• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.601-606
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• 2008

The purpose of this study was to reveal relations between fashions and economic by analyzing the fashion style expressed in women magazine advertisements. The method of this study was used content analysis with 1933 samples in women magazine ('Women Sense', 'Yeosung Dong-A', and 'Jubu Saeng-hwal') which were issued in March, June, September, and December from 1994 to 2002. The data analyses were divided six elements: silhouette, color, pattern, length of skirt & slacks, adjustment, and breadth of collar lapel. The results of this study were as follows; 1. The silhouette of the period before and after economic crisis was expressed in square silhouette. 2. The color of the period before economic crisis was expressed in white and black. The period after economic crisis was expressed in white, warm colors, secondary colors with black. 3. The pattern was expressed in plain pattern. 4. The length of skirt & slacks was expressed in various lengths. 5. The Adjustment was expressed in single button. 6. The breadth of collar lapel of the period before economic crisis was expressed in large breadth. The period after economic crisis was expressed in small breadth.

• The Research Journal of the Costume Culture
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• v.13 no.2 s.55
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• pp.221-239
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• 2005

The purpose of this study was to analyse the fashion style expressed in women magazine advertisements. The method of this study was used content analysis with 692 samples in women magazines ('Woman Sense', 'Yeosung Dong-A', and 'Jubu Saeng-hwal') which were issued in March, June, September, and December from 1998 to 2002. The data analysis were divided nine elements: 1. silhouette, 2. color, 3. pattern, 4. length of skirt & slacks, 5. adjustment, 6. breadth of collar lapel, 7. shoes, 8. make-up, 9. hair style. The results of this study were as follows: 1. silhouette : The four seasons were expressed in square silhouette. 2. Color : The spring, summer, and winter seasons were expressed in white color, while the fall season was expressed in neutral color. 3. Pattern : The four seasons were expressed in plain pattern. 4. Length of skirt & slacks : The four seasons were expressed in various length. 5. Adjustment : The four seasons were expressed in single button. 6. Breadth of collar lapel : The spring, summer, and winter seasons were expressed in small breadth, while the fall season was expressed in middle breadth. 7. Shoes : The four seasons were expressed in high-heeled shoes. 8. Make-up : The four seasons were expressed in light tone. 9. Hair style : The four seasons were expressed in up-style.

• The Research Journal of the Costume Culture
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• v.18 no.3
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• pp.465-475
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• 2010

For this study, 18 kinds of cut and sew or seamless knitted test garment were made. Samples differed from each other by skirt angles($90^{\circ}$, $180^{\circ}$), gauges(7G, 12G, 15G), and grain directions(bias direction, wale direction, and radial direction). After measuring the mechanical properties of various gauges on the seamless knitting machine, I compared shape of the knitted flare skirt through subjective evaluation on appearances. The data analysis methods used in this study were descriptive statistics, one-way ANOVA, Duncan-test, correlation analysis, and regression analysis. The subjective evaluation on appearances of knitted flare skirts showed the following: In case of $90^{\circ}$ skirt, the seamless skirt showed a much higher score in every gauge expect that of the cut and sew 12G, and silhouette of 15G wale direction. In case of the $180^{\circ}$ skirt, the seamless type showed a much higher score in every item over the cut and sew expect the silhouette part of 7G wale direction.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.11 s.158
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• pp.1598-1607
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• 2006

The purpose of this study was to analyze the proportion of gathered skirts using a three-dimensional measurement system. And in this experiment, we have attempted to accumulate three-dimensional data of wearing model and find out adequate methods for analyzing shape of clothes. The experimental design consists of two factorial designs. We established three different kinds of fabrics, ratio of gathers. The measurement tool for three-dimensional model was whole body 3D scanner(Exima-WBS2H). Analysis program used in experiment is RapidForm 2004 PP1 and Pattern Design 2000. Data analysis utilizes SPSS WIN 10.0 Package. As the results show, there were different effect of gather and proportion of shapes among the measurements of width, thickness and areas made by different lines of vision in cross-sectional silhouette. And there were difference shapes of section area at each part of gathered skirts between vertical-outline silhouette and vortical-plane silhouette made by gathering conditions. And also the cross-sectional silhouettes and vertical silhouettes were related to shape of clothes.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.101-111
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• 2012

