• Journal of Fashion Business
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• v.28 no.2
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• pp.15-32
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• 2024

This study aimed to investigate the perceptions and preferences of foreigners residing in Korea towards K-fashion. It sought to provide suggestions for the future development of K-fashion targeting this growing demographic. The results revealed that the longer foreigners had lived in Korea, the more positively they rated Korean fashion, shopping, and culture. The majority of foreigners purchased K-fashion items online, with popular choices including T-shirts, jackets, shirts, and jeans. Both men and women identified shoulders as a common problematic area when wearing clothing, with some issues also reported in the lumbar region. In terms of preferences, younger males (teens and twenties) were more inclined towards fads and celebrity wear compared to older males (thirties and forties). Similarly, younger females (teens and twenties) showed a higher preference for functionality and celebrity wear compared to older females (thirties and forties). These findings suggest that men tend to prioritize aesthetic factors when choosing K-fashion, while women prioritize practical considerations. To better cater to foreign consumers, suggestions for the development of K-fashion include promoting it through K-pop stars, considering dimensions related to foreigners' shoulders when designing top items, diversifying colors, sizes, and patterns, and providing English versions of online shopping platforms.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.787-800
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• 2020

This study aims to derive the criteria of folding techniques and their characteristics through analysis of literature and previous studies. This will be realized by performing a case study on male fashion design and folding. It will propose diverse directions and data for male fashion design, by making men's jackets using a folding technique. The concept and terms of folding were clarified through examination of existing literature and previous studies. Specifically, four pieces were created with motifs of the four seasons. Among the types of pleats expressed in the works, composition pleats include double ruffles, gathers, and draperies, while processed ones include box pleats, knife pleats, and accordion pleats. This study expresses continuity, fluidity, scalability, and ambiguity through the use of such pleats. The results of the production are as follows. First, in terms of the continuous use of regular and repetitive pleats, a possibility of rich pleats was confirmed because they varied depending on the gap between the pleat and target material. Second, in liquid but irregular pleats, diverse moods were created by the pleat movement. The overlapping of repeated pleats expresses diverse spaces and shapes in a 3D extended silhouette. Third, in pleat classification, ambiguity was confirmed with the use of continuous accordion pleats in the printed gradation fabric. It is anticipated that more diverse and creative designs could be created using more extended techniques in future studies.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.157-172
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• 2016

This study aims to present findings of historical design trends of men's fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men's fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men's overcoats and top-exterior- and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men's fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men's fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.304-311
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• 2018

This research used a questionnaire to provide basic data for the design of dressing form that enables the manufacture of senior menswear with an improved fit to match the dissatisfaction with the fit of male suits over the 50s. We used 132 questionnaires as analytical data. The results were: The item 'purchasing method of formal suits' showed that 95.5% purchased ready-to-wear jackets. The 'abdominal obesity type' and 'trunk waist type' had a high frequency of 'complaints about the size of the ready-to-wear jacket'. They choose their suits and wear them directly from the store. It is expected that senior males will complain about ready-to-wear formal suits due to the increase in girth item than normal type due to change of body shape since they consider size to also be important when purchasing suits. The most important part of the body when purchasing suits is the shoulder area, followed by the front width and back width of the fit. As for the degree of recognition of suit size, 38.1% said that they know the size and 'Suit size is hard to understand'. As a result of dissatisfaction with formal dressing, the items of 'Neck wide of get loose', 'Drag line of back neck', 'Not fit of front opening', 'Not fit of shoulder slope' and 'dissatisfaction'. Therefore, it is salient to establish suit fitting system and size system for senior men.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.264-274
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• 1999

The thermal resistance of 60 men's suits for summer and winter was measured to determine their thermal characteristics and physical properties, including air permeability, weight, and thickness of the jackets and trousers consisted of the ensembles were measured to predict the thermal resistance of garments and ensembles. In this study, general physical properties of the men' suit ensembles were determined. In general, thickness and weight of winter ensembles were greater than those of summer ensembles. A factor which could distinguish the difference between summer and winter ensembles was the air permeability. The air permeability of summer ensembles was 3~6 times greater than those of winter ensembles. For the thermal characteristics, the thermal resistance of winter ensembles were higher than those of summer ensembles. When the wind was involved, the thermal resistance of both ensembles decreased up to 30%. In addition, the equations were developed to predict the thermal resistance of the garments and ensembles when there was no air velocity and the thermal resistance of the ensembles with air velocity of 1.2 m/sec. Looking at the equations, thickness, weight, and size of the garments were the definite factors that affect the thermal resistance of the samples.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.787-796
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• 2013

This study is an initial report of actual wearing conditions and attitude based on a survey of wearing outdoor wear for men and women in their 30s to 50s who enjoy daily leisure sport activities. Most middle-aged men and women who enjoy outdoor activities were interested in new trends and clothing styles. The greatest area of interest was health(42.9%), followed by leisure and sports(38.4%); in addition, hiking(40.2%) was the most popular outdoor activity. The majority of subjects participated in outdoor activities for over 5 years(34.4%). The highest frequency of outdoor activities was conducted once or twice a month, and it took one to three hours for each activity. Nearly half of the respondents( 47.7%) answered that the goal of outdoor activities was to maintain their health. Subjects in their 40s and 50s were more equipped in their outdoor activities and in their 50s made ongoing investments despite costs. When wearing clothing, the subjects placed a priority on design(in the case of subjects in their 30s) and comfort(for subjects in their 40s and 50s). This survey shows that the subjects emphasized access to outdoor wear and equipment. In all age groups, the biggest complaint about outdoor wear was price; in addition, they were unsatisfied with the length and the sleeves of outdoor jackets. Outdoor wear will draw a positive attention for its practical use of clothing if it is developed according to consumer demands based on functionality for outdoor activities and convenience in daily life.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.183-196
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• 2016

The purpose of this research is to find out the characteristics of sexuality expressed in the contemporary modern fashion jacket, especially designer Thom Browne. Thom Browne is a very successful fashion brand that has focused on design of extraordinary theme. In the research methodology, the analysis was carried out over a total of 862 work pieces in the collection of S/S, F/W, RESORT, PRE-FALL from 2010 to 2016. The characteristics of the contemporary expressions of sexualities can be subdivided into four separate categories. First, The demolition is inflated retail, exaggerated shoulder silhouettes, such as short sleeve jacket is mainly used in the form of a women's match with each other and expressed by different materials applied to men. Female jackets are designed for the silhouette to highlight the strong masculine image to highlight additional detail on the chest or vice versa, to express women's jacket to distort the female. Secondly, Sensuality is designed the body of a male was represented by a design that gives a greater masculinity was expressed that the interpretation of the male gender in detail jacket sleeves and wrap the exposed areas of the important men of fashion. Women's jacket by using a see-through material, mainly sensory Castle outward to reveal the concealed body of the female form a natural curve shows the feminine sensuality. Lastly, Incongruity is inadequate representation by sex of clothing to match the jacket and skirt in women's wear it is also unsuitable for revealing gender as male by applying soot forms. The study attempts to find the meaning in that this presents the direction of the creative development of the modern fashion design based on the aesthetic characteristics of Thom Browne fashion appearing in the modern fashion.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.