• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.881-903
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• 2021

This study aimed to analyze adult men's body sizes and shapes and suggest size specifications to provide preliminary data to academia and industries. A total of 814 adult men aged 30-44 were selected from the 7th Size Korea data, and 55 direct upper body measurement and calculation items were analyzed using SPSS 25.0. In individual Individual differences, thickness, circumference, and width were high, and height and length were low. Height above the waist base line and shoulder dimension decreased in early 40s age group, while height below the waist base line declined as age increased. In addition, buttocks shape changes were found in early 40s age group. According to factor analysis, 'upper body and upper-extremity horizontal size', 'torso height and upper extremity length', 'shoulder dimension', 'upper body length' and 'shoulder angle' were derived. Using clustering analysis, four different body types were classified: i) big abdomen with flat chest, ii) slender with big, raised shoulders, iii) dwarfish with small, droopy shoulders, and iv) obese with large shoulders. 'Slender with big, raised shoulders' was a typical body shape among men aged 30-44. In older participants, the 'big abdomen with flat chest' ratio was low, while 'obese with large shoulders' was more common. This study proposed size specifications by body type considering the above characteristics.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.149-162
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• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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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.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

• The Research Journal of the Costume Culture
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• v.8 no.1
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• pp.53-64
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• 2000

The purpose of this study is to help efficient use of marking system and more competitive products manufacture through the actual investigation into manufacturing process of apparel products. For lack of the previous study on marking, fundamental survey was performed on systematic research for pattern marking in ready-made production line Data were collected from 36 companies using Apparel CAD/CAM through questionnaire and interview. The data were analyzed by using Frequency and Crosstabs utilizing SPSS. The results were as follows : 1. Marking situation in clothing companies were examined ; 24 companies(66.7%) use computer marking, and 12 companies(33.3%) have both computer marking and hand marking. Besides only 9 companies out of 36(25.0%) have CAM in cutting process. 2. The efficiency in marking methods was also studied and the expense-saved ways were presented. we have found there is no difference in a way of the textural efficiency but the working methods of hand marking and computer marking. 3. Merits and demerits in marking methods were investigated. In case of marking two men's wear (Jacket and Pants), it takes 38 minutes by hand whereas it takes 15 minutes by computer ; for two women's wear (Jacket and Skirt) 49 minutes by hand, and 16 minutes by computer. 4. Most of the markers have less than 5 years experiences and among them most women are less experienced. They are in the mid-twenties after college graduations.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.423-438
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• 2021

This study compared and analyzed the direction of Louis Vuitton creative directors Kim Jones and Virgil Abloh. Accordingly, 485 photos(251 Kim Jones, 234 Virgil Abloh) were collected. For data analysis, statistical and content analyses were combined. First, as for the overall design characteristics of creative director Kim Jones, complex colors, colorful barrels, tone-in-tone color schemes, H-line, plain fabrics, soft materials, heterogeneous material combinations, casual style. Second, as for the overall design characteristics of creative director Virgil Abloh, achromatic color, colorful tone, tone-on-tone color scheme, I-line, plain fabric, soft material, similar material combination, casual style. There were significant differences in color, tone, color scheme, silhouette, pattern, material type, material combination, fashion image, detail, trimming, top and bottom that differed in the creative directors' design direction. Therefore, it appears that Kim Jones has been directing the luxurious and unique men's wear through H-line, coat and slim pants, colorful color combination, soft material, heterogeneous material combination, plain fabric, and chic active sensibility. Meanwhile, Virgil Abloh is directing men's wear in a loose and trendy street mood through the I-line, jacket and wide pants, achromatic color, soft material, plain fabric, similar material combinations, and soft and sophisticated modern sensibility.

• Journal of the Korean Home Economics Association
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• v.37 no.7
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• pp.17-27
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• 1999

According to the design method for constructing the Korean Men's Jo-go-ri(the traditional Korean jacket)collar, there are differences in form after its completion. In the construction design of the midsection of the gusset as in that of the basic pattern Jo-go-ri, not only was the positioning of the two sides of the collar not smooth, but also, when the collar strip(Dongjung) was attached, there would be an imbalance on one side or the other so that it was difficult to achieve symmetry. Therefore in this project, by applying the pattern design of the gusset midsection to that of the collar midsection, not only did attaching the collar(Kit) and the collar strip create a visual effect by equalizing the lengths of the two sides, but the construction was also easy. This method of construction introduces the three-dimensional aspect of the human form in its conic, spherical and cylindrical aspects, so that, through schematizing the scientific character of Korea's clothing, its appropriateness is verified. As a matter of fact, since there is no standardization of pattern whether for educational use or for mass-produced clothing, so that even the patterns used in computer-assisted design are executed according to the designer's personal skill, the reality is that after completion of construction the quality has not been uniform. For this schematization, inverse calculation of measurements pertaining to the calculation formula and of teaching materials has been referenced. In particular, the partial regulation of the calculation formula pertaining to the basic pattern construction, the method of making the collar midsection, and the construction method of the extreme and mean ratio adjustment, can be adjusted for all measurements, thereby providing the establishment of a design criterion and the possibility of the standardization of construction methods. The production method for the basic pattern design is as follows: 1) The conic angle for the Jo-go-ri's girth, length end neck width is fixed at 70(72) degree. 2) The radius of the cone is sleeve length. 3) The bust girth calculation formula is B/4 + 2.5 cm. 4) The armhole formula is B/4 + 2.5cm. 5) The neck width formula is B/10. 6) The ratio of the collar junction{width of collar(Kit) + width of collar strip(Dongjung) to the gusset length is 5:8. 7) The length of the side seam is a length intersecting the armhole line and the conic radius of sleeve length, that is an arc that exceeds the length of the Jo-go-ri's midsection.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.4
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• pp.530-541
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• 2008

The early stage of 3D anthropometry data has been used to obtain qualitative rather than quantitative information. However recent 3D body scanners as a common research tool for anthropormatric measurments have made it possible to obtain body surface data of sufficient resolution and accuracy. The purpose of this study is finally to develop motorcycle jacket for enhanced comfort and fit, to test the accuracy and reliability of 3D measurments of motorcycle riding posture, and to analyze the change in 20's adult male's body surface measurements between the standard anthropometric position and motorcycle riding posture. The results of this study were as follows: There were no significant differences between the study and Size Korea measurments in total traditional measuring items and most of measuring items, such as length, circumference antropometric items and interscye items though not waist back length and upper arm circumference. A comparison of 3D body surface measurments in the two different measuring postures, the bodysurface measurments such as waist front length, biacromion length, front interscye, arm length, underarm length in the motorcycle riding posture decreased than that in basic posture, whereas waist back length, back interscye, C.T.W length increased. The body surface measurments such as chest, bust, upper circumference in the motorcycle riding posture decreased than that in basic posture, whereas neck, waist, hip, elbow circumference increased.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.