• 한국의류학회지
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• 제45권5호
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• pp.852-865
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• 2021

The purpose of this study is to investigate the characteristics of menswear designers and the process of becoming a menswear designer expert through qualitative evaluation and statistical analysis. This study used ten menswear designers with more than fifteen years of experience. After going through the University P IRB approval process, a semi-structured questionnaire was prepared and individual in-depth face-to-face or video interviews were conducted from March 1, 2020 to March 31, 2021. From this qualitative study examining the characteristics of menswear designer job experience, four key themes were found: the competence required for the professionalization process of menswear designers; the creative sensibility of menswear designers; the uniqueness of menswear designers' work; basic education required for menswear designers. In order to find additional meaningful implications using the visual analysis technique, we examined the primary vocabulary using the word cloud technique and examined the relationship between the vocabulary using the network graph. In the follow-up study, we expect to develop a material-oriented education program for new menswear designers and to resolve the limitations of the study, targeting a small number of experienced menswear designers.

• 패션비즈니스
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• 제19권6호
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• pp.101-111
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• 2015

This study aims to analyze the current state of menswear in the domestic fashion market and the trend of new menswear brands. In addition to this, a comparative analysis of domestic and foreign menswear brands will be done to provide baseline data for the domestic brands in regards to strategic direction in the coming years. The study used reports published by Samsungdesign.net, which provided trends of 110 new brands from 2005 to 2014, in order to analyze the trends of new menswear brands launched during that period. Menswear brand information in the Korean Fashion Brand Annual, of which there were 168, were utilized to research the current state of the brands in the domestic market. As a results, menswear is expected to become more sensitive to trends and designs thanks to steady launchings of menswear brands within character casual zoning for the past 10 years and active brand launchings within contemporary zoning in the last 5 years. Also, as more brands are targeting men in their 20's as their main customers, it suggests that menswear brands are striving for a younger mindset. In terms of pricing, prestige and budget line launchings they seem to be dwindling, while bridge brands are increasing. This shows that customers are demanding luxury items at a reasonable price. Since there are higher ratio of foreign brands in dress shirts and contemporary zoning, domestic brands need to develop and produce more high quality clothes within these zonings.

• 한국의류학회지
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• 제46권6호
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• pp.1058-1073
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• 2022

Big data analytics and social media have shifted the way fashion trends are dictated. Fashion as a medium for expressing gender has created new concepts of masculinity in popular culture, where men are increasingly depicted in a softer style. In this study, we analyzed 2,879 menswear collections over a 10-year period from Vogue US to uncover key menswear trends. Using Semantic Network Analysis (SNA) on Orange3, we were able to quantitatively analyze how contemporary menswear designers interpreted diversified trends of masculinity on the runway. Frequency and degree centrality were measured to weigh the significance of trend keywords. "Jacket (f = 3056; DC = 0.80), shirt (f = 1912; DC = 0.60) and pant (f = 1618; DC = 0.53)" were among the most prominent keywords. Our results showed that soft masculine keywords, e.g., "lace, floral, and pink" also appeared, but with the majority scoring DC = < 0.10. The findings provide an insight into key menswear trends through frequency, degree centrality measurements, time-series analysis, egocentric, and visual semantic networks. This also demonstrates the feasibility of using text analytics to visualize design trends, concepts, and patterns for application as an ideation tool for academic researchers, designers, and fashion retailers.

• 복식문화연구
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• 제19권1호
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• pp.191-199
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• 2011

The purpose of this study was designed to investigate the purchasing considerations given and wearing fit according to suit styles in male consumers in their 30s by conducting questionnarie research with 410 persons. The research intended to give menswear manufacturers the scientific data to improve consumers' satisfaction when menswear brands produce jackets. The summary and conclusions in this study are as follows: First, male consumers have moderate interest in fashion and recognize the impact of fashion on their professional lives. Also, male consumers were aware that recent menswear fashion trends are being changed to slim-fit. Second, by examining the suit inventory and the purchasing consideration according to the suit styles, male consumers in their 30s had between 2 to 4 suits, both in slim-fit and classic-fit, respectively. When consumers purchase a suit, the most important consideration factors are size and wearing fit in both slim-fit and classic-fit. The reason to purchase a slim fit suit is that it seems slim due to its fitted silhouettes, while in a classic-fit suit, it is required because of job nature. Third, the result indicates the circumferences causing the most uncomfortable were the shoulder, chest, the back, and upper arm. Also, they mentioned the chest and the abdominal section including the shoulder as the most uncomfortable circumference to the question on what to be improved in jacket. Therefore, the research suggests that the menswear manufacturer should consider different consumers' desires which require different criteria based on the suit styles.

