• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.982-995
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• 2007

The purpose of this study was to investigate the differences of the visual image evaluation according to coloration of men's dress shirts and neckties, and perceiver's gender. Subjects were 336 males and females living in Seoul. Five dimensions of visual evaluation were derived by factor analysis: elegance/intelligence, sociability, potency/attractiveness, individuality, and manliness. White shirts were evaluated highly in elegance/intelligence, and blue shirts were shown the manliest. Women evaluated the blue shirts manlier than men did. Dark blue neckties were evaluated highly in elegance/intelligence and sociability, and red ties were perceived to be very distinctive. Black shirts and white shirts with silvery gray ties were perceived to be the most elegant and intelligent. Blue shirts with dark blue ties was evaluated highly in sociability and potency/attractiveness, and black shirts with yellow ties were evaluated the highest in individuality. The evaluations of elegance/intelligence, potency/attractiveness, and manliness had significant interaction effects between the color of shirts and neckties. White shirts and blue shirts with dark blue ties were perceived to be more elegant and intelligent, potent, attractive and manlier than with red ties.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• Journal of Fashion Business
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• v.3 no.3
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.829-840
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• 1999

Ordinarily hair styles and headclothes show the racial characteristics. Uighur's men had let their long hair hang down their back in many queues, According to the order of estates men wore double high coronets hthree-pointed coronets from the headdress. Married women wore the felt headdress. The type of men's clothes were long caftans which had a round collar slits on the both sides and tight sleeves. They tied Chan Die belts and wore long boots. Women wore long tunics with everted collar which was decorated. Later the type of women's dress was changed into the long caftan. Late period of Turfan Uighur Mongol style had appeared.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.397-415
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• 1995

The purpose of this study was to identify the change and characteristics of 20th men's fashion. The result of the Study as follows; 1 In the period 1890's-World War I there was a display of opulence and extravagance Therefore men's fashion pursued with elegance and grace. The rise of sports and an erosion of rules of Victorian society were evident influences before 1914. So men's silhouette resembled athletic appearance and less formality was shown in masculine attire. 2. During the period World War I-1920's the new equality of social relations between the sexes had an influence in fashion. Unisex look evolved so boyish shaped became the feminine ideal, men wanted to boyish fitted leaner stylings and natural shoulder suits. In the twenties youth, who seemed to have a social dominance, asserted their own testes in fashion. New style of men's fashion such as oxford bags and Ivy League Look appeared. After World War I "comfort" is the aim of fashion so casualness was reflected in fashion: vests often were discarded and man wore a soft, detachable collars. 3. In the thirties depression marked a shift in mood from gaiety and progressivism of the twenties to the conservative, even reactionary values. The role of men and women returned to more traditional attitudes, Every men's general appearance was bold and manly: his chest was broad and well-built, his shoulders square and muscular. The effects of World War ll were not on style but on textiles and clothing construction: lighter weight fabrics appeared and construction was simplified 4. Men's dress changed only in detail and not in essence. But there was a continued increase in the variety of clothes and color in men's fashion.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.11-28
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• 2007

Sang-uiwon was the bureau of Royal attire in Chosun Dynasty. It had been established in King TAEJO, Chosun Dynasty. The 597 artisans, sorted by 68 types were assigned to Sang-uiwon. The ministry of Taxation[Hojo] and Tribute bureau[Seonhvecheong] had charged of finances of Sang-uiwon. According to the Regular rule of Sang-uiwon, there were five types for finances. The principal income tax[Won Gong] was the assignments of national finance to Sang-uiwon. The materials for the Royal informal dress were offered by usual tributes. The kinds of usual tributes were the tribute for the Royal families' birthday, holidays such as New Year's Day, the fifth day of the fifth lunar month, the harvest festival[Chuseok], and the winter solstice, the tributes for spring and fall, every first day and fifteenth day of the month, an annual tribute, an annual present, and an annual laudatory goods which were the King's presents to His Majesty's lieges. With usual tributes from Sang-uiwon, the Royal informal dress was made by the dressmakers and embroiderers who were Court ladies. The Royal informal dress for the King and the Crown Prince was trousers[Ba JI], shirts[Sam A], jackets[Gua Du], men's gowns[Chul lick], and long vests[Due Grae]. The Royal informal dress for the Queen and the Crown Princess was loose drawers[Dan Ni Ui], long skirts[Chi Ma], shirts[Sam A] and jarkets[Go Ui]. When there were the king's proceeding outside the palace, royal parties, cases of tributes to Chinese, special tributes were offered according to the procedures, like as making letters about the affairs, consulting, and permission. The tributes were also offered by a royal ordinance. According to the kinds of Royal event, the officers of Sang-uiwon procured the Royal costume which were conformed to the Royal etiquette.

