• 한국의류학회지
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• 제21권7호
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• pp.1247-1257
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• 1997

The purpose of this study was to classify size specifications of Korean adult male for the men's ready·made garments, especially jacket and dress shirts. Concept of the comfort and fitness has become a major concern in the basic function of the ready-made garments. Data were collected by the real anthropometric measurement and by the photographic sources. Sample size was 1.290 subjects as the sample and their age range was from 19 to 54 pean old by the stratified sampling method. 66 variables from the direct anthropometric data in total were applied to analyze. ANOVA in SAS package was applied to the data and the expected frequency distribution of 10.000 men was calculated by the extraction of density function. Control dimensions for jacket and dress shirts has been designated by Bcorean Apparel Sizing System (KS-K). Therefore this study was performed to classify size specifications by the control dimensions and at the same interval of KS-K. The drop values of 15, 12 and 9 has the high coverage rate of 22.1%, 21.0% and 18.8% respectively and are composed of the majority of 61.9% of the subjects. According to the drop values, size specifications and distribution of control and reference dimensions are predicted. About 65.75% of the expected frequency distribution without stature were covered by 19 size specification.

• 한국의류학회지
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• 제23권4호
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• pp.601-608
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• 1999

1960년대와 70년대 초기 미국은 인도의 음악, 철학, 종교, 복식 등, 다양한 문화 양식에 관하여 강한 관심을 나타냈고 이는 청년층의 반문화적 행동유형에 의해 시작되어 전반적인 사회계층으로 확산된 문화현상의 한 예로 설명되었다. 이에 본 논문은 Gentlemen's Quarterly 와 Sears and Roebuck Co. Catalgue를 이용하여 수집된 자료를 내용분석법으로 처리하여 미국 남성복에 나타난 인도복식의 영향과 사회계층별 차이점에 관한 실증적인 연구를 시도하였다 연구결과에 따르면 이 시기의 미국 남성복식에 보여진 인도의 영향은 주로 네루 스타일의 복식(Nehru jacket/suit Nehru collar Nehru hat)과 Indian sandal과 jewelry tie-dye와 madras로 의복 직물 악세서리등 다양하게 나타났다 그러나 인도복식으로부터 받은 영향의 내용과 정도는 사회계층에 따라 그 차이가 뚜렷하여 중류층에서는 제한된 종류의 스타일의 단기간 동안 채택되었으나 상류층에서는 다양한 스타일이 비교적 오랜 기간동안 지속되었던 것으로 밝혀졌다 이러한 결과는 중류층의 남성복식이 새롭고 비관습적인 스타일의 채택에 대하여 보수적인 양상으로 띠는 것으로 해석된다. 더불어 인도복식의 영향이 1968년을 절정으로 나타남으로서 이시기의 사회변화가 복식에도 그대로 반영되고 있음으로 보여주고 있다

• 한국의류학회지
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• 제28권2호
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• pp.270-279
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• 2004

The purpose of this study is to make a basic resource in developing a design satisfying male consumers＇ fashion inclination by examining the features of the men＇s fashion style shown in the fashion collections. Collected were 1,291 photos relating to the suit style through the analysis on the men＇s fashion collections for 8 years(1995-2002). Representative men＇s fashion images are extracted from these photos, then figurative features were analyzed and typified according to image, and finally representative fashion styles were presented and its meaning was analyzed. Representative men＇s fashion images are Sophisticated, Casual, Elegant, Active, Natural, Classic, Romantic, Ethnic, Military, Marine, Colonial, and Avant-garde. With the subcategories such as detailed shape of jacket and trousers, the relationship of color between upper and lower clothes, type and organizing method of material quality, type and arranging method of pattern, and coordination, the extracted fashion images were analyzed the figurative features. After finding out the common and different features, four men＇s fashion styles were suggested. Formal style maintains the typical suit style and has the feature expressing the men＇s authority, tradition, and honor. It includes Sophisticated, Elegant. and Classic image. Casual St Sporty style has the feature that there is a change in the volume of suit by adding activity to the typical suit style. It includes Casual, Active, and Natural image. Uniformed style is that political and social environment such as war has an influence on the suit design. It includes Military, Marine, and Colonial image. Deformed style has the feature that it suggests new type instead of adhering to the typical suit design. It includes Ethnic, Romantic, and Avant-garde image.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 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.

• 한국의류산업학회지
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• 제17권4호
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• pp.626-634
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• 2015

This study analyzes the wearing and purchasing conditions of outdoor jackets by senior men who are over 50s, and examines product sizes of outdoor jackets in the market. A total of 134 questionnaires and sizing systems (or product size) of 10 outdoor brands were used as analytical data. The results were: a high number of senior men enjoyed hiking as an outdoor activity, with most of them following this activity1-3 times per month and as a preferred personal activity for over 5 years. Most needed outdoor wear suitable for these daily life activities. Outdoor wear satisfaction tends to decrease as people age. The major reason for the dissatisfaction with outdoor wear was price. Senior men aged 50s and 60s emphasize design and color when purchasing outdoor wear; however, men in their 70s considered price a priority. Senior men preferred outdoor brands based on a comfortable fit. An investigation on 10 outdoor brands indicated that they had not designated a specific target customer. A comparison of the product size of outdoor jackets with a similar silhouette indicated some deviations among sizes; however, the age of customers was not considered. The human body tends to shrink in stature and increase in girth as a person ages; consequently, we need to reflect body shape changes and senior's size in outdoor wear.

