• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.16-27
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• 2010

Business Casual has been launched because of 'Friday Wear' in the 1990s and in Korea, the business casual has been settled under the influence of the five-day work week. The idea of business casual is that 'Business' and 'Casual wear' are combined. It is the attire that people should wear the jacket for formality and people can wear both on or off duty. As a result of the analysis, based on this, of the characteristics of men's business casual appeared in Seoul collections from 2009 till now, they can be classified in 'Classic & Traditional business casual', 'Modern business casual', 'Natural business casual', 'Feminine business casual' and 'Sporty business casual'. As a result of the analysis of the design characteristics of the Korean men's business casual and the trend, based on the content of the analysis of Seoul Collection, 'Classical Classic & the Traditional', 'Modern of the Contemporary design', 'Natural of the Natural design' and 'the Sporty business casual of the Separate Coordination' including jeans, have presented themselves. Also, as a result of the analysis of Korean business men's business casual according to the classification of the design characteristics in Chapter III, 'Classic & Traditional business casual' account for the majority and then 'Sporty', 'Modern' and 'Natural business casual' account for the rest in order. 'Feminine business casual' hasn't presented itself. As a result of the comparative analysis of the design characteristics in Chapter III & IV, Korean business men's business casual has been concentrated on 'Classical & Traditional' and the design characteristics have not appeared in variety. There has been no such audacious attempt, and items, the characteristics of coordination, colors and materials are not in variety compared to the collection. Meanwhile, as a result of the subsistent characteristics of Koran business men's business casual, the characteristics of business men's business casual can be said to represent themselves in "Separate Coordination with the previous items of formal suits".

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.987-1003
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• 2015

The purpose of this study is to supply available data for men's fashion design planning by analyzing the trend and design tendency of the preppy look in the domestic men's collection. In the men's collection of Seoul fashion week from 2011 S/S to 2015 S/S, 494 photos judged to be the preppy look by three design specialists were chosen in Seoul fashion week and style.com's web-site. Design analyses were compiled based on year, season, brands, item, color, material, and silhouette. The preppy look was found often in S/S season, three piece combinations were the most common, and "H", "I" silhouettes were also popular. Refined black and refreshing orange were used with traditional preppy colors like navy, beige, gray, and white. Contrast color arrangement and neutral, moderate tones were seen repeatedly. Two-thirds of fabrics were pattern-less with clean, bulky, and soft textures. Coordinating accessories like hats, backpacks, books, headsets were used frequently. Among the various preppy fashion types, there were 'traditional preppy' faithful to tradition, 'sophisticated preppy' with refined semi-formal look, 'sportive preppy' with active sports sense, and 'natural preppy' with natural and comfortable senses. In a contemporary preppy look, traditional and practical senses are combined with casual and sportive pieces. This study can provide the data for design planning, interpreting, and applying the fashion themes along with contemporary sensibilities since the preppy look is based on cultural history.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.53-64
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• 2000

The purpose of this study was to investigate the historical changes of western men's underclothes in the first half of the 20C and analyze functions and features of men's underclothes. This study was to utilize many literatures in the analysis of historical changes of western men's underclothes. In the 1900's, the attached collar was giving place to the detachable, and the coloured shirt for day wear was becoming accepted. The correct wear fur various occasions was given. Double collar was the favourite for day wear. The dress-shirt protector worn over the dress-shirt front. Men preferred to vest and pants in one as a combined garment. In the 1910's, underclothes were permitting freer movement, but what was still more significant was the glowing inclination to reduce the layers which covered the body. The new conception of decency which was beginning to appear continued to characterize underclothing the symbols of social rank, expect for formal occasion, were declining. For day the white shirt was being displaced by the soft-fronted shirt. In the 1927-1930's, Underclothes were reduced in number, extent and thickness. Underclothing had lost two of its original function : it no longer preserved the warmth of the body, nor did it disguise its essential shape. Both sexes discarded the use of white underwear, In the 1930's, men saw an increasing preference for the coloured shirt. Combinations became increasingly popular and the singlet were displacing the under-vest in the 1930's. All undergarments were very commonly in natural colours. In the 1940's, for evening dress. shirt was plain linen front and square cuffs. Short trunks reached to mid-thigh, had a front waist yoke with three button fastening. Underclothes were pursued ease and activity.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.1
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• pp.1-16
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• 2017