• Korean Journal of Rural Living Science
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• v.5 no.2
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• pp.207-215
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• 1994

This study was conducted to expand the use of the Gal Ot which has been called Cheju-Do's folk costume. The Gal-Ot has been mainly used the traditional clothes which the farmers have worn during working in the fields. In this study, We firstly developed the dyeing methods used the immature persimmon juice and dyed the dress and fabrics. We secondly designed the diverse Gal-Ot which we can wear for the everyday dress, that is, men's and women's upper and lower clothes and reformed another Korean Style's Dresses and children's one-piece. This study strongly suggested that the Gal-Ot would be used for the everyday wear and the street wear for adults and children and that the improvement of dyeing method used the immature persimmon would be expanded the use of the Gal Fabrics.

• Journal of Fashion Business
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• v.10 no.3
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• pp.31-43
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• 2006

The purpose of this study is to investigate the changes of modern Korean men's fashion from the 1960s to the 1990s by reviewing fashion magazine advertisements and pictorials. For theoretical study, the characteristics and the importance of apparel advertisements and the changes of modern Korean men's fashion trend were reviewed. On the basis of the theoretical investigation, this study analyzed 932 pictorials from Joongang Magazine, Shin Dong-A, Bokjangwolbo, Meot, Men's Life, WWD, and S.F.F.A's photograph album, published from 1962 to 1998. Content analysis method was used to analyze the content of magazines and pictorials. The 932 samples are classified into apparel types, silhouette, pattern, color, type of breasts, shape of collar, number of button, type of inner wear. Frequency and $x^2$-test were conducted using a SAS statistics package to analyse the data. The results were as follows. The two-piece style prevailed in men's wear during the 60s, 70s, and 90s, while separate style prevailed during the 80s. H silhouette was the most popular during the 60s, 70s and 90s, however, X silhouette dominated the 70s. For patterns, solids were most frequently used throughout the whole 4 decades. In colors, gray was most frequently used during the 60s, and multi color was most frequently used during the 70s, 80s, and 90s. Throughout the whole decades, single breast, tailored collar, two buttons, and dress shirts were the most prevalent styles.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.289-303
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• 1999

This study aimed to provide basic data for designing adaptive dresses for the disabled elderly. The procedure of this study consisted of 3 parts ; 1. the survey of 205 nursing-care providers who take care of the disabled elderly, 2. the market survey of dadptive dresses for the disabled elderly, 3. wearing-tests of those adaptive dresses which are in the market. The results are as follows ; 1. The most popular style for the disabled elderly in nursing facilities was non-collar, regular pajamas. And the most favorite design was a pajama\`s style which has no collar but has a round neckline, front opening and 7/10 length shirt\`s sleeves, with pants of an elastic band waist. And the most desirable fabric was a physiologically comfortable one. 2. The system of adaptive dress sizes for the Korean elderly consisted of 85, 95, 105 ㎝, while that for the japanese elderly was divided into F/S/M/L/LL according to gender. 3. In the case of a pajama\`s style. it is necessary for the elderly men in the facilities need bigger sizes for their jump suits. When we tested the adaptive dresses for the elderly in the nursing facilities, in the case of a pajama\`s style, it was most difficult for us to pull pants over around the buttocks. In the case of jump suits, it was most difficult for us to dress and undress the adaptive dresses around the chest.