• Perspectives in Nursing Science
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• v.10 no.1
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• pp.65-76
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• 2013

Purpose: To identify an associations between health care workers' uniforms and health care-associated infection. Methods: Electronic databases, including Ovid-Medline, the Cochrane Library, CINAHL, EMBASE, KMbase, and KoreaMed, were searched. The search terms included doctor, nurse, health care worker/staff/assistant, clothing, (white) gown, uniform, (neck)tie, and attire. Only papers published in English and Korean were included. Results: 16 studies were selected from 1,900 references screened. All of the studies were non-comparative studies except for one. Four were conducted with doctors, six with nurses, one with health care workers including physiotherapists and one for medical staff plus visitors in a neonatal intensive care unit. Doctors more frequently changed their uniforms than neckties; therefore, the degree of contamination was more serious in neckties. The cuff zone was more likely to be heavily contaminated than other areas of long-sleeve gowns. Coats become contaminated quickly once worn, and colony counts reached a similar level within the first few hours after wearing them. Wearing a plastic apron or protective clothing did not prevent the bacterial contamination of nurses' uniforms, and the best way to decrease the contamination was changing to newly laundered uniforms before starting every duty. Conclusion: Healthcare workers' uniforms are a potential source of health care-associated infection although there was no robust evidence. The government must establish standards for laundering of uniforms or a requirement for institutions to provide a laundering service for healthcare workers' uniforms.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.62-73
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• 2015

The aim of this research is to propose the final shirt design modified for new senior women that fulfills their emotional and physical needs. The modifications were based on the results of in-depth interviews and literature search, and the study was conducted in order to understand the desires and preferences of senior women, as consumption of outdoor-wear by the group continues to increase. To develop the design of outdoor-wear that satisfies the physical and emotional qualities and preference of the new senior women, six different designs with lines, combined materials, as well as materials that were layered, pleated and draped were proposed using virtual-dressing simulation software. Then, the modified designs were derived from the six original designs by reflecting the opinions collected in the in-depth interviews with eleven women in their 50s. The responses in the interviewed showed a preference for lines, pleats and layers, as these features made the clothes look trendy, gave it a slender-look, and improved the body shape of the women. As the color is the critical factor for outdoor-wear, there was an overwhelming preference for primary colors by the women, which was in contrast to their color preference in general clothes. A sleeve design modification was proposed to convert the half-sleeves to 3/4-long sleeves in order to account for changes in body temperature at menopause, and to satisfy the aesthetic needs for covering wrinkles. Research of new senior outdoor-wear designs will help segment and differentiate strategies for the increasingly fierce competing outdoor market, as well as l provide directions in the design creation process using the simulation of 3D virtual model.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.8
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• pp.1216-1227
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• 2002

The objective in the part H of this study was to investigate the effects of materials, sleeves, trimming, and perceivers gender on impression formation. Stimuli consisted of 13 color photographs of a female model wearing a wedding dress which were manipulated according to clothing cues. A semantic differential sale of 4 dimensions was used. These were attractiveness, neatness, femininity, and prettiness. Samples were 312 males and females. For the effect of sleeves, there were significant main effects in attractiveness, femininity, neatness, and prettiness. Three-quarters lace ruffled sleeves increased the perception of positive attractiveness, femininity, and prettiness. Flounced sleeves had a positive effect on the perception of neatness. Long-tight sleeves had a negative effect on the perception of attractiveness, femininity, and prettiness. Sleeveless dresses increased the perception of negative neatness. There was an interaction effect between sleeves and the perceivers gender on neatness. For the onぉ of material, there were significant main effects in neatness, femininity, and prettiness. Solid cloth had a positive effect on the perception of neatness and negatively on prettiness. The combination of lace and solid cloth increased the perception of positive femininity and prettiness. lace had a negative effect on the perception of neatness. Satin increased the perception of negative femininity. There was an interaction effect between material and perceivers gender on prettiness. The main effect of trimmings was its effect on prettiness. Ribbons increased the perception of positive prettiness. Not having any trimmings had a negative effect on the perception of prettiness. There was an interaction effect between timings and the perceivers gender on neatness. The results of this study confirm that image perception of wedding dresses becomes different according to the materials, details, and perceiver's gender.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.451-462
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• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.147-153
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• 2021

Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korean Society of Costume
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• v.26
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• pp.175-206
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• 1995

