• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.4
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• pp.727-739
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• 2021

The purpose of this study is to present the objective evaluation semantic scale of avant-garde design. Apparel majors were asked to express associative vocabulary, design development, and final design intentions for the avant-garde, and the final 70 copies were used for analysis. The results found the item style was shown often in the order of dress, coat, and combination of shirt and pants. In order, the silhouettes appeared as atypical, complex, square, and triangular; the decorations appeared as feathers, frills, and round sculptures; and the idea method appeared as extreme, association, and removal method. In examining the relations of associative words and idea designs, the dress had relations with associative words such as 'peculiar,' 'futuristic,' 'fancy,' 'Comme des Garcons,' and 'deconstruction.' As for the relationship between the idea design and the expression image vocabulary, it was found that 'one piece' recalled 'huge,' 'volume,' 'abundant,' 'peculiar,' and 'unknown,' while 'coat' recalled 'huge,' 'big silhouette,' and 'padding.' In conducting the word cloud technique, the overall design showed the central keywords were 'huge,' 'big silhouette,' 'unbalance,' 'feather,' 'structural,' 'unknown,' and 'frill,' in order.

• Journal of the Korean Home Economics Association
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• v.50 no.3
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.167-179
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• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.

• Journal of Fashion Business
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• v.10 no.2
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• pp.1-17
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• 2006

The purpose of this study is to analyze the street style of women in Dalian, China. 1.185 females of Dalian central street have participated for the survey of this study. This study analyzes characterization of the street style and, classifies it's characteristics by age groups, clothing styles, and clothing items. There are three outcomes due to the aim of this study, 1. In age group classification, every age groups preferred casual style. Especially, young/young adults preferred mix-match styles with various designs. Distinctly, some of missy group preferred fashion trend and others preferred mature style. Also, the preference of missies/madame's group is obviously divided into two groups which pursues fashion trend and not. 2. In clothing style classification, casual styles such as mini-skirts, hot pants, tight t-shirts are mostly in tight silhouette. Also, the main colors are indigo-blue, white, black and point color, which are vivid tone and fluorescent colors. The characteristics of sport casual style contribute the upper garment and the lower garment, which forms a set. Classic styles are divided into two groups of typical formal dress and traditional Qipao dress. The colors of feminine style and textile printing are more sumptuous than other styles. 3. In clothing items classification, the points of the upper garments is the construction of designs, textile printing, ornament with beads, embroidery, and ribbon etc., exposed back. The lower garments like hot pants and mini-skirts are made of jeans. The cargo pants that is made of jean, cotton, luster textile. Also, one-piece dress has the characteristics of tiered and irregular hem line.

• Journal of Fashion Business
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• v.22 no.1
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• pp.1-19
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• 2018

The purpose of this study is to analyze the fashion style of Kate Middleton, the Royal Family, and to examine the social and cultural influence of Middleton fashion. We selected 314 photographs collected from a Google site and Gettyimages.com April 2011-December 2016 as the final research subjects. We categorized the situation by domestic events, royal events, diplomatic activities, and social contribution activities, and analyzed fashion styles focusing on item composition, color, material, silhouette, detail, trimming, and length. As a result of the study, the one piece was the highest in the combination of items, and the color was the most in white. The color tones were mostly vivid, and the material texture was silky. The image was classic, and the dress code was high in semi-formal. In a situational style, the coat was the most common at the Royal Family events and blue or white of the light tones appeared in the formal style of the classic image. In domestic events, there were many silky textures of modern image, and vivid, strong tonal knee length H line dress was the most prevalent. During diplomatic activities, various colors such as red, green, gray appeared in addition to blue or white and in social contribution activities, many dresses of vivid and dark tones of red appeared in the dress code as semi-formal. In conclusion, the stylistic features of Kate Middleton and the Royal Family are largely in the form of royal and noble, low cost and chic, and body-conscious styling.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.108-119
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• 2005

The objective of the study is was investigate the condition of the battle dress uniform worn by male members of the Korean Police Special Weapons Attack Team(KP-SWAT), identify problems, and provide basic raw materials for developing improved design of BDU. For this purpose, the researcher conducted a questionnaire survey on 92 male members of SWAT (Special Weapon Attack Team) units in Seoul using a questionnaire developed through observation and interview. Also, the body sizes of male SWAT members were measured. According to the results of body size measurements, male SWAT members generally require uniforms with a target bust girth, armhole, biceps circumference, thigh and calf circumference, longer jacket length, sleeve length, and trouser length to the knee. According to the results of the questionnaire survey, they reported dissatisfaction with the fit. In addition, they said that the Pockets are positioned too low for convenient use. Many subjects reported that their trousers were too short because of the rubber rings at the bottom of the legs. In addition, many subjects requested the alteration of the inconveniences caused by the designs finished with velcro on the bottom collar of the upper uniform, the marks and ensigns of the upper uniform, the bottom of the upper and lower uniform, and several pockets. Furthermore, there were many complaints concerning how they had to wear their uniform. The most frequently worn out and the body parts most often injured in field training and operations, they were reported, on the upper uniform, as the elbow, collar, neck, armpit, shoulder, and sleeve hem in that order, and on the lower uniform, the knee, interior calf, waist (belt rings), buttocks (rear pockets), and the bottom of the trousers (ankle) in that order As for questions concerning priorities in the improvements of the operational uniform and preferred design, the subjects recommended improvement in safety (protectiveness), workability (motional flexibility), design (shape), fit (size), comfort, ease in terms of putting on and taking off, etc., and the majority preferred two-piece designs ($67.4\%$), followed by one-piece ($30.4\%$), or both ($2.2\%$).

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• Journal of the Korean Home Economics Association
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• v.35 no.3
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• pp.307-318
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• 1997

I observed the important factors of clothing transition - Changes of Korean clothing & reception of Western-style dress - through the survey of the clothing of girl students during the period of enlightenment(1900∼1945) in this study as follows. 1) Stop to use of a long hood an old-fashioned woman shawI(once used to cover th head and upper body when going out). 2) Appearance of same colored Korean costume of the upper and lower sides. 3) Appearance of a short seamless one-piece skirt with a pair of shoulder girdles. 4) Appearance of school uniform, upper white lower black-Korean costume. 5) Appearance of school uniform, Western style. 6) Appearance of sports-wear. 7) Reformation of under-wear. 8) Appearance of short hair. 9) Appearance of socks & stockings and shoes.