• 대한가정학회지
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• 제31권1호
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• pp.193-210
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• 1993

The purpose of this study was to investigate the effect of age, physical type and job on preference for color and fabric motifs in men's clothing design. Color preference measures consisted of clothing styles painted in CAD. Preference for fabric motifs was assesed by stripe fabrics in size, width and strength. All of the preference measures were devised specifically for this study. Furthermore, items on Hight and Weight for physical type, age and job of subjects were included I the questionnaire. Data were obtained by self-administered questionnaires form 243 men (25-54 years old) in Seoul. Analysis was by chi-square (X2), frequency, and percentage. The results obtained in this study were as follows : 1. Color preference was not affected by age and physical type, Job was related to coordinate color of men's clothing. 2. Preference for width of striped motifs was affected by age and job. 3. Preference for strength of fabric motifs in men's jacket was affected by physical type.

• 한국의류산업학회지
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• 제12권6호
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• pp.789-795
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• 2010

The purpose of this study was to examine the appropriate surplus of clothing for a jacket bodice pattern of middle-aged obese men by using the 3D virtual twin and virtual garment simulation system. The results were as follows ; 1. BMI rate of middle-aged males was 28.13 which was equivalent to mild obesity, whereas WHR(W/H ratio from waist to hips) rate was near 1.00 which was highly dangerous against their obesity. In case of middle-aged obese men, the WHR was significantly higher than the entire middle-aged men's average and the section shape in which their thickness was relatively more than width. 2. As a result of appearances evaluation through virtual garment simulation, the cut-off amount of the side seam and the center back was regulated accordingly. Hereby, the final tolerance range was set up at 21.15 cm at the hips, so that the appearances became better and the bilateral distribution of the cross section and space length was formed symmetrically. Especially in case of increasing the cross amount of hems to produce a natural silhouette of the waist-to-hips parts, the ease of buttocks was judged to be moderate, but it turned out that a wavy cross section was made and the silhouette was not good. Thus it was found to be not good that the ease of the hips became excessively increased in proportion as circumference of waist and belly were increased in obesity. The use of the virtual twin made it impossible to comprehend the appearances and ease correspondent to motions. In order to evaluate wearing fitness, therefore, the system should be improved so as to change arm positions and perform various motions.

• 한국콘텐츠학회논문지
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• 제12권12호
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• pp.577-586
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• 2012

이 연구는 진재킷과 진팬츠에 관한 연구로 패션컬렉션에 제시된 진재킷과 진팬츠의 디자인 특성을 분석하고 활용 가능성을 모색함으로써 진패션 디자인 연구와 패션산업의 상품 기획에 기초자료를 제공하고자 한다. 2007년 S/S시즌에서 2011년 F/W시즌까지의 사진을 수집하여 통계프로그램 SPAW를 활용하여 빈도, 백분율을 사용하여 분석하였다. 연구 결과를 요약하고 결론을 정리하면 다음과 같다. 남성의 진재킷에서 심플한 디테일에 미디움길이, 사각형실루엣을 활용하고, 여성은 여성스러움을 강조한 X자형 실루엣과 쇼트길이의 다양한 디테일을 활용한다. 남성의 진팬츠는 스트레이트 실루엣과 컴포트 실루엣으로 활용하고 여성은 다양한 실루엣, 피트, 길이로 다양한 이미지로 진을 활용할 수 있을 것이다.

