• Journal of the Korean Society of Clothing and Textiles
• /
• v.25 no.3
• /
• pp.525-536
• /
• 2001

The purpose of this study is to evaluate the combination of suit details through visual evaluation which helps compensating middle aged womens body defects for their more attractive fashion styles. In this study, styles of the evaluated suits are formal and classical. The designs of evaluated suits are manipulated in 40 different kinds by the essential elements such as collars, necklines(tailored collars, soutien collars, stand collars, round necklines, V-necklines), bottoms(slacks, skirts), pocket(flap pocket, none) and opening(opened, closed). The data evaluated by a multiple ranking test were analyzed by mean, paired t-test, ANOVA and Duncans multiple raged test. The results are summarized as follows: 1) The classic style suits-middle aged womans body construct looks better when she is wearing it with the combination of suit details; opened tailored collar jacket with flap pocket or non-pocket, opened stand collar jacket with non-pocket, closed soutien collar and round neckline jacket with non-pocket, closed V-neckline jacket with flap pocket or non-pocket on slacks. 2) The middle aged woman wearing slacks looks smaller in upper body, longer in lower part of her body and taller as a whole than when wearing a skirt suit. And Opened jacket makes a middle aged woman be seen with less appeared abdomen than that on closed jacket. The stand calar and round neckline jacket with non-flap pockets makes her look smaller in upper body and hip. 3) With tailored, soutien, stand collar jacket, it looks slimmer in a neck, narrower in shoulder, smaller in upper body, and taller than on a round neckline and V-neckline jacket.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.3
• /
• pp.480-491
• /
• 2010

This study investigates the body satisfaction and fitness apparel depending on age and silhouette. The subjects were 254 females 20~50 years of age living in Chungju South Korea. There are various body types in women over the age of 35, the lower part of the body-development type, regular type, the upper part of the body-development type, and the rectangular body type. In addition, there is a lower satisfaction level in circumferences related with apparel fit, especially in the sleeve length, armhole, and crotch length. Therefore, a size system is needed that considers various body types in ready-to-wear clothing for middle-aged women. Design, color, and pattern are most important in clothing purchases by unmarried women, but the ease of laundry management and price discounts are the most significant for clothing purchases by married women. The upper part of the body-development type is unsatisfactory in the size-fit of sleeve length and shoulder width, but the lower part of the body-development type is unsatisfactory in the circumference of the waist, hip, abdominal, girth of skirt, and crotch length. The rectangular body type and the lower part of the body-development type are unsatisfactory in movement comfort, especially in hip girth and crotch length. The upper part of the body-development type is unsatisfactory in the movement comfort of the chest and elbow girth.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.11
• /
• pp.1836-1843
• /
• 2010

This research examines the possibilities of a traditional costume revival and digital exhibition as well as the application of 3D virtual clothing modeling data in order to preserve and record a disappearing costume heritage to realize it as a social education tool through the newly emerging technology of 3D virtual clothing. A 3D revival of costumes worn by royal families and aristocrats was accomplished through the 3D animation and simulation technology of Maya 2011 (Autodesk, Inc.) and Qualoth (FX Gear, Inc.). The simulation shows the possibility of a 3D revival and digital exhibition of costume heritage. However, further technology support to analyze and realize the composition and design is still necessary to develop the digital contents of traditional garment culture that includes skirt pleats, petticoat silhouettes, that exaggerates the skirts and knots of traditional upper garments (Jeogori). Further studies on design attributes of historic costumes and the upgrading of 3D simulation software are required to realize 3D virtual clothing. Korean traditional costumes will be revived as a cultural content in the digital era as a result of outstanding issues detected by this study.

• Journal of Fashion Business
• /
• v.3 no.2
• /
• pp.37-47
• /
• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• Journal of Fashion Business
• /
• v.19 no.6
• /
• pp.58-73
• /
• 2015

The purpose of this study is to examine the characteristics of men's wear designs unveiled while Hedi Slimane worked for Dior Homme and Yves Saint Laurent. The study will analyze and focusing on the modernistic characteristics in order to discover the postmodernism trends in his works. The results of the research are as follows. First, Hedi Slimane's fashion style can be cited as grunge and punk due to the trend of expressing the subculture of postmodernism. The design features shown in Dior Homme were straight lines, leather, metallic materials and dark colors used to reinterpret a grungy punk style, romantic patterns, glossy materials, elastic leather, and bright colors were the salient features of Yves Saint Laurent. Second, the feature of cultural pluralism of postmodernism appeared as a type ethnic style. He presented this through the Third World images in the Dior Homme but Spanish matador images, Marrakech's images and North African images in the Yves Saint Laurent. Third, he feature of his style is metrosexual feminizing men's fashion and breaking up gender stereotypes. I-type and X-type silhouettes that emphasize the human body and feminine design motifs such as a skirt are dominated in Dior Homme, and he completed the metrosexual style by using materials, colors and patterns such as bright feminine pink, red, laces, fur, floral and leopard prints, as well as flagrantly expressing body contour.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.2
• /
• pp.111-121
• /
• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.8 no.3
• /
• pp.59-71
• /
• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.9 no.2
• /
• pp.15-30
• /
• 2007

