• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.217-227
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• 2001

The purpose of this research was to investigate the difference in fabric preference of formal wear attire between the Korean and American female consumers. For such purpose, fabrics which were used in the womens formal wear market of Korean(n=25) and U.S.A.(n=25) in the 1999 spring/summer season were collected from different fabric converters of the two countries. The respondents were comprised of 50 Korean and 50 U.S.A. female volunteers in the age group of 20s and 40s. A 5 point Likert Scale was used to evaluate the degree of the \"like\" preference of fabrics. T-test and Spearmans rho statistics were conducted for data analysis. The followings are the results. 1. Korean 20s and American 20s preferred Korean fabrics but Korean 40s and American 40s preferred U.S.A. fabrics. 2. Generally, the 20s preferred greyish or tone down color, whereas the 40s preferred both greyish and colorful fabrics. 3. Koreans preferred melange colored fabrics as well as solid color fabrics. 4. Americans liked knit fabrics as well as woven fabrics for formal wear and 20s liked compact density fabrics compared to the 40s age group.age group.

• The International Journal of Costume Culture
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• v.3 no.2
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• pp.124-135
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• 2000

This research investigated the difference in fabric preference over formal wear attire of 1999 Spring/Summer season between Korean and American female consumers. 25 Korean and 25 U.S.A. fabrics were used as fabric samples, and the respondents for the survey included 50 Koreans and 50 Americans in the 20s and 40s age groups. All six population groups showed similar dislike rankings toward the total fabrics (n=50). When the Korean fabrics and the U.S.A. fabrics were considered separately, the 20s and 40s age groups, especially between Korean 20s and Korean 40s, showed significant similarities in the dislike rankings. When the dislike preferences between Korean fabrics and U.S.A. fabrics were examined for different population groups, all the groups showed somewhat similar dislike rankings and in all cases U.S.A. fabrics were disliked more than the Korean fabrics. The most apparent difference in the physical characteristics of disliked fabrics was observed in jabric color. The Americans, especially the 40s age group, disliked fabrics with dark compound colors, whereas the Koreans in all age groups dislike fabrics close to bright pure colors.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.864-870
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• 2000

The purpose of this study were to investigate clothing design preference (style, color, fabric print, kinds of fabrics) & satisfaction with the fit of ready-to-wear clothing for older Men. For this study, the questionnaires were administered to 650 older men in seoul from June to August, 1998. Employing a sample of 504 data were analyzed by mean, frequency and percent. With respect to clothing design preference, they prefer suit the style of outdoor clothing on going-out. On distinguish clothing into formal wear & casual wear, the color preference due to seasons has difference in spring clothing. Regarding the degree of fabric pattern preference, nonpattern single color fabric has occupied in formal wear, pattern in casual wear. Regarding the degree of fabric preference, they take a serious view of shape preservation in formal wear, utility (washing, sweat absorption) in causal wear. Suit has the lowest satisfaction in the fit of ready-to-wear clothing. Sleeve length the lowest in the degree of satisfaction for each part.

• Textile Coloration and Finishing
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• v.18 no.2 s.87
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• pp.31-38
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• 2006

Silk fabrics are very popular and widely used because of their elegant appearance. However, silk fabrics generally have easy wrinkle, and do not stretch and deform permanently after machine washing. Then the stretched properties of silk fabrics are important for the application of industrial textile materials such as formal and sports wear. Thus, this research surveys the covering, weaving and degumming conditions for stretched silk fabrics. As a result, yarn breaking stress was reduced with increasing spindle speed, and the yarn twists were optimized under the covering condition of polyurethane/silk with PVA pretreatment. In addition, the shrinkage of the silk fabrics treated with star degumming process was reduced by continuous NaOH degumming process. The fabrics showed the fabric physical properties with optimum stretched properties and evenness surfaces.