• 한국의류학회지
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• 제48권1호
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• pp.1-19
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• 2024

The purpose of this study is to examine the color characteristics of menswear in different cities, focusing on the Paris, Milan, New York, Tokyo, and London collections. To answer the research question, the sampled colors were classified according to their hues and tones for frequency analysis and cross-analysis. The results are as follows: 'Red', which appeared frequently in the S/S and F/W seasons, was a core color in menswear design, and regardless of the season, 'blackish tones' were most commonly used. The cross-analysis uncovered a significant difference in the trends of hues in the F/W season between the cities. The colors that were more frequently used among the cities were as follows: 'blue-green' in the Paris collection, 'blue' and 'purple' in the Milan collection, 'purple' and 'purple-blue' in the London collection, 'yellow' in the New York collection, and 'red' and 'green' in the Tokyo collection. This study illustrates the significance of the F/W season's use of colors in menswear design and discovered through analysis that hues, rather than tones, were used to express individuality. These results are expected to be used as basic data for the analysis of menswear design trends.

• 복식문화연구
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• 제29권2호
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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.

• 한국의류학회지
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• 제47권1호
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• pp.73-84
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• 2023

This study aims to identify the current sizing communication issues of menswear on retail websites and to suggest an effective size information presentation method. Based on sales frequency and awareness in the Korean menswear market, 22 brand websites were selected, and size-related information was investigated using 7 types of representative apparel items. The current diverse types of size codes had limitations in delivering actual product size information. Many websites preferred to display garment dimensions rather than basic body measurements, which is the suggested size designation method in Korean Standard. The websites posted fit model photos and customer reviews. However, the body size specifications, which consumers can use as a useful reference, were often omitted. There was also a high uncertainty in product size selection, with only the basic body measurement information listed, and there was a high deviation of garment dimensions within the same basic body measurements. The product size distribution did not match actual Korean body types. Based on the findings, we suggested improved effective sizing communication methods. These methods will contribute to a better online shopping environment for both consumers and retail sellers.

• 한국의류학회지
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• 제47권6호
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• pp.1027-1037
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• 2023

This paper presents an efficient method for generating informative apparel fit comments by analyzing 122 fit reviews found in 7 menswear patternmaking textbooks, which include both domestic and foreign sources. The fit reviews for menswear were categorized into top and bottoms, and the expressions varied based on body parts, causes, and fit issue appearances. The causes of fit issues could be attributed to size errors and structural errors in both top and bottoms. Both top and bottoms had fit reviews concerning unique body types, but it could cause trouble among learners as both were based on unclear criteria for body type classification and lacked relevant explanations. Common fit issue appearances included compound wrinkles, pulling wrinkles, sagging wrinkles, and garment being away from the body. No clear correlation was observed between the causes of fit issues and specific appearances. Limitations were identified in using textbooks as educational data, such as inconsistent solutions for different body types or fit issues, and the presence of ambiguous visual materials. As a result, strategies such as categorizing fit issue appearances, providing 3D visual examples with subcategorized causes, body types and parts could enhance quality of fit reviews and improve fit outcomes in clothing production systems.

• 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.

• 복식문화연구
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• 제22권2호
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• pp.300-312
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• 2014

This study seeks to offer practical suggestions for manufacturing jacket lining patterns through research on menswear brands. A researcher conducted interviews with a survey instrument targeting 12 menswear brands. To analyze the data, descriptive statistics were obtained using SPSS 18.0. The main findings were as follows. First, regarding lining production, most menswear brands were found to provide jacket lining patterns to their subcontractors, and pattern makers were found to design lining patterns based on their own know-how. The most important factor in the production of jacket lining patterns is whether linings are cut more than once during the sewing process. For suit jackets, linings are cut more than once, and for casual jackets, linings are cut once. Second, with regard to jacket production for different jacket styles, most menswear brands were found to use patterns that include seam allowance. Partial linings showed differences in terms of the methods used to sew edges and attach linings to the outer shell. Third, extra space in jacket lining patterns varied according to style. Jacket lining patterns for suit jackets and casual jackets showed differences in extra space in the following areas: the parts that cover the chest(suit jacket linings: 5.6cm, casual jacket linings: 2.4cm), the parts that cover the waist(suit jacket linings: 3.8cm, casual jacket linings: 1.3cm), hem(suit jacket linings: 2.7cm, casual jacket linings: 1.3cm), and bicep(suit jacket linings: 2.7cm, casual jacket linings: 1.1cm). However, extra space in the sleeve hems was identical for the two styles(suit jacket linings: 0.1cm, casual jacket linings: 0.1cm). Therefore, this research suggests that clothing manufacturers design linings in accordance with the jacket lining production style.