The purpose of this study is to investigate the effect of makeup, clothing tone and clothing style on wearer's with same color coordination of lipstick and clothing. The experimental materials developed for this study were a set of stimulus and response scales (7-point scale semantic). The stimuli were 64 color pictures were manipulated by computer simulation. This experiment design was $2{\times}2{\times}4{\times}4$ factorial design. The stimuli were a set of eyeshadow color(brown), clothing style (formal style of Jacket / skirt and casual style of cardigan / pants), lipstick and clothing color (red and orange), lipstick tone(vivid, light, dull and dark), clothing tone(vivid, light, dull and dark). The subjects of this research were 384 female undergraduates living in Gyeongsangnam-do. The investigation was carried out at a lecture hall at the time between 10 a.m. and 3 p.m. in May 2006. The data were analyzed using SPSS program. Factor analysis, 4-way ANOVA, t-test, and Duncan test were used as analysis methods. Image factors according to variation of clothing style, clothing color, and makeup color are composed of 4 different dimensions (visibility, attractiveness, tenderness, and stability). In dimension of the visibility, the image was perceived to be glowing and luxurious regardless of lipstick tone and lipstick color in the case of the vivid tone clothing. According to the variation of clothing style, clothing color and tone, makeup color composed of eyeshadow color, lipstick color and tone, it was investigated that the images for a clothing wearer were expressed diversely, were shown differently in image dimensions, and could be produced to different images. The analysis data for images according to the combination of makeup and clothing color, tone, and style thus provide basic material for image consulting or color coordination.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.3
• /
• pp.183-196
• /
• 2016

The purpose of this research is to find out the characteristics of sexuality expressed in the contemporary modern fashion jacket, especially designer Thom Browne. Thom Browne is a very successful fashion brand that has focused on design of extraordinary theme. In the research methodology, the analysis was carried out over a total of 862 work pieces in the collection of S/S, F/W, RESORT, PRE-FALL from 2010 to 2016. The characteristics of the contemporary expressions of sexualities can be subdivided into four separate categories. First, The demolition is inflated retail, exaggerated shoulder silhouettes, such as short sleeve jacket is mainly used in the form of a women's match with each other and expressed by different materials applied to men. Female jackets are designed for the silhouette to highlight the strong masculine image to highlight additional detail on the chest or vice versa, to express women's jacket to distort the female. Secondly, Sensuality is designed the body of a male was represented by a design that gives a greater masculinity was expressed that the interpretation of the male gender in detail jacket sleeves and wrap the exposed areas of the important men of fashion. Women's jacket by using a see-through material, mainly sensory Castle outward to reveal the concealed body of the female form a natural curve shows the feminine sensuality. Lastly, Incongruity is inadequate representation by sex of clothing to match the jacket and skirt in women's wear it is also unsuitable for revealing gender as male by applying soot forms. The study attempts to find the meaning in that this presents the direction of the creative development of the modern fashion design based on the aesthetic characteristics of Thom Browne fashion appearing in the modern fashion.

• Korean Journal of Human Ecology
• /
• v.23 no.5
• /
• pp.843-859
• /
• 2014

The purpose of this study is to find the differences among the clothing brands through examination of present situation about uniform design in domestic coffee houses and provide the basic materials in developing uniform designs to reflect the brand identity. For research contents and method, the overall circumstances were examined about the domestic coffee houses and their uniforms at large via literature review. Then, characteristics on their 10 uniform designs were reviewed according to item, color, pattern and accessary. The following are results. First, cardigan, cap, and necktie according to the individual brand are added with basis of shirt and apron in composition of coffeehouse's uniform. Second, in cardigan, those colors including black, navy and brown are used, reminding of the coffee. Brand logo or symbol is also presented on it, which addresses the brand image. Third, the kind of shirt consists mainly with long or short shirt blouse and long sleeve or short sleeve pique shirt. Job title or gender differentiates the shape and color. Fourth, one-piece type is commonly applied for the apron. At the same time, a short skirt is put on as well. An image expression is often found by the unique brand color also, but mostly, some dark tones like brown or black are largely used. Fifth, in cap, various kinds are worn including the cap as in the case of baseball, fedora, beret, and hunting cap. In color, black or brown color same to that of apron is common, which fails to show differentiation. Thus, consideration of color remix with application of brand symbol is thought to be an alternative to this.