• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.147-160
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• 2013

Korean fashion designs became important items in Korea in the middle of the 1980s, and it has advanced into the world market in the early part of the 1990s. To achieve success in global fashion world, it is necessary to analyze Korean fashion design thoroughly and prepare strategies to develop designs with mainstream acceptance in the global fashion world. The purpose of this study is to analyze the aesthetic characteristics and Korean beauties of Korean fashion designs. Fashion photos of Korean fashion designs from 2006 S/S to 2012 F/W were analyzed. 357 designs from 608 designs of 4 representative Korean designers were examined and design characteristics, expression styles were studied. The major conclusions of the study are as follows : 1. H Line, slim, fitted silhouette and loose look were applied. 2. 5 major traditional colors, red, blue, yellow, white and black colors were used. Brown color, neutral color, golden color and beige color of the textile material's original color were used. Traditional textile materials like ramie fabric, satin and cotton, wool and metallic fabric were used. 3. Patterns of flower, traditional pattern and Korean letters were applied. Embroidery, patchwork and mother-of-pearl were decorated. 4. The three types of beauty were natural beauty, moderate beauty and decorative beauty. The types that were analyzed were realistic expression type, moderate expression type, image expression type and mixed expression type. To be accepted in global fashion world, Korean traditional design elements should be modified, broken down and reorganized so that Korean fashion design can be recreated.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.552-561
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• 2006

This study was conducted to suggest an appropriate jacket bodice pattern for elderly women by comparing the developed pattern with existing ready-made jacket pattern. The developed jacket bodice pattern was produced from the basic sloper in which elderly women's somatotype was fully reflected, by using the newly developed 3D pattern design system. Subjects were 6 elderly women aged from 60 to 69 who have average somatotype in their age group. This study carried out pattern analysis and self-sensory test with three ready-made jackets(national brands) and suggested a developed jacket pattern based on the results. According to the self sensory test results of ready-made jacket, wearing fitness among brands was significantly different even though those brands were same B91 size. The results of ready-made jackets' pattern analysis, size differences among patterns have influenced wearing fitness. The basic numerical formula for the jacket pattern considered elderly women's somatotype were as follows; $B/4+2{\pm}0.2{\sim}0.5$(difference of front and back), $W/4+2{\pm}0.2{\sim}0.5$(difference of front and back), H/4+2~7(ease amount), armhole depth B/4, chest width B/6+1, back width B/6+3 and back neck width B/12+0.5. According to the results of the developed jacket's appearance evaluation, it earned higher scores in silhouette and ease amount, confirming that the developed jacket is appropriate for the elderly women. Also, in the evaluation on space length, the developed jacket pattern was evaluated to allow proper space length in all around of measurement parts.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.660-667
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• 2008

The purpose of this study was to modify a Flared Skirt for women according to the somatotype of lower body. The subjects for the wear test were 3 students, who were in $mean{\pm}1{\sigma}$ each somatotype. The results of this study are as follows: First, the Flared Skirt pattern was modified according to each type. The front waist line rising measurement proposed for type 1 and type 2 were 0.5cm, because of lower front silhouette with waist shape. The back waist line rising measurement proposed for type 2 was 1cm and type 3 was 0.5cm, because of lower back shape with hip. Second, the wave-height of nodes were regular at front and back in type 1. Also, the wave-height of nodes were evenly distributed side and center. The variation ratio of wave-height of back nodes were lower than existing pattern in type 2 and type 3. It means the variation ratio of wave-height of back nodes were regular in modification pattern. Altogether, modification patterns were more regular and lower than existing pattern in the number of nodes, the distribution ratio of nodes, the wave-height of node, the variation ratio of wave height of nodes.

• Fashion & Textile Research Journal
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• v.17 no.6
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• pp.988-995
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• 2015

Gaps between the upper edges of brassiere mold cups and the breasts are one of the most serious issues in realizing comfort wearing of commercial brassieres for small-breasted women. The surplus ease amounts causing the fit problem were measured from 3D wearing images of the small-breasted women's brassieres. The effect after the removing the surplus ease amounts from the upper edge of mold cup was approved by subjective wearing evaluation. Since the volume distribution of mold cup can also affect the wearing sensation of brassiere, the subjective wearing sensation was compared for two brassieres of different volume distributions, V_L, of which volume was concentrated at the lower cup, and V_C, which has the thickest part at the nipple. As the results, the suitable sensation for cup volume and the natural wearing silhouette could be accomplished by removing the surplus ease amounts from the upper edge of mold cup to reduce the gaps between brassieres and the breasts, which could be accomplished through an approach reducing the volume near the upper edge of mold brassiere cup and making the volume concentrated at the lower cup. These works provide a useful information on the design of the brassiere mold cups for small-breasted women. Moreover, modeling methods of 3D scan data and 3D printing technique for making more accurate mold cases used in this research can be helpful to develop and evaluate clothing products in future.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.315-326
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• 2015

Woman leadership has been remarkably highlighted with women's accelerating entry into society. Domestic and overseas interests about political leaders began with the age of media and they are rapidly spreading worldwide with the development of internet, SNS and blog. Along with this phenomenon, exposure of images has been remarkably increasing and fashion has been also used as a political strategy. However, the research on woman political leaders has been insufficient so this study selected Geunhye Park, Michelle Obama and Hillary Clinton as representative woman leaders for the research. 149 pictures of Geunhye Park, 171 pictures of Michelle Obama and 124 pictures of Hillary Clinton from the articles containing their pictures from Jan. 2002 to Dec. 2013 were analyzed, focusing on their gender. The three woman political leaders' typical images of femininity, masculinity and androgyny were categorized respectively and the period and works in which those images had been expressed were reviewed. Also, fashion styles of the images pursued by each gender were analyzed through their color, material, silhouette, design point, items and accessories. As a result, Geunhye Park had femininity image at the beginning and had masculinity image when she did election campaigns, which led to her current image of androgyny. Michelle Obama uses the image of femininity, masculinity and androgyny simultaneously. It was found that Hillary Clinton emphasized the image of masculinity and androgyny but she emphasizes femininity image these days.

• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.577-586
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• 2000

The objectives of this study were to develope slacks basic block to be used for improving the attactive silhouette and bodily fitness in ready-to-wear and educational patterns. The subjects were from 20 to 24 years old and twenty six body measurements were taken on the National Anthropometric Survey of Korea in 1977. The women in 20's think ideal body shapes are high stature, long legs, slander waist, hip, abdomen, thigh, ankle and light weight. And so it needs to be studied to studied to make slacks pattern which show slander girth and long length. The study was carried out by the following procedures. 1. Through the comparative investigation on the conventional slacks patterns of System M. Muller & Sohn, Secolli, 文化's in Japan, and Won-ja Rim's and the clothing experiment, the characteristics of every four patterns were found. 2. According to the center back slant, reflecting the change of waist circumference, thigh circumference, back crotch length, and the new suitable slacks pattern was achieved. 3. The sensory evaluation for appearance and comfort was applied to evaluate the new slacks pattern by comparing with the conventional slacks pattern. From the result of the sensory evaluation, it was found that the new slacks pattern was more suitable for appearance. 4. The new slacks pattern for women in their 20's were developed as follows ; The waist line came down 2 ㎝, the waist circumference was plus 2㎝ than originally, and the back hip circumference was larger 1 ㎝ than the front hip, the slacks length was created stature/8×4.9, the knee length was stature/8×2.7. The center back crotch length was interspaced 1∼1.5㎝ at the center front, and was at right angle the point which was raised 5㎝ at the side front. This size is not the absolute size but it helps to make the surplus on any other ready-made slacks for women.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.