This study conducted in-depth interviews with twelve men in their twenties and employed the Zaltman Metaphor Elicitation Technique (ZMET) to identify the ideal self-image and fantasy of men wearing makeup. The results are as follows. First, the ideal self-images of men wearing makeup can be divided into 7 images (well-managed, dissimilar from real identity, masculine, neat, stylish, standing out, and formal). Men who wear makeup pursued an alternative decent image that is different from their reality. They want to be manly, attractive, decorous, and eye-catching through a better looking face. Second, men who wear makeup have insecurities about their looks and personalities that creates dissatisfaction with reality and a desire for a different idealistic self. Makeup was the tool to create the other entity. Makeup facilitated a fantasy of becoming another to gain increased confidence in social relationships. However, without makeup, they showed a lack of confidence and became intimidated that made them even further dependent on makeup. Third, the process helped participants complete a consensus map that represented the emotional and reasoning structures of men wearing makeup. This study showed 7 ideal self-images of men wearing makeup with a fantasy to create a desired ideal self by wearing makeup. The study can be applied to marketing strategy for men's cosmetics and plates' designs.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.5
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• pp.745-754
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• 2015

This study analyzed Korean middle-aged men's fashionable styles according to ageless trends as their representative characteristic and deriving their special features from men's magazines. Literature and case studies were conducted together. The research findings are as follows. First, it showed uniformity, conformity, passive clothing selection and consumption in 1990s as characteristics of middle-aged men's wear by period. However, clothing became an expressive way to pursue individuality and an ageless trend gradually, and middle-aged men positioned themselves as subjects of a consumer market for men's wear after 2010 through active clothing selection and consumption. Second, along with a trend change preferring a comfortable and active to formal atmosphere, it showed that casual style became diversified and segmented gradually in Korean middle-aged men's ageless trend and fashionable style. Third, as for formative characteristic changes in middle-aged men's fashionable style by period, it contained a slim silhouette, bright and splendid colors and patterns, increase of light, active and functional materials, generalization of casual items and pursuit of individuality by various mix & match styles. Fourth, in Korean men's ageless trend and changing fashionable style, four kinds of special characteristics were derived that included a change of the traditional clothing symbolism, weakened conformity & pursuit of personality, obscured boundaries between age and wearing style, and active embracing of a trend.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.222-239
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• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

• Journal of Fashion Business
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• v.25 no.4
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• Science of Emotion and Sensibility
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• v.7 no.4
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• pp.1-6
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• 2004

The purpose of this study was to investigate the female college students' preferences to the images of both western and eastern pictures, and positive/negative perception on to the model's nationality in the apparel advertizing pictures of fashion magazines. 100 students participated in the survey, and 20 stimulus pictures were shown to them. The results were as follows: The female college students preferred the western images than the eastern images in the pictures of bedroom, palace and beer, while they preferred the eastern images in the pictures of snack and famous drawings of a beauty. But they showed more positive attitude to all the western models' advertizement pictures than the eastern models' ones, in casual wear, formal wear, watches and inner-wear divisions except in men's formal wear division. This meant that the perception of female students on western images was positive and it seems stimulating the consumers preferences of brand images.

• Journal of Fashion Business
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• v.5 no.4
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• pp.158-175
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• 2001

The purpose of this study was to understand and improve the clothing habits and the apparel industry of North Korea in preparation for the reunification of South and North Korea. For this study, literary data, reports, periodicals, interviews and internet data of the two Koreas were reviewed. North Korean clothing habits used to be monotonous and uniform but nowadays people's clothes have become somewhat brighter in color and more diverse in design than before. In particular, liberal and individual dressing habits appeared among the privileged classes. When taking part in national events, women have to wear the traditional Korean costume, Hanbok, while men wear business suits for formal wear. In general, men don't wear Hanbok. Students have to be in uniforms but blue jeans, T-shirts with English logos were popular among them reflecting their sensitivity and openness towards western cultures. The brides usually wear pink Hanboks and the bridegrooms wear black business suits for their wedding. North Koreans also wear Hanbok on national holidays like South Koreans. Clothing is the most important item in the trade of process commission between North and South Korea. Trading items are mid to low end men's clothing for the most part due to less emphasis on fashion in the North. The processing is indirect trade and composed of sample making and contracting, sending out materials and production, carrying in goods and setting accounts. To activate South-North trade, establishment of infrastructure, stabilization of shipping, reducing high costs of distribution, building direct communication system by setting up office in a neutral zone and simplifying procedures in applying for the South and North Korea Economic Cooperation Fund. On the other hand, clothing and textiles education is carried on at art colleges, light industries colleges and commercial colleges in Pyongyang. Clothing institutes which study Hanbok and Western clothes, are installed in each city and province. Graduates who majored in clothing and textiles are posted in institutes or apparel factories. Their job is designing, patternmaking and sewing for their customers. Most of them are women and in good state of economic conditions. The North Korean clothing industry has been the core national industry that has developed based on overseas demand form the mid 1980s. The standard is that of South Korea in the early 1980s. In 1999, trade of North Korean textile products with trade counterparts such as Japan and China was $1.3 million in exports and $1.27 in imports. Of this amount the export takes up 25.4% of the total exports in North Korea. However, fundamentally even in sectors that are irrelevant to politics such as the fashion clothing industry, trust between the South and North should be a prerequisite. Only through this can exchange between North and South and economic cooperation contribute towards the reunification.