• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• 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.10 no.3
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• pp.117-128
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• 2006

The purpose of this study was to understand changes of the current young generation's lifestyle, aesthetic attitude for an appearance, and way of thinking by making a close investigation into metrosexual, the recent mode, and find out its cultural and social implications. As a method of the study, the literature and the Internet data were reviewed. Articles from newspapers, magazines and the Internet were chosen roughly from the year 2000 to now because metrosexual mode remarkably boomed before and after 2000. Books related to the theory on the mode in a costume culture were referred. Also, articles in daily newspapers which dealt with cultural and social issues were reviewed, fashion magazines for men such as Esquire and GQ showing the new trend in men's lifestyle and fashion were examined, and the Internet providing us the latest news from cultural and social topics to fashion trends were investigated. The backgrounds of the rise of metrosexual mode were a collapse of stereotypes in various fields, spread of lookism in a visual image period, extension of commercialism, and expansion of men's character casual trend. Metrosexual was defined as an urban male with a strong aesthetic sense who spends a great deal of time and money on his appearance and lifestyle. His fashion style was characterized by slim and flowing silhouette, feminine and luxurious materials such as transparent chiffon, silk and cotton with a light and soft touch, and a knitted wear with a flowing line, a wide variety of vivid and pastel colors, floral and geometric patterns, and the decorative details like lace, beads, embroidery, and fur. From spread of this mode, two cultural and social implications were extracted. Firstly, the current young generation's aesthetic standards for the perfect man changed from macho man to considerate man who had a good appearance and this suggested that a conventional sex role broke down. Secondly, men began to explore for their own identity escaping from traditionally standardized masculinity that they had been forced to follow.

• Journal of Fashion Business
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• v.9 no.4
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• pp.145-160
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• 2005

On the subjects of the female adults in their 20s who love to wear jeans, the wearing reality of basic jean pants and engineered jean pants was examined while pattern comparison and the evaluation of appearance and functions were made to reach the following conclusions: 1. Wearing reality of engineered jean pants Among the examined subjects, 74.8% were found out to favor engineered jean pants. Those who have engineered jean pants turned out to pursue well-known brands more than practicality. 2. Pattern comparison analysis of basic jean pants and engineered jean pants Though similar sizes existed in pants tips and belt width, engineered jean pants showed bigger values in waist circumference, crotch circumference, hip circumference, knee circumference, thigh circumference and so on. There were no big differences in the front part except for the items like crotch circumference and crotch length, but engineered jean pants had bigger sizes in the rear part. Engineered jeans in the rear contained the outward curved silhouette of the legs, curved tips, and a dart design instead of a back yoke. 3. Evaluation of appearance and functions In the scores of appearance, basic jean pants were higher at 3.65 in the order of front > side > back. On the contrary, engineered jean pants were excellent in the order of side > back > front. In the items of functions, engineered jean pants were higher at 4.23 in the order of hips > thighs> waist > abdomen > knee > crotch. On the other hand, basic jean pants showed the order of knee > crotch & thighs > abdomen > hips > waist. In every movement, engineered jean pants revealed higher functionality. In particular, the bigger physical movement led to the greater functional differences between the two kinds of jean pants.

• Journal of Fashion Business
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• v.24 no.4
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• pp.1-18
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• 2020

The purpose of this study is to identify the design features appropriate for the altered physical characteristics of pregnant women and formulate the direction of future design and development of maternity wear. A Delphi research method based on a panel of experts and pregnant women was used and the survey was conducted to determine the suitability of maternity wear. The survey found that A-line silhouette outerwear with round necklines, with wide sleeves and snap-button fastening on the front with a formal and decent look was considered appropriate as maternity and postpartum wear. Shirts and blouses long enough to cover the hip area to complement women's curvy and full figures, especially around the bust, waist, and hip areas during the later stages of pregnancy were found to be appropriate. Calf-length pleated skirts were comfortable to wear during pregnancy due to the abundant freedom of movement and space offered by pleats. Ankle-length straight leg pants were rated appropriate in terms of comfort and style both during late stages of pregnancy and at work postpartum. Dresses decorated with pleats from the armholes all the way down to the knees were found to provide high levels of comfort at the abdomen, chest, and hips, and considered appropriate. Based on this study results, a follow-up study will be conducted to examine the design of maternity wear during pregnancy as well as at work after pregnancy.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.2
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• pp.282-297
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• 1996