• Journal of Fashion Business
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• v.9 no.3
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• pp.8-21
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• 2005

The purpose at this study was to analyze and to position the clothing images at women's formal wear brands carried by at least two department stores in Daejon, for providing data for a basic marketing strategy for fashion manufacturers and distributors. The results tram the study were as tallows; The brand that showed the highest classic image was 'BCBG'(83.6%), the brand that showed the highest feminine image was 'Obzee' (80.2%), the brand that showed the highest character image was 'Doho' (84.1%), and the brand that showed the highest mannish image was 'F.Station' (64.1%). On the brands image positioning map, brands, such as 'Deco', 'Mine', 'Time', and 'Anne Klein', lying on or near the point of intersection (where the vertical and horizontal axes meet) showed 4 types. They were 'smart & chic cluster', 'charming & luxury cluster', 'character elegance cluster', and 'sportive elegance cluster' that showed compound images. These clusters would be differentiated tram young casual lines by emphasizing the brands' shape and cut, higher quality fabrics and materials, and elegant and graceful colors. Analysis of target ages and tweed jacket prices for brands carried by at least two department stores showed that the target was between 23 and 50, and that the prices range from 198,000 won to 460,000 won.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.171-191
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• 2016

Lady Han, Gongshin-buin(恭愼夫人韓氏: 1410~1483) was Gongnyeo of Ming emperor and sister of Han Hwak(韓確:1400~1456). The aim of this study is to analyze the characteristic of costume presents for Lady Han, and to investigate a part of Joseon women's attire in the 15th century. Most of the presents for Lady Han were native products of Joseon to help alleviate her homsickness, but surviving relics are very rare. The costume-related presents included daily accessories and fabrics such as natural ornaments, embroidered pouch, needle case, wig, wooden comb, portable knife with multi-blades, various colored plain silk [綿紬] and ramie. Also, preceding research analysis of costume relic were combined with study of presents for Lady Han's. The most salient costume of Joseon women in the 15th century was the symmetric collared jacket. In addition, ornamented jeogori, pouch with pine nut stitch, chima, jangot, jangsam, black veil[羅兀] made with ra or jeung, glass beads, paintings of Ming and Joseon can be references. Illustrations show 6 representative type of Joseon women's full attires in the 15th century are as follows. First, is a combination of 'symmetric collared jacket with peacock rank badge, jeoksam, chima, underwear' and 'hoa-a, janga-a, embroidered pouch, needle case, knife with multi-blades: presents for Lady Han'. Second, formal wear focusing on symmetric collared Jacket of cloud pattern. Third, formal wear focusing on multicolor ornamented jeogori. Fourth, town wear with jangot and neoul. Fifth, formal wear with jangsam. Sixth, daily wear focusing on banbi with symmetric squre collar. Accessories and underwear shown in another illustration were same as the first illustration. Results of this study can be used as content for making historically accutate costumes as well as costume education.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

• Journal of the Korean Society of Costume
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• v.2
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• pp.51-64
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• 1978

In reviewing our costume history, it is noted that costume bas been used as a yard stick for symboliying various social status. During the Lee Dynasty in which confucianism was the predominant religion, costume color, design and its fabric varied distinctly according to class, sex, age, occasion, et al. As in other field of our culture, costume was influenced by the Chinese culture. Although gilding was derived from the Chinese-originated gold-spun fabrics, no credit and praise should be spared for our ancestors of the Lee Dynasty who developed gilding artistry as our own. The use of gilded costume was confined to the formal court wear rather than casual wear even in court and to the nobles than to the commoners. Even among the nobles, gilding designs variously classified were used to distinguish the class. However, the modernization triggered by fores-Japan Annexation Treaty destroyed the traditional cable systems, thereby the limited use of gilding has yielded to the vast demand on the part of general populace.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.183-190
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• 2016

A mourning dress is the formal costume that the mourners wear to show civility during the mourning. Traditional funeral rites are the Confucianism's funeral proceeding where the mourners wear according to the National Mourning Dresses System. However, nowadays, the funeral proceedings and mourning dresses are simplified. In result of current design analysis of the mourning dresses for women, the types of the mourning dresses for women are classified by traditional styles and modern styles. Traditional styles include skits and Jeogori make of hemp fabrics, and modern styles include skits and Joegori style, modernized Hanbok style, and Western style, which consist of cardigan, waist skits, jackets, and pants. The modern styles mostly use polyester and the color consists mainly of black and white. The followings propose new designs of mourning dress for women that reflect practicality, flexibility, and diversity. First, transmit the meaning that traditional mourning dress entails Second, change the length and the width of Jeogori and skirt by reflecting the trend of the time and change the designs of the mourning dresses by using the details of the modern styles so that they are equipped with practicality, flexibility, and affordability. Third, pursue diversity by changing the uniformed fabrics and colors used on the existing mourning dresses. This study addresses the drawbacks and the points that need be improved to suggest the designs of the modern mourning dress for women, which reflect the characteristics of Hanbok and cultural traits.