• 감성과학
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• 제19권4호
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• pp.71-82
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• 2016

시대가 급속히 변화함에 따라 남성의 라이프 스타일, 개성, 가치관 등이 다양하며 과거에 비해 남성복에 대한 기호도 변하였을 뿐만 아니라 또 남성복 시장이 증대되었고 전에 없던 새로운 스타일이 많이 등장하였으나 활발한 여성복 감성 연구와 달리 남성복의 스타일에 따른 감성 연구는 미비한 실정이다. 이에 20대 남성들이 주로 착용하는 스타일을 7가지 대표 자극물로 선정하고 자극물로 제시하여 각 스타일에 대한 소비자의 감성을 조사하였다. 스타일 1 (정장), 스타일 2 (라이더재킷+스키니 팬츠), 스타일 3 (블루종+스트레이트 팬츠), 스타일 4 (박시한 가디건+하프 팬츠), 스타일 5 (야전상의+스트레이트 팬츠), 스타일 6 (루즈핏 재킷+스키니 팬츠), 스타일 7 (야구점퍼+스트레이트 팬츠) 등 남성복 스타일에 따른 감성의 차이를 조사하였으며 성별에 따른 남성복에 대한 관심과 지식정도 차이를 비교하였고 남성복의 선호와 실제착용 간에 차이가 있는지 분석하였고 라이프 스타일 유형에 따른 선호하는 스타일을 측정하였다. 그 결과는 다음과 같다. 첫째, 남성복은 다양하고 세분화되었고 남성복에 대한 관심과 지식은 남성이 여성보다 높게 나타났다. 둘째, 남성복에 대한 감성은 스타일에 따라 유의한 차이가 있었지만 이는 성별에 따라 다르지 않았다. 셋째, 20대가 가장 선호하는 선호스타일과 실제로 즐겨 입는 착장스타일 간에는 차이가 존재하였는데, 일치하는 비율은 66.1% 이었고, 불일치하는 경우는 33.9% 이였다. 선호도와 실제 착용도가 가장 높은 것은 스타일 3 이었으며, 가장 선호되지 않고 착용되지 않는 것은 스타일 5 이었다. 넷째, 내향적보다 외향적 라이프 스타일을 지닐수록 더 다양한 스타일에 대하여 선호도를 나타내었다.

• 복식
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• 제19권
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• pp.195-207
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• 1992

palestein had been a part of Islamic culture before Israel was established after World War II and their daily lives had been totally affected by the Korean, Consequently, the idea of clothing, types of women clothes and it's characteristics reflected in the Koran have been studied and the results are as follows: First, the idea of clothing reflected in the Koran emphasizes the equality of the sexed and treats women as men's equal partner. Second, in the Koran there is almost no reference on men's clothes, but it only recommends women to wear veil to cover their faces and bodies when they go out. The Koran argues that it is not to restrict women but to protect them. Third, due to it's geographical location, Palestinian clothes had been affected by it's neighboring areas, and the gumbaz-a kind of coat - is one of the examples of Turkish origin. In the beginning the gumbaz had been worn by upper class Palestinian women and subsquently by urban Nazareth women. They used to slip on gumbaz on their heads and shoulders. Fourth, In Palestein they wore jacket over coat or dress. The emboridered jacket from Bethlehem was mostly worn their wedding dress. Fifth, the headdress and face-veil in Palestein are the most unique ones and married women decorated headdress and face-veil with gold or silver coins which they received as wedding presents, and wrapped all their coin decorations in black cloth when husbands are dead. Bedouins decorated not only with coins but also with shells, buttons, stones and beads to articulate their chastity, social status, aestheticism, religion and magic.

• 한국의류학회지
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• 제29권5호
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• pp.703-714
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• 2005

