• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.219-238
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• 2014

This study attempted to investigate present condition and product planning of global eco-fashion brands that harmonize fashion and sustainability. As research subjects, this study selected 97 oversea fashion brands mentioned in books related to eco-fashion, Black(2011), Brown(2010), Fuad-luke(2009). As for research methods, materials and ethical practices of these selected 97 brands through literature data and their internet site homepages. This study analyzed oversea eco-brands collected 26 British brands, 22 American brands, 36 European brands such as Germany, France, Italy, Sweden, Spain, Finland and so on, except Britain and 13 other regions including Japan, India, Canada, Mexico, and New zealand. In conclusion, the product planning characteristics of these oversea eco-fashion brands can be summarized as follows; community and fair trade, ecological and slow design, recycle, reuse, redesign, and new eco-models. Firstly, brands of 'community and fair trade' manufactured products through fair trade and local community's artisan by ethical practices with organic fabrics. Secondly, brands of 'ecological and slow design' pursued timeless design and multi-functional design as luxury eco-fashion styles. They used organic textiles, hemp, bamboo, soya, tencell, sea cell, and self-sustaining plants. Thirdly, brands of 'recycle, reuse, redesign' aimed for upcycling high-end fashion and used vintage clothes, textile scraps, PET, parachutes, tires, safety belts, advertising banner and so on. In addition, brands of 'new models as eco-fashion' suggested zero-waste cutting, recycling over-printing technology, new sustainable business model, and ethical practices in the supply chain of the fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.3
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• pp.516-525
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• 2016

Lumbar discs are one of the first parts of the musculoskeletal system to age in the human body. Lumbar disc for females start to age at twenty years of age and completely age between fifty and sixty. The number of lumbar herniated intervertebral disc patients are increasing rapidly; however, studies on protective inner wear are insufficient. This study was conducted to develop protective inner wear equipment that retains an aesthetic appreciation of the body. The methods and procedures of this study are as follows. First, foreign and domestic lumbar pads were researched and analyzed by visiting medical shops and internet shopping malls that sell lumbar pads. Second, the survey was conducted on forty patients with disc disease in hospitals located in Seoul and surrounding suburbs. The following are the study results and observations. First, the lumbar pads selling on the market had a variety of designs, textiles, and fabrics. The result of the research was to develop additional inner protective equipment for lumbar herniated intervertebral disc patients. Second, the survey results of the forty patients with disc disease were that housewives were the most vulnerable. All patients had experience purchasing lumbar pads. The prevention of pain and stress were the most selected responses for the motivation to buy lumbar pads. Most individuals said that they used lumbar pads for less than 1 year. Dissatisfaction came from fabric, activity and design. 'Being uncomfortable to wear' was the most common complaint. 'Protection and how easy the clothes were to wear' were the most selected for the necessity of developments. The Inner wear shape was the most selected in shape. Except for six respondents, all favored the lumbar protective inner wear design.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.80-97
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• 2012

This study empirically examined Seo Yu-gu's views on constumes that are based on 'Boksikjigu[服飾之具]' of Seomyongji[贍用志] in Imwonkyungjeji[林園經濟志]. In 'Boksikjigu', Seo Yu-gu explained different situations and problems that were related to costumes and proposed solutions for the problems. This study examined the contents, and divide the items into caps, accessories, and clothes. The results of this study were as follows. First, Seo Yu-gu in he rited the tradition of erudition. Seo Yu-gu classified various costume items systematically, and explained in detail about the origin, history and materials of the costume items. Second, he emphasized frugality, effective use, and welfare. Seo Yu-gu argued that the sleeves should be shortened for convenience and tried to improve practicality in the functional aspect. Also, he wanted to enrich people's life by improving the convenience of goods used in daily life. Third, he tried to establish identity as a Confucian intellect. This idea was clearly shown in 'costumes'; therefore, they served as evidences that Seo Yu-gu used to correct wrong practices through precise historical investigation and review of Shim-ui[深衣], the symbol of the practice of Jujagarye[朱子家禮]. In his later years, he discovered the plain dress that was worn as a casual wear by ZhuXi[朱熹]and tried to wear it in dailylife.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.200-217
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• 2012

