• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.79-97
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• 2008

This paper is a study on the Bisotun relief of the Achaemenid Dynasty in ancient Persia. The Bisotun relief consists of the relief and the inscriptions which was completed through 7 phases. The inscriptions describe how King Darius suppressed the rebels in Elamite, Babili and ancient Persian languages. This relief is a work during the early Darius period and it describes using the traditions of Mesopotamia in terms of the theme and structure. In terms of structural features, it follows the typical features of the Assyrian arts, the beard and the shape of hair style. On the other hand, the smooth curves used to describe the creases of the clothes and the supple body was not a typical oriental feature. It was known to be because of Greek influence from their communications. It also showed the dressings of the clans that made up the Achaemenid Dynasty through the 9 rebellions wearing clothes unique to their clan and the inscription that was inscribed with the name of the clans. The clothing and ornaments they were wearing can be divided into two groups, the clans that wore one-piece style Persian dress and clans that wore tunic jackets and trousers which is a typical dressing style of the nomads.

• Journal of the Korean Home Economics Association
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• v.29 no.3
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• pp.1-10
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• 1991

The purpose of the present study was to identify the effects of communicator, type of clothing and subject's age on informational influence in clothing conformity. The sample consisted of 205 subjects assigned to two groups (female college students in their early twenties and housewives in their late thirties living in kyongju). In this study the research design consisted of a 3(communicator)×2(subject's age)×2(type of clothing) factorial design. The stimuli consisted of 10 color photographs (6 one-piece dresses and 4 jeans in current fashion) In the first step, subjects were asked to arrange stimuli in the order of greatest fashionability. In the second step, subjects were exposed to experimental manipulation which consisted of slides of various clothing styles and an essay concerning a forecast on fashion trends. The communicator in the essay was described as a designer, a college student, or a housewife. In the third step, in addition to other questions subjects were asked to indicated their degree of agreement with the essay. The data were analyzed by ANOVA, X2 and t-test. The results were: 1. Informational influence on clothing conformity varied by communicator, type of clothing, and subject's age. Subjects were most conforming when the communicator was described as a designer and when the clothing style was a one-piece dress. 2. Informational influence results revealed that housewives were more conforming than the female college students in the jean style.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.771-786
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• 2020

This study aims to develop a life-friendly, wrap-one-piece style dance sports practice wear considering the physical characteristics of middle-aged, abdominally obese women. These types of practice wear allow people to enjoy exercise easily and to wear these garments as daily wear while meeting the requirements for dance sports wear. The three participants selected for this study were all women with five or more years of dance sports experience and were all average sized on Korea's abdominal obesity scale. In the first phase of the study, practice wear was created in a total of nine styles with three different styles of neckline depths for three different styles of dress skirt lengths. In the second phase of the study, the practice wear was created in 15 styles with five different styles of sleeve lengths for three different styles of waistline heights. After analyzing the design preferences of the participants, the fit preferences of the designs were evaluated and the final appearance was analyzed in order to suggest a pattern. The results of the subjects' first and second preference evaluations showed a preference for a 10 centimeter neckline depth, for high waistlines, and for elbow to wrist-length sleeves. The implementation of this research is expected to be extensive, as its results can be used as basic data for making lifestyle dance sports practice wear that covers the physical insecurities of middle-aged, abdominally obese women and enables them to enjoy their leisure time.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• Fashion & Textile Research Journal
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• v.21 no.1
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• pp.13-26
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• 2019

