• 복식문화연구
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• 제20권4호
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• pp.560-572
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• 2012

This study examines the influence of fashion accessories on how men of different ages are perceived, as well as how the social values of the perceiver affect the image evaluation process. For the purpose of this study, men's accessories were limited to glasses, ties, and hats. A quasi-experiment was conducted in which 358 female university students in Seoul examined two men, one in his 30s and the other in his 60s. The social value included materialism and hedonism with higher and lower group. Factor analysis revealed three main factors with regard to men's image based on age and accessories: professionalism, morality, and preference. The findings indicated that wearing accessories can affect how men are perceived, and the perceivers' social values are at play throughout the process. Glasses enhanced a professional image in men, while ties amplified professionalism and morality. Morality and preference for the older man were heightened when he wore a fedora and a hunting cap. Taking social values into account, perceivers with a higher level of materialism associated a man with a navy blue tie more strongly with professionalism. Perceivers who possessed more hedonistic traits preferred a man wearing a cap. The subjects considered the man in his 60s as having a higher level of professionalism when he wore casual hats such as a cap or a cloche. The results of this study suggest that social values such as materialism and hedonism play a part in how people perceive men wearing accessories.

• 복식문화연구
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• 제7권3호
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• pp.1-16
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• 1999

This study in concerned with the costume accessories appeared in Sam Kuk Sa ki. The accessories of both sexes were analized. Results of this research can be summarized as follows : It was appeared that names of accessories of men were fewer in number than those of women. Men\`s accessories such as a hat, bok-du, a belt,boots, shoes, and sock were mentioned in Sam Kuk Sa Ki. Women\`s accessories appeared such as a hat, a comb, a hair pin, a belt, shoes, and sock. A bok-du, boots, and a hared belt were used exclusively by men, while a hat, kwan(冠), a comb, a hair pin, a scarf, pyo( ) were worn exclusively by women. All men from different classes including true bone class as well as the common class wore bok-du, a hat, a hard belt, boots, sock ; however, class distinctions were made from materials used for those items. Also women\`s accessories were used as means of differentiating social status of the wearer by means of materials employed for each item. Especially, woman\`s hat and scarf were a symbol of the noble class. Only two classes of women from the true-bone class and women from the sixth du-pum class entited to wear hats. Wearing a scarf was not allowed to women from the common class. Class dirrernetiations were made by the materials used for hats and scarves. Materials for a scarf such as gold and silver leaf, pecock tail, and king fisher fly feather were restricted to women from true-bone class. Such as man\`s hat bok-du( 頭), use of women\`s comb and hair pin, scarf, leggings were items drived from Tang China. It clearly showed that costume accessories of Silla were heavily influenced by the Chinese. At the same time the costume accessories were sued to make sex difference among the people of Silla. Woman wore a soft belt made of cloth while man wore a hard belt. Woman\`s hat, a scarf, a comb, a hair pin, a belt or sash for a shirt, and leggings were woman\`s sex symbol. Thus, costume accessories of Silla appeared in Sam Kum Sa Ki functioned as means of differentiating social status of the wearer such as sex,class and rank in the society. Also, they showed that Silla kingdom had close cultural relationship with Tang China.

• 한국의류산업학회지
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• 제8권4호
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• pp.382-390
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• 2006

In the 21st century, men is expressing the femininity instead of the muscularity. And a boundary line between a man and a woman is not clear any more. A man is interested in the lifestyle of a woman, and he imitates her fashion styles, hairstyles, accessories, make-up, and plastic surgery. He is called as "Metrosexual" or "Crossexual". Nowadays, men as well as women can satisfy the wants for beauty. The beautiful appearance of a man has a good impact on the social relationships. The feminizing trends are generally accepted and are shown in the silhouettes, details, colors, fabrics and accessories. The feminizing trends in men's knitwear are shown in the various items. They have slim silhouettes and feminine details. Also they are made of bulky yarns or fancy yarns, and various stitches for texture effects. The most outstanding changes in men's knitwear are the vivid colors and flower patterns.