• 패션비즈니스
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• 제5권1호
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• pp.73-85
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• 2001

The purpose of this study is to understand what the Glam Style is, focus on the movie "Velvet Goldmine". The Glam Style is refered early 1970s Glam rockers' costume, typified by silver lurex, corksoled platform, men in make-up, personified, for example, by David Bowie, Marc Bolan, New York Dolls, Roxy Music and Iggy Pop. To approach the Glam Style comprehensively, I have divided the formative background of Glam Style into the improvement technology, the advent of the young generation and the diffusion of mass media, the rock music fever and influence on Pop art. Following is the result of analyzing of the character in the movie. First, Brian Slade has the flamboyant transsexual image by skin-tight space suit, glitter pants, lurex, satin and sequined stretch fabrics, vivid color, gauze make-up, feather boa. Second, Curt Wild expresses the outrageous sexual image by black leather jacket, emphasized black eyes make-up. Third, Mandy Slade appears the exaggerated and frivolous image by gold leopard patterned one piece, fur coat, ornamented with beads, tropical make-up, spangles and the costume jewelry. Forth, Auther Stuart has the complex image by black leather jacket, velvet jacket, skin-tight bold shirt, glitter pants, glitter make-up, silk scarf, cherry-red sunglasses. The characteristics meaning of Glam Style implied in this formative characteristic could be presented as the experimental expression of androgynous, the hordes of outrageous alien and kitsch parody.

• 복식
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• 제47권
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• pp.61-72
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• 1999

For the establishment of ready made Hanbok for the people in their 20's this study aims to develope Bagi-chogori pattern that revives the esthetic quality of the traditional Hanbok as well as comfortably fit the body. Direct method was used in Measuring the 33 parts of men which was selected as items needed for the analysis of the body and the development of patterns. In accordance with the body measurement and the analysis of the result the bust girth and height which has interrelation was chosen as the standard size for the development of pattern. Men's Baji-chogori(Korean traditional Jacket and Pants) which doesn't request fitness for instance we drew out a cross table by giving 5cm intervals each for breast waist hip girth and height. Size system of Baji-chogori was 4 steps. 1st was bust 95cm height 165cm 2nd was bust girth 95cm height 170cm 3rd was bust girth 100cm height 175cm and the 4th was bust girth 105cm height 180cm. In the case of Men the grouping of bodies was attempted by concentrating on the difference of the drop amount(Bust girth to hip girth), However 90% of men in their 20's showed a silhouette of an inverted triangle. Therefore attempt for an additional grouping wasn's Only calculation concerning the ease amount of items such as bust which and length was considered to enhance the silhouette of Hanbok when worn. Men's body for instance have a tendency to change to a rectangular shape as they get older. specially the abdominal girth trend to increase greatly. So study and development of pattern should be made for all age groups.

• 한국의류학회지
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• 제31권2호
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• pp.247-257
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• 2007

The purpose of this study was to develop men's garment sizing system, based on the anthropometric measurements called 'SizeKorea', which was surveyed between 2003 and 2004. The number of the survey subjects was 3,215 of males, who were from 18 to 69 years old. In the results, body types were assorted by drops, consisting of 4 upper body types and 2 lower body types. Height, chest, waist and hip were selected as the key dimensions of sizing system and the intervals of them were decided on statistical analysis of key dimensions, size intervals of ready-to wear clothes and sizing systems of other countries. In the results, older group or shorter height group had less differences between chest and waist as well as between waist and hip, but younger group and taller group had more differences. The size intervals for fitted jacket and coat were 3cm in chest and waist, while the intervals for fitted pants were 2cm in waist and hip. The intervals for not-fitted clothes were 5cm in chest, waist and hip, which 5 cm interval of height were applied, in all cases.

• 복식
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• 제29권
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• pp.127-142
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• 1996

The purpose of this study was to Inferr the attractiveness and Men's occupational Status by facial Impressions and Clothing Styles. The Study was consist of experimentals methods. The experiments developed a set of stimuli and response scales which was pro-fessional suits(C1) general clerical position suits(C2) small business suits(C3) artist at-tire(C4) student attire(C5) The impression of stimuli were measured by means of semantic-duffernential scales an open-ended questionnaire and data was processed ANOVA Duncan's multiple range tes and x2-test. Judging the effects of occupational charaoteristics the experiment was designed in the between-subject design. The subject were 30 male and female who were divided 25 experimental groups as arranging 12 subjects. The conclusions of this study are as follows. 1)Facial characteristics affect the attract iveness and occupational status. 2) Clothing styles affects the inferrence men's attractiveness and occupational status. 3) Perceives inferrence of occupational status affect more impression of the high levels positions person and artist person. 4) High quality texiles deep yellow color suits are perceived high levels positions and white knit jacket and check printed slacks are judged Artist. 5) Artistically characterized person is perceived only artist even change any types of cloth.