The costume culture of China is as old and varied as her long history. As China is a multiracial nation and consists of fifty-six min-ority races including Han race, there are not only fifty-six different costumes in China but each races' costume habit is very different. Therefore, Chinese penninsula can be considered an enor-mous exhibition center of the costumes. This study undertook on the assumption that the costumes' mainstream of Korea and east-northern Asia as well as that of China could be examined by investigating the minority races' costumes in the east-and west-northern areas of China. The process of evolution of the costume of a particular people, country or area is subject not only to constraints related to geography such as climate, topography or local products but is also affected by numorous environmental influences including cultural, economic, social and even pol-itical ones in terms of the selection of material, styling, color and standard of tailoring. In other words, things like philosophy of life, religious be-lief, aesthetic outlook, moral code, class system, degree of affluence, and cultural exchange will all be reflected directly or indirectly by features of a people's or country's style costume. Of course, there are several factors affecting to the style of costume of the minority people in China. However, the only three factors-geo-graphical and environmental, production method, and religious belef-will be touched in this study. First of all, the geograghical and eenviron-mental factor would be the decisive one because the costume should be designed to overcome the constraints of climate and geographical environ-ments. Accordingly, each race has an unique style of costume. The costume of the minority races in the northern parts are loose and wide, and made of warm furs. For instance, Mongolian robe has the quality of anti-wind, anti-cold and warmness, and the width of a sleeve is narrow and long. Secondly, the costume style can be said to be limited by the production pattern, when the geo-graphical environment was affected to decide the costume style, the production pattern was together affected to it . In case of Mongolian robe, they should satisfy the dual condition as the practical function. One is the condition that they should be fitted to the climate, and the other is the condition that they should be suit-able to the nomadic life. Mongolian robes are suitable to the nomadic peoples because they are designed for not only overcoming the cold wind and weather but being used as the bedquit at night. The costumes of Hoche people was made of the skin of the fish and wild animals because of their main means of living being fishing and hunting. Accordingly, their costumes are dur-able, warm and water-proof. Finally, the style of the costume is affected by the religious belief. In other words, the pattern in fashion is closely related with the religious be-lief or ancestor worship and nature worship. Ac-cordingly, the symbols of these worship are often emerged in the decoration of the costume. The design of costume of the people in the northern areas of China is very simple. It is related with their monotheism. On the other hand, the costumes of twen쇼 minority races in the east-northern parts of China can be devided into three racial groups such as the long robes of Man people and Mongols, Tunics of the peoples in the west-northern areas, and the pants and jackets of Hoche people. The minorority races all has not only the unique costume habit but their costumes are also related with their living style and production means.

• Journal of the Korean Society of Costume
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• v.24
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1479-1490
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• 2010

This study provides basic data for the development of jacket patterns which reflect designs corresponding to the body shape features and preferences of obese women in their 20s and 30s by understanding problems they may encounter in wearing a ready-made jacket by researching the reality of ready-made tailored jacket wearing and their design preferences. A survey was conducted by sampling 82 obese women (over $25kg/m^2$ BMI) between the ages of 20 to 39. The details of the survey consists of general information, interest rate and importance rate on clothes, reality of wearing and purchasing jackets, measurement fits per each part, and preferred designs. SPSS 14.0 was used to analyze the data. The results showed that 76.8% of obese women wore their jackets less than 5 times a month. Those in the 20s wore the jackets more frequently than those in the 30s. The reasons for not wearing jackets frequently included uncomfortableness in activities and unavailability of the correct size. A total of 55% of the total preferred the fitting to be relatively smaller than the body size or tightly fitting. Although in the past, there was a tendency to wear a loose fit to cover the body shape, currently even obese body shapes avoided the loose fit as the tight fit is the trend. In terms of the satisfaction rate for the measurements per each part of jackets, there was a low satisfaction rate for most of the items. For the circumference items such as waist length and chest size, people responded that they were too small and for the length of items such as the length of jacket and sleeve length, people responded that they were too long. This was because the readymade clothes brands increase the length of items and circumference items in uniform in the same intervals when producing large sizes. Both those in the 20s and the 30s preferred a tight fit. In terms of preferred fabric, a wool/spandex mix was most popular and then cotton/spandex. This shows that they prefer those fabrics which allow an excellent activity while maintaining the exterior well. In addition, they preferred black color with no patterns because they wanted their body size to look reduced and did not want to receive any attention.