• 복식문화연구
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• 제20권5호
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• pp.695-708
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• 2012

This study researched consumers' awareness regarding the commercialization of Korean traditional culture through various channels or products. A survey was administered to consumers in the Gyeonggi region(n=322) from June to August 2012. Differences in the importance placed on, and preferences for, attributes of Korean traditional fashion textile and Korean traditional patterns were analyzed according to consumer characteristics. Research results showed that the factors allowing recognition of Korean traditional textile in clothing and fashion accessories were color, pattern, and textile type, in the respective order. Overall, consumers generally perceived higher importance in using the factors of Korean traditional textile in clothing than in fashion accessories. Preferences for Korean traditional patterns differed according to the type of fashion item, i.e., clothing or fashion accessories, and also according to the age and gender of the consumer. Women generally showed a tendency to place higher value on Korean traditional patterns than men. The degree of preference was higher, as well. However, only a minor difference was seen according to pattern type. Women showed a higher preference for plant patterns, literal patterns, and geometric patterns compared with men. The preferred type of traditional pattern was also different according to age. Consumers in their 20s and 40s presented a higher preference for Korean traditional colors when compared with the 30s group. On the other hand, the preference for Korean traditional patterns was higher among consumers in their 40s than those in their 20s or 30s. The results of this study show that the awareness of consumers regarding Korean traditional textile reflected in clothing and fashion accessories differs according to gender or age. Thus, this implies the need to consider the differences in perceived importance and preferences among target consumer groups to develop various fashion products that use Korean traditional fashion textile.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2010년도 춘계 종합학술대회 논문집
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• pp.483-484
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• 2010

장신구라 함은 신변 장식품으로서 태초 인간의 장식본능에 의해 시작되었다. 조선시대 여성수식장신구는 화려한 구성미와 풍부한 상징성을 지니고 있어 우리 문화원형의 콘텐츠화에 충분한 연구대상이다. 전통장신구는 공예미의 결정체로서 뛰어난 조형성과 기능성은 창의력과 상상력의 근원이다. 보존이 유한한 전통장신구를 디지털화하여 영구보존하고 뛰어난 조형요소의 원형을 개발하여 문화산업활용에 공급하고자 한다. 또한 전통장신구를 현대적 시각에서 재해석하여 교육적 근거를 마련하고자 한다. 이에 본 연구자는 여성수식장신구의 분류 및 기법, 소재, 상징적 의미, 등을 디지털 이미지로 개발하여 콘텐츠화 하는 방안을 제시하고자 한다.

• 복식
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• 제65권2호
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• pp.17-32
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• 2015

This study aims to examine the differences in impression formation according to the accessories and hairstyles worn by men, and to investigate the relation between men's appearance and occupation inferences. The subjects were 320 female university students residing in the Seoul metropolitan area. First, wearing eyeglasses gave an impression of more intelligent image and less mild image. It was evaluated that the men wearing neckties have a high dimension of intelligence, and men wearing no necktie have a high dimension of progressiveness. Men with classic hairstyles had a high dimension of intelligence, while men with sports hairstyles had a high dimension of progressiveness, conspicuousness, and attractiveness. Second, metal rims on glasses had a high dimension of empowerment and attractiveness when a red necktie was worn, while horn-rimmed glasses with no necktie had a high dimension of conspicuousness and progressiveness. The men with sports hairstyles, with no eyeglasses had the highest dimension of progressiveness when a red necktie was worn. Third, it was evaluated that wearing a cloche hat or baseball cap had a low dimension of empowerment, while wearing a necklace had a high dimension of empowerment, conspicuousness, and progressiveness. Fourth, the men who wore a suit, eyeglasses, and a necktie with a classic hairstyle were deduced to be professionals, with high-ranking or white-collar jobs. It was found that when men wore a suit with a sports hairstyle, no eyeglasses, and no ties, they were inferred to be engaged in a service job. The baseball caps were strongly associated with technical or simple labor job.

• 복식
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• 제40권
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• pp.67-80
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• 1998

Being located in the east of the Mediterranean Sea, Cyprus used to play a bridge role of cultural exchanges between the East and the West during period of being occupied. As a consequence the fact that the style of costume might be changed at certain levels during the time is broadly accepted. Basic structure of Cypriot men's clothes during the late of the 19th century to the middle of 20th century is composed of\circled1 baggy trousers(vraka) \circled2 shirt(chemise) \circled3 jacket(ziboune/zibouna) \circled4 waistcoat(yilekko) \circled5 headdress(fez, kourouklin) \circled6 accessories. General composition of women's wear is \circled1 pantaloons(vrandzin) \circled2 shift(poukamiso) \circled3 outer garment(sayia, foustani, Amalia, costume) \circled4 waist kerchief(mandili tis koxas)\circled5 boots(podines)/pumps(goves) \circled6 scarves and accessories. As reviewed above, although men's clothes are still worn on a day to day basis, women's wear continues to exist only for festivals or as a tourist attraction. It was understood that this was an accepted consequence of 20th century modernization and reformation.