The effective construction for ready-made clothes is one of the central concerns of both consumers and manufactuers in today's apparel industry. In order to reduce the burden of stocks and increase clothing fitness, systematic information on typical body sizes and somatotypes is essential. The purpose of this study i-: to provide basic data on young women's somatotypes for form designers and pattern makers. The subjects of the survey were 310 women of 18 to 26 years old. The study collected 84 anthropometric data for each Person. The data was analyzed by using of the multivariate method. The factor analysis was utilized in regard to the 65 items obtained from anthropometric measurement respectively. The principal component analysis was applied to the data with orthogonal rotation after extraction. The factor scores used in the factor analysis became the basis of determining the value of each variable of the cluster analysis. The cluster analysis was applied for identifying typical somatotypes. Ward's minimum variance method was applied for the purpose of extracting distance metrix by the standardized Euclidean distance. The element forming each cluster can be subdivided into several sets by crosstabulation which is obtained by the fastclus of the SAS. This research has demonstrated 3 distinctive types of silhouette contour of the trunk. Incidentally it also identified 4 of the lower body from the waistline to thigh contour respectively. The discriminant analysis showed that the most significant discriminant factor of the trunk classification were side neck point -1 scapular -1 waistiline length and waist girth. In Korea, the average somatotype of female college students tends to be tall, slim and straight. Reviewing the relationship between the classifications of three parts of body, they are related to each other to some extent but their distribution are not constant. Therefore, in view of clothing construction, a proper separation of the body surface is a necessity.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.5 s.153
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• pp.772-778
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• 2006

Silk organza can make the silhouette of clothes bulky and rich, owing to its stiffness. And silk organza in the gum has better dyeability so can be dyed more bright and deeper color than scoured silk because silk organza has sericin gum that has better dyeability than fibroin. So, silk organza came into the most broad use as the material for Hanbok, especially in summer. But the silk organza has poor color fastness. Sericin is removed from organza when silk organza go through scouring. The purpose of this research is to find out the optimum conditions that the scoured silk fabrics can get stiffness by persimmon juice treatment. For experiments, non scoured, partially scoured and fully scoured silk fabrics were prepared by alkali treatments. Then 3 kinds of silk fabrics were treated with the concentration of 1, 5, 10, 50 and 100% of persimmon Juice. The change of fiber surface of the various silk fabrics were observed By SEM. The hand values of those fabric samples also were measured hand values by Kawabata Evaluation System and stiffness by Cantilaver method. By scouring, the silk organza got more flexibility and less cohesiveness between their fibers. And it can be a little more bulky by removing gum. Namely, silk organza lost its unique stiff and crisp handle. By the persimmon juice treatment, tannin component could be coated on the fiber surface. so that the stiffness of the fabrics were improved.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.611-626
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• 2014

Reading and foreseeing fashion trends is crucial and difficult in the fashion industry due to accelerated and diversified changes in fashion trends. We use network analysis to investigate fashion trends from 2004 to 2013 in order to find the inter-relevance among fashion trends. We extracted words from fashion trend info for women's wear provided by Samsung Design Net, created a 2-mode network of seasons and trend languages, and visualized this network using NodeXl program. Fashion trends repeated a unique pattern during the period. In the first half (2004-2008), retro modern, feminine modern, and ecological modern were dominant trends in consecutive order. The years 2009-2013 witnessed distinctive fashion trends in S/S seasons and in F/W seasons. 11F/W, 12F/W and 13F/W seasons were characterized by artistic creative style. From 2010, natural style dominated S/S seasons. 10S/S and 12S/S seasons were distinguished as a calm natural style that reflected a peaceful and simple life. In 11S/S and 13S/S seasons, soft natural style emerged as a sign of increased importance of inner spirit and natural energy. A seasonal reappearance of trends was observed every two years in S/S seasons that enabled the prediction that 14S/S will see another version of natural style. A macroscopic trend for the last 10 years was represented by the keywords 'modern' and 'natural'. 'Modern' involved the past styles such as 60's, Baroque and the origin of human life. 'Natural' was connected with design elements such as material, silhouette and color. Managerial implications and future study directions are discussed based on the results.

• Journal of Fashion Business
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• v.20 no.2
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• pp.46-58
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• 2016

Architecture and Fashion mutually affects the shape and appearance of the other as an art of space according to the hybrid trends. Therefore, the purpose of this study is to find the correlations between the characteristics of traditional architecture types in Southeast Asia and modern fashion. Firstly, characteristics of the types obtained through the theoretical consideration of Southeast Asian architectural tradition include vertical, symmetrical, geometrical, epeated and continual structure. On the basis of these characteristics analyzed from 2013's S/S to 2015's F/W collection of Alexander McQueen, Gareth Pugh, Victor & Rolf, designers with strong creative and experimental minds who juxtaposed designs of two opposing points as well as hybrids since 2000, the following formativeness exists. First, the vertical structure of high floor is represented as a straight silhouette, a color contrast, vertical cut or wrinkle. Hence, it impresses verticality, rhythm, etc. Second, symmetrical structure of the gable roof is represented as a trapezoidal shape starting from the shoulder line or neck line widened into sleeves, impressing symmetry, dynamism, etc. Third, the geometry of the assembled is represented as vertical and horizontal bands or pattern pieces like puzzle, impressing geometry, three-dimensional, etc. Fourth, repeated structure of the weaving pattern is represented as repetitive patterns of woven fabric or printing techniques. Thus, it impresses repeatability, harmony, etc. And lastly, continuous group structure is represented as a connection of collars or hem-lines, as well as a crossing of fabric that impresses continuity, liquidity, etc.