The purpose of this research is to examine the specificity of grids to define the characteristics of clothes styles in the Joseon Dynasty period. The significance of examining of the specificity of grids is to find out arbitrary types of the features of grids involved in structuring the Jeogori in the Joseon Dynasty period one by one. The Visual Linguistic Theory was introduced as a methodological tool to exquisitely analyze the characteristics of grids in deep structures of Jeogori in the Joseon Dynasty period. This theory strives to examine sample distribution, the distribution of samples by quality and the distribution of the types of ploidy features. Through the examination, the results are as follows. The grid systems of the Jeogori consisted of diverse proportion systems reaching 86 cases, that is, sequence systems composed of multi-functional, multi-combined bodies. Most ornamental grids had feature angles distributed in a range of $2-20^{\circ}$ that showed a common preference for low sloped diagonal lines or small curvature. Although the preference for certain feature angles were prominent, the feature angles that were used were generally distributed evenly among diverse feature angles to show the characteristics of separation. Therefore, Jeogori makers in the Joseon Dynasty period can be considered as having experimented with many proportion systems to show their aesthetics. In conclusion, based on the results of the examination of feature distributions and related methods to allocate ploidy features, O-type accounted for 66% and thus it was identified that the Jeogori was characterized by O-type. Therefore, it was identified that the characteristic of the Jeogori in the Joseon Dynasty period consisted of O-type fractal structures which are formative structures unique to our nation.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.157-175
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• 2006

The purposes of this study are to establish a theoretical concept of nudism from sociocultural context, to examine its formative characteristics, to analyze the cultural meaning of nudism style showing in the 2000's fashion world, and to analyze and examine its aesthetic qualities. The way of a study was based on analysis and review on philosophy, aesthetics, sociology, popular culture and various documents at home and abroad and previous study and research materials about art and clothes for theoretical study. Also, we carried out a case study by analyzing photo data from fashion books, magazines and internet websites, considering the body and dress as visual objects. The summary and conclusions of this study are as follows: 1. Nudism of the sociocultural context was divided into change of understanding of the body and liberation of the body; naturalism; resistant culture; psychoanalysis context. 2. The formative characteristics of nudism style in fashion are classified in Exposure, Transparency and Body Conscious. 3. The cultural meaning of nudism style expressed in the 2000's fashion are sexual opening, surfeit of mass media, pursuit of naturalism, lookism, and individualism. 4. Nudism style expressed in 2000's fashion is drawn as three aesthetic qualities: Eroticism, Primitivism and Futurism. First, Eroticism of nudism style fashion which seeks for sexual stimulus is classified in Sensualism, Provocation and Innocence. Second, Primitivism of nudism style fashion which tends towards naturalism objecting to mechanic and digital civilization and hoping for return to the origin is classified in Primitivism, Naturalism and Sensualism as per aesthetics qualities. Futurism which is the nudism style presenting futuristic expression through using a new material is analyzed as High Technology, Cyber Sexism and functional Future.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.913-927
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• 2017

This study is based on the results of the $7^{th}$ Korea Human Size Survey (Size Korea). The standard body shapes of Korean women between 25 and 34 years old were analyzed and used to develop a prototype princess line for wedding dresses. or this purpose I conducted a literature review and a survey of the actual situation of domestic ligaments. In order to select suitable ligaments for the standard body type of 25~34 year-old Korean women, I collected the most representative ligaments from around the world: Stock man from France, Superior from the USA, KIIYA from Japan, and Pig and Nonno from Korea. They were then compared and analyzed. In the form of a formal wedding dress, a prototype princess line was developed by a draping technique in order to finely implement the human body fitting. To develop the prototype of the princess line, I made test garments with muslin. 25 to 34 years old Korean female standard body type Three human subjects close to the average measurement value were selected as subjects. An exterior appearance evaluation questionnaire was created with 28 questions focusing on the main parts of the prototype princess line. The clothes were evaluated three times. In this study, aesthetic and functional elements were considered for the development of princess line prototypes for wedding dresses. In addition, the amount of spare area was given differently. This study is significant in the achievement of a dress line closest that closely matches the human body line of the standard Korean female body type.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.135-150
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• 2011