In this study, Western-style first birthday clothing for girls from online shopping malls was explored. Specifically, clothing types, forms, colors, textiles, prints/patterns, and trimmings were examined. Using the keyword dol bok (meaning "first birthday clothing") and the search engines Naver and Daum, online shopping malls that sell or rent Western-style first birthday clothing for girls were found. From 15 online shopping malls, 317 dresses, 76 outers, and 69 bonnets were analyzed. The one-piece dress was the main item of Western-style first birthday clothing for girls. Most first birthday dresses were white or ivory in terms of color; other common features were the bell silhouette, a high waistline, a midi- or knee-length skirt with multiple layers, and bow trimming. The upper bodices of dresses featured round necklines without collars and sleeves, and the main textiles used for dresses were satin, lace, organza, and tulle. Two main types of outers were jackets and capes. Most outers were white or ivory and waist-length or shorter, with elbow-length or longer sleeves. Outers were typically made of fur, satin, and lace. Most bonnets were also white or ivory in color, made of satin and lace, and decorated with ribbon ties and frills/ruffles. Because a precedent study indicates that a monochromatic color scheme was the least favorite and that consumers want a proper fit and length-adjustable design, conclusions of this study point to the need for color diversification; color combinations for two-piece dresses, outers, and accessories; and lacing or shoulder snaps instead of zippers.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.131-146
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• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.

• Journal of the Korean Society of Costume
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• v.1
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• pp.101-117
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• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.61-67
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• 2012

This study aims to examine the actual condition of and satisfaction with purchasing common maternity dresses and natural dyed maternity dresses as well as purchasing defined factors among pregnant women and those who lately gave birth to a baby. Addressed too are involved problems and the possible solutions. Among pregnant women and those who lately gave birth to a baby living in Daegu or Gyeongbuk areas, a preliminary survey was conducted in July, 2008. After revised and complemented, the 177 copies of the questionnaire were distributed in October of the year, and investigated for two months up to December of the year. Except 6 copies of the questionnaire that were not appropriate for analysis, 171 copies were used, and the results are as follows: First, The majority of the respondents were women aged 30 to 35, full-time housewives, and having a monthly income of 2 million to 3 million won. Second, The respondents preferred one-piece dresses, leggings-type maternity dresses, and pink-tone colors. Third, The respondents regarded the feelings as the most important among the maternity dress purchasing defined factors. Fourth, They preferred maternity dresses priced less than 150,000 won. The respondents showed a lot of interests in and tended to buy natural dyed products.

• Fashion & Textile Research Journal
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• v.6 no.4
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• pp.415-420
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• 2004

The market demand for knitwear has been increased both domestically and in export. Despite of the high and consistent demand, knitwear design has been rather simple and tends to show mainly foreign influences. In order to compete efficiently in the world market and to provide more variety, knitwear design originated from our cultural background needs to be developed. Therefore, the purpose of this study is to develop various knitwear design adopting the Korean traditional 'Danchung' motifs and the main colors used in the motifs. Three knitwear works were designed and constructed, which included a round pullover, a half-sleeve V-neck one-piece dress, and an evening dress. The mainly used motifs consisted of natural motifs such as lotus, cloud, and motifs symbolizing good luck such as 壽 and 囍. The Original 'Dan-chung' motifs were stylized into different forms and colors, and this design work was done using CAD system including the 'Adobe Illustrator 9.0' and the '4D box Hi-Knit Program'. Based on the designed images created by the CAD system, an actual design works were knitted using different weft knit methods including a hand knitting machine and weft knit machine of the knitwear manufacturers. This study provided the possibility of knitwear design originated from the Korean traditional culture.

• Journal of the Korean Home Economics Association
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• v.44 no.7 s.221
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• pp.153-162
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• 2006

This study was attempted to investigate the possibilities of fitness evaluation of virtual model using 3D clothes modeling software. For the purpose, two one-piece dresses were made with two kinds of patterns using Qualoth program, and then each dress was fitted to a real model and a virtual model, and the results were compared and discussed. The result of this study was as follows. First, the fitness evaluation of real model showed a significant difference only at a little difference in figures (1-2.5cm) of the pattern, while any significant difference in appearance was not found in case of a virtual model fitted a dress made out of a pattern with the same difference in figures. Second, items to evaluate a difference in patterns using 3D clothes modeling software were shoulder line, the distance between shoulder points, armhole line, ease of armscye depth, and overall appearance. Because all the items fall under design lines which make up outer lines of a cloth, it can be said that the Qualoth program is good for representing design, rather than exposing a small difference in patterns.