The purpose of this study is to acquire various methods for the fashion image coordination and to examine common features of variation of coordination methods according to the trend. It has attained by investigating Men's fashion image coordination through trend analysis in terms of its coordination features and its variety aspects. For this study, it has classified into twelve typical Men's fashion images in collecting 1,291 pieces of photographs on the subject of jackets and pants from Men's fashion collection$(1995\~2002)$. The study has examined methods and features of fashion image coordination by year according to design elements and the harmony between items. In addition, it has drawn common factors in the image coordination. The summary and conclusion are as follows. A year of 1995, it has presented as the essential code of the variation that morphologic aspects of a design in the fashion image coordination. Various designs have developed through the variation of shapes such as shoulder width, shoulder pad, jacket width and its length and so on. In the initial stage, the width of shoulder and jacket has fitted into large pattern and then adjusted elegantly to make fit the body that indicates a dissolution according to an avant-garde image. At the time that over-measurement of the shape has reduced and high quality and variation of materials has gradually become significant. Those are often used that high-quality glossy materials or other materials which are opposite to the basic code of the original fashion image materials and qualities regardless of images. On the pattern and color, in addition, have represented neat and elegant impression with moderate applications rather than quantitative abundance that have used opposite elements to the basic code f3r the change code like materials. Furthermore, before and after 1999, ' it shows that a concept of the total coordination has arisen that increased coordination methods to strengthen and affluent its images for the whole with wearing accessaries such as hats, gloves, sunglasses, mufflers, bags, belts and so on.

• 패션비즈니스
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• 제19권2호
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• pp.182-199
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• 2015

This research aims to design a new style jacket by developing patterns with dart manipulation, to achieve a tailored jacket which has been familiar to us, but with a more creative design. Tailored jackets has been widely worn both by women and men, and used to create various fashion styles. Generally the classic design with a basic lapel and collar is worn the most, and this shows demonstrates an importance of its design. Giacomo Manzu's work of relief art inspired for a creative design of tailored jackets. As a result of the analysis on the visual properties of the relief sculptures, it was found that an omissions of line for cubic effect and dramatized expression give an illusion effect. Based on the illusion effect shown in the case of a relief design, it was patterned and designed with dart manipulation. Through dart manipulation, the shape of a lapel was designed to meet the rear collar, which corresponds to a background plane, by making it like a sculpture at the front background pattern. Then it was found through dart manipulation could be extensively applied for various designs, as well as used to generate massing. Hopefully this creative pattern and design development would be helpful not only in diversification of consumer's needs, but also in the educational field for pattern and development of the fashion design industry.

• 복식
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• 제61권10호
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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.

• 패션비즈니스
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• 제11권4호
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• pp.120-134
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• 2007

The usage of basic bodice blocks at men's apparel companies is investigated and the domestic and international men's upper bodice blocks are compared to find directions of research on development of bodice basic blocks. The following conclusions are found in this study. 1. The survey shows that basic bodice blocks are not used at men's apparel companies although all the respondents have good knowledge on bodice basic blocks. They responded that basic bodice blocks for representative body figures of each age category or of each country would help comparative studies on domestic and international basic bodice blocks and development of exporting apparel products. Also, they expected the utilization of men's basic bodice blocks both as education materials and in studies of design, of body figures, and of basic blocks for industry. 2. The comparative study on men's bodice blocks shows that waist circumference, hip circumference, neck circumference, height, and shoulder length, in addition to the minimal essential size items such as chest circumference and center back length, are used in most basic bodice blocks. The size formulae of each basic block are compared to find how the sizes are determined. For center back length, either measured back length or a certain proportion of height is used. For front and back interscyes, chest circumference is used in most basic bodice blocks. Either measured size, or a certain proportion of height or chest circumference is used for back height. The averaged ease allowances of basic bodice blocks are 3.2 cm for chest circumference, 10.8 cm for waist circumference, 1.2 cm for front interscye, 0.1 cm for back interscye, 0.2cm for shoulder length, and 0 cm for center back length. However, body blocks for different types of clothes have different ease allowances. Shirt basic blocks have ease allowances of 6.1 cm for chest circumference, 13.7 cm for waist circumference, 1.4 cm for front interscye, 0.6 cm for back interscye, 1.2 cm for shoulder length, and 1.8 cm for center back length. On the other hand, jacket basic blocks have ease allowances of 8.8 cm for chest circumference, 16 cm for waist circumference, 1.1 cm for front interscye, 1.4 cm for back interscye, 1.1 cm for shoulder length, and 0.8 cm for center back length.

• 복식
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• 제26권
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.