The ranking belts for Joseon dynasty officials that are based on references and relics are studied in this paper in terms of architecture, detailed names, and structural changes according to different time. Officials' uniforms consist of hats, clothes, belts, and shoes. Among these, the belt is an important sign that represents the wearer's ranking. The ranking belts of the Joseon dynasty which were brought from Ming at the late stage of the Koryo dynasty became classified as the following four classes : Seo-dai(a rhinoceros' horn, 犀帶), Gum-dai(gold, 金帶), Eun-dai(silver, 銀帶), and Heug-gag-dai(black horn, 黑角帶). A ranking belt consists of a basic belt body and a plaque that represents the wearer's rank. A plaque consists of 20 plates: three front-center plates that represent the Sam-tai(三台) constellation, six front-side plates that represent the Namduyug constellation(南斗六星), seven back plates that represent the Big Dipper(北斗七星), left side Bo(輔), right side Pil(弼), and a couple of Tamie at both ends. The architecture of the belt body; the basic frame for ranking belts, shows some differences between the former and the latter periods of the Joseon dynasty. In the former period, the belt had a pair of a buckle so that the wearers were able to adjust the belt size. But later, the belt didn't have the buckles to adjust the belt size and consequently it only performed a locking or unlocking function. Therefore, the belts in the latter period were longer than normal and one size fit all. In addition to the functional change of buckles, the shapes of the ranking belts show changes from the round shape to the square shape as time goes on.

• Fashion & Textile Research Journal
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• v.23 no.5
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• pp.624-633
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• 2021

This study was intended to compare the comfort of wearing each type of commercially available bralette. The trial wearing experiment was conducted on five women in their 20s who wear an average Korean bra size of 70A. The experimental bralettes were of four types: a bralette with both hooks and pads and a bralette without both, a bralette with hooks but no pads, and a bralette with pads but no hooks. The wearing test results are as follows. First, in terms of functional satisfaction, the padded bralette provided the greatest satisfaction in supporting the chest from the bottom up and bringing it to the center, and the bralette without the pad provided the least satisfaction. In addition, the level of convenience of attaching/detaching was about twice as high in the bralette with hooks than those without hooks. Chest compression was found to be greater in bralettes without hooks than in those with hooks. In terms of the pressure on the shoulder strap and on the lower chest band, it was found that bralettes with hooks had a greater sense of pressure than those without. In the appearance characteristics test, the unpadded bralettes scored higher than the padded one in the matter of feeling embarrassed, because in unpadded bralettes, the nipples were exposed underneath the clothes . This study is meaningful in classifying the design of the bralette and evaluating the fit for each design in the absence of prior research on the bralette.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.103-113
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• 2019

The purpose of this study was to develop an e-textile using LEDs that can enhance visual and functional effects, and to identify their applicability to sportswear. By applying the design elements of fashion design concretely with LEDs, an e-textile design module is developed and that module is applied to the product, so LED application design can be proposed for use in a practical product. E-textiles have been divided into five categories, and their usefulness were verified by applying e-textiles to men's and women's sportswear. The product beign considered has a built-in tilt sensor, which illuminates the LEDs according to the user's movements, and allows the LEDs to be turned on or off in accordance to the user's preference. E-tatoo is a type of LED application that enhances the appearance by placing LEDs on a small area, emphasizing origin points, just like an actual tattoo. Designed with LEDs arranged in a straight line and various curved forms, e-strips can provide a function that matches the characteristics of each section of clothing or fashion item. E-wappen uses about 7-10 LEDs to give motifs a strong sense of visibility, thus adding to their vibrancy. E-panels and e-clothes were able to produce creative and high-value textures. It is also expected to be used for special purposes or bags as it is possible to produce high value-added textures that are creative and aesthetically beautiful. For instance, a progressive LED string on the straight line of female leggings can further emphasize rhythmic movements during exercise, and e-wappen also serves the purpose of nighttime protection. It is also believed that the application of dance or dance-related sportswear will make the movement of the performance more intense and lively.

• Journal of the Korea Convergence Society
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• v.12 no.1
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• pp.163-170
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• 2021

Smart-textronics technology which enables functional textiles has recently been applied in various fields such as smart clothes, smart home and smart health care, and a variety of smart-textronics products have been developed. In this context, the smart-textronics product development process is proposed based on the systematic participatory design method in this paper. The proposed method consists of two phases: in-depth interviews and analyzing. In the phase of in-depth interviews, participants are asked to create journey maps that include activities, pain points and emotional status and to generate solution ideas with sketches and simple prototypes. In the analyzing phase, design researchers investigate the participants' journey maps, and create personas by identifying critical characteristics with the behavior pattern analysis. Then, each persona's needs are linked with value elements of the E3 value framework. Finally, pre-survey was conducted to identify smart-textronics market and a smart sofa design is proceeded as the case study to show the applicability of the proposed method.