranked shoe that was worn with the primary formal dress in East Asian countries including ancient Korea and China. This article examined Joseon's Seok as discussed in previous studies, and it explored factors such as the wearers' status, wearing situations, its morphology, its materials, and its colors in the Great Han Empire period (1897~1910), and then extracted three morphological characteristics of the Korean Seok to examine its origin. The results of the study are as follows. For women, the Seok in the Great Han Empire period was worn with Won-sam(圓衫) and No-eui(露衣) as well as Jeok-eui(翟衣), and hence its range of wearing was extensive. Also, red Seok was worn with deep red colored Dae-sam(大衫)-styled Jeok-eui in the Joseon period(1392~1897), and blue Seok with deep blue Jeok-eui in the Great Han Empire period. This suggests the possibility that wearing of deep blue Jeok-eui occurred after 1906 in terms of the use of blue Seok. As for its morphology, its leg-less form was maintained into the late Joseon period, and there were no great changes in its name. The characteristics of the Korean Seok's morphological structure consisted of a shoe leg, the wood-less bottom and pearl ornament. As a result of the examination of the origin of those characteristics, it has been clarified that the form in which Gu, Eok, Jun(純), are attached in the structure with a shoe leg originated from the combination of Hwa(靴) and Li(履) after the two types of shoes were alternately worn in the Song (宋) period. Also, it was confirmed that the woodless bottom appeared between the periods from Wei Jin Northern and Southern Dynasties(魏晉南北朝) to Sui(隋), and the pearl ornament occurred in the Jin(金) period.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.19 no.4
• /
• pp.123-137
• /
• 2017

The purpose of this study is to suggest sleeve cap height with a satisfying wearing sensation and appearance on jackets for women in their twenties so that high-consumer demand jackets can be produced. Five experimental jackets with sleeve cap heights of [(AH/3)-1cm], [(AH/3)-0.5cm], [AH/3], [(AH/3)+0.5cm] and [(AH/3)+0.8cm] were made for 30 subjects to try on after which the subjects were then surveyed for their assessment of appearance, wearing sensation and preference. On the basis of the results, the optimum height of the sleeve cap has been proposed along with the following contents and results of this research. 1. [AH/3] [(AH/3)+0.8cm] of sleeve cap height was assessed to beof desirable appearance. 2. [AH/3] of sleeve cap height garnered a high opinion in terms of intuitive wearing sensation, while [(AH/3)-1cm] [AH/3] were the heights with overall satisfaction of intuitive and movement wearing sensations. If discomfort in the upper sleeve at 'straight arm' posture can be tolerated, the sleeve cap height can be set to [(AH/3)-1cm]~[(AH/3)+0.5cm]. 3. [AH/3] and [(AH/3)+0.5cm] were found to have a high preference among wearers, which indicated that the women in their twenties prefer a slim type of sleeve, putting appearance above wearing sensation. Consequently, [AH/3] is desirable when appearance, wearing sensation and preference are considered, [(AH/3)+0.5cm] is fit for business uniform for static duties or formal dress focused on aesthetic impression and [(AH/3)-1cm]~[AH/3] are desirable for work clothes when considering active duties.

• Journal of the Korean Home Economics Association
• /
• v.11 no.3
• /
• pp.247-261
• /
• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• Journal of the Korean Society of Costume
• /
• v.50 no.7
• /
• pp.181-193
• /
• 2000

The purpose of this study was to establish the marketing strategy, that strengthens the brand royalty of their own in apparel industry and that can induce consumer's brand switching against competitive brand. This might be done by suggesting influencing factors on the brand switching for fashion goods. This study was classified into theoretical and experimental study Experimental study was done, using the survey to prove the models for consumers' responses to brand switching by the theoretical study. The survey was conducted through two preliminary questionnaires. It was used as a criterion to prove the validity of the main survey and analyse the reliability. It analyzed at last five hundred ninety-two women in the age of twenty to thirty years odd who live in Seoul and the suburban of Seoul. Followings are the summary of the results revealed through the experimental study. First, brand switching behavior of consumers far formal dress was attributed to two extremes the inner motivation of variety seeking tendency and communication contact, complex variety seeking group, true variety seeking group, derived variety seeking group, and variety avoiding group. Second, the structure of low dimension related fashion according to factor analysis, which affects brand switching, was composed to involvement in 5-dimension, information search in 3-dimension. Based on the results of this study the types of brand switching in fashion goods can be classified by the variety seeking tendency. as inner motivation, and level of contact communication as a outside stimuli. In addition this study showed a correlation among the factors for brand switching related to variables of fashion.

• Journal of the Korean Society of Costume
• /
• v.63 no.3
• /
• pp.110-123
• /
• 2013

The purpose of this study is to analyze the first birthday Hanboks on Internet shopping malls and to find the reason why the costume has various types. From April to May 2012, first birthday costumes were sold on 154 Internet shopping mall sites. On 48 of the shopping malls, traditional Hanboks were sold, on 33 of the shopping malls, fusion Hanboks were sold, and on 73 of the shopping malls, Western formal wear was sold. The percentage of the Hanboks and Western costumes for the first birthday was almost the same. Boys costumes in the traditional Hanbok consisted of 'Magoja, Joggi, Jeogori, and Baji" or 'Baeja, Jeogori, and Baji" with Jeonbok or Sagyusam. Boys' headgear consisted of Bokgun and Hogun. Girls' costumes in the traditional Hanbok consisted of 'Jeogori, Chima' or 'Dangui, Chima or Seuranchima'. Girls' headgear was Gulle, Jobawui, and Baessidaenggi. Boys' costumes in the fusion Hanbok consisted of 'Jeogori, Baji, and Wanggunmo' which is different from the traditional Hanbok in materials, colors, and parts of construction. Girls' costumes in the fusion Hanbok could be divided into 3 different types; a modified traditional skirt, Chima, 'Chima and Jeogori" with new materials and colors, and Western dress with traditional materials. The first birthday Hanboks on the Internet shopping malls are simple and convenient compared to the traditional ones. Furthermore, parts of the costumes are influenced by some popular historical dramas. One of the reasons why the costumes have changed is because the customers have few experiences about traditional Korean costumes and their interests have been affected by the modern media.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.1
• /
• pp.1-12
• /
• 2011

This study tests the performance of the recommended winter dress OnMapsi for an office worker through the analysis of skin temperature changes according to the heating environment. We tested and compared the effects of with/without undergarments for 4 male subjects in an artificial-climate chamber with two air temperatures of $19^{\circ}C$ and $22^{\circ}C$, $50{\pm}10%$ R.H. During the 60 minute experiment that simulated office work, the subjective feelings (that included thermal, humidity and comfort sensation, and skin temperature) were measured at equal intervals. The results show that the forehead and chest skin temperatures were not affected by air temperature or clothing type, while the hand and foot skin temperatures were affected at $0.3-0.9^{\circ}C$ depending on clothing type and $1.9-2.2^{\circ}C$ depending on air temperature. The mean skin temperature was decreased by the experimental time pass more with regular formal wear than with OnMapsi. The second experiment located the ambient temperature in which subjects wearing OnMapsi show equal skin temperaturesto those without undergarments at $22^{\circ}C$. Therefore it is possible to decrease heating temperatures to $18-21^{\circ}C$ in the office for winter OnMapsi wear that produces a skin temperature and thermal sensation that is the same as those at $22^{\circ}C$.

• Journal of Fashion Business
• /
• v.19 no.1
• /
• pp.95-105
• /
• 2015

This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai's reasonable spirit and zen thoughts. The period was also called "the era of hari", and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men's formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.