• 패션비즈니스
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• 제4권2호
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• pp.113-126
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• 2000

The purpose of the study was to investigate the level of latest fashion adoption of men's wear manufacturers and differences in the level of fashion adoption according to characteristics of brands and merchandise. Thus, this study was to be an exploratory study to examine the trends in fashion adoption of men's wear manufacturers. The questionnaire consisted of questions on 7 elements of fashion adoption and characteristics of men's wear manufacturers and their merchandise. The subjects were to evaluate their level of fashion adoption and rated on 5 point Likert-type scales of 7 elements. For the survey, the subjects were 100 employees (62 merchandisers, and 24 designers, etc.) who are employed by men’s wear manufacturers which have national brands, designer brands, license brands, import brands or private brands. The SAS PC+ package was used to calculate factor analysis, mean, t-test, ANOVA, Duncan's test, and Tukey's test. The results from the study were as follows: 1) The elements of fashion adoption of men's wear manufacturers were divided into 4 factors (clolr/fabric, silhouette/fashion image, detail/item coordination, accessories) which explained 83.61% of the whole of factors. 2) The highest score of mean of fashion adoption factors was fabric/color, but the lowest was accessory factor. 3) There were significant positive correlations between fashion adoption factors except between fabric/color and accessories. 4) There were significant differences in the level of fashion adoption according to types of brands and ages of target consumers. 5) There were significant differences in the level of fashion adoption according to the categories of apparel (suits vs. casual clothing) and types of suits and casual wear.

• 대한가정학회지
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• 제44권1호
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• pp.159-168
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• 2006

The purpose of this study was to analyse the types of expression of fashion magazine advertising using the Foote, Cone and Belding(FCB) GRID model. Consequently, this study examined the presentation of fashion magazine advertising. The fashion magazine advertising(771 cases in women's magazines, 120 cases in men's magazines) was classified according to the FCB GRID model. The fashion magazine advertising was categorized into high involvement-feeling goods(jewelry, accessories, bags, shoes, perfumes, men and women dresses, jeans, bathing suits etc.), low involvement-feeling goods(casual wears, imitation accessories etc.), high involvement-thinking goods(cosmetics, underwears, sports shoes etc.) and low involvement-thinking goods(hair goods, sports wears, undergarments etc.). A great of the fashion advertising consisted of photography and the emotional approach. Thinking goods placed emphasis on the functional value, whereas high involvement-feeling goods placed emphasis on the emotional value and low involvement-feeling goods on the fashionable value.

• International Journal of Costume and Fashion
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• 제4권2호
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• pp.18-29
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• 2004

The purpose of this study was to analyze the formative beauty of metro sexual expressed on the 21C men's fashion. in 21C, metro sexual is being accepted as an object to lead the world consumption culture, and it is said to be most appropriate to the definition as a model that can determine the most modern men. Moreover, with well being life style, it shows characteristic that expresses chic sense through fashion. The results of the study were as below. 1. In recent men's wear, sensory feminine that looks young and trendy is being presented through clothes, rather than the image of men who are strong. Therefore, by wearing splendid flower print, bold color and gorgeous accessories, men send off their attractions. 2. The recent body king syndrome gave new aesthetic value on men's body. Therefore, men's body is becoming cultural icon of metro sexual as another face that shows social status and cultural taste. 3. The men's image of metro sexual that is felt from softer skin and hair than women, and well-built body is appealing more through body conscious look. Here, men's body silhouette is being sublimated aesthetically through design with various materials such as see-through and leather etc., and this is body conscious image that can be seen only in metro sexual. Like this, metro sexual fashion sense was expressed by feminine softness sometimes, and beautiful body silhouette sometimes by expressing one's sexiness enough, being away' from conceptual masculine. Therefore, the appearance of metro sexual can be understood that men's body exposure is becoming a social virtue that expresses beauty.