The purpose of this study is to evaluate the differences of visual image on variations in the length and princess line, in a silhouette of a one-piece dress with the application of the 3D Virtual Clothing System known as i-designer. Eight sample were examined: 2 variations of the length and 2 variations of the princess line, 2 variations of the form of a silhouette. The data was obtained from 66 fashion design majors. The data was assessed by a t-test and a multi-way ANOVA and factor analysis. The results were as follows; The visual image according to the design variables, four factors were selected; the attractiveness factor, the activeness factor, the practicality factor, the elegance factor. In these factors, the attractiveness factor is estimated by the most important factor. As a result of analyzing the effect of the interaction in the visual image according to the design variables, the influence of the main effect was found to be great in each factor. In the activeness factor, a significant difference was noted in the two-way interaction between the length and the princess line, the length and the silhouette. In the elegance factor, a significant difference was noted in the two-way interaction between the length and the silhouette. However, the influence on three-way interaction among the length, the princess line, and the silhouette was not significant.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.1
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• pp.76-86
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• 1996

복식사 연구의 한 방법으로서, 문헌을 통하여 다량의 정보 수집이 가능할 경우, 사회과학의 분야에서 사용되어 온 내용분석법을 도입하여 정보의 수량화를 꾀할 수 있다. 본 연구에서는 내용분석법을 이용하여 1856년부터 1870년에 이르기까지 미국 여성의 평상복(daydress)중 재킷과 치마의 유행 경향을 당시의 대포적인 패션 잡지인 Godey's Ladies Book과 Perterson's Magazine의 패션 삽화를 토대로 분석하였다. 1856∼1870년은 미국의 남북전쟁 발발 5년 전부터 남북전쟁 직후 5년까지 의 15년간의 기간을 이르며, 해당 15년은 전쟁 전, 전쟁 중, 그리고 전쟁 후의 5년간씩의 3 시기로 나뉘어졌다. 연구의 목적은 여성 평상복의 디자인이 위의 기간 동안 남북전쟁의 한 영향으로서 군복 '라일의 경향을 띄게 되는지의 여부를 조사하는 것이다. 군복 스타일의 경향은 몸에 꼭 맞는 실루엣(fitted silhouette), 에플렛(epaulet), 스텐딩 칼라(standing collar), 더블 여밈 (double-breastedness) 다수의 단추의 사용 및 장식(buttons)으로 정의되었다. 여성스러운 스타일의 경향은 풍성한 실루엣 (full silhouette), 플라운스가 된 치마(flounced skirt), 그리고 러플/fp이 스/리본 (ruffles/lace/ribbons)의 사용 여부로 정의되었다. 연구의 초점은 객관적이고 체계적인 문헌 정보의 수집 방법을 수립하는 데 있었으며, 수집된 자로는 각 변수의 빈도 분포포에 의해 조사되었다. Fitted silhouette, epaulet, 그리고 standing collar는 제 3시기에 가장 많이 나타났고 제 1시기에 가장 적게 나타났다. 여성스러운 스타일에 있어서 full sihouette과 trounced skirt는 제 1시기에 가 장 많이 보였고 전쟁 당시와 전후에 점차적으로 적게 나타났다. Buttons나 double breastedness 등은 제 2시기에 가장 많이 보이고 제 3시기에는 오히려 가장 낮은 빈도수를 보였다. 반면에 ruffles/lace/ribbons는 fitted silhouette 등의 군복 스타일의 변수와 더불어 제 3시기에 가장 많이 보인 것으로 분석되었다. 전반적인 유행의 경향에 있어서, 군복 스타일의 변수와 여성스러운 경향의 변수를 각각 종합하여 분석해 보면, 제 2시기를 중심으로 전자의 유행은 점차적으로 증가하고 후자의 유행은 감소되고 있는 것을 볼 수 있다. 그러나 당시 미국 패션은 유럽 왕실의 유행에 의해 크게 영향을 받은 것을 감안할 때 본 연구의 결괴는 서양 복식의 역사의 선상에서 조심스럽게 해석되어야 할 것 이다.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.85-98
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• 2002

This study aims to present basic data on current uniforms for the practical improvement and quality betterment of their design by investigating and analysing the uniform designs worn by employees working in department stores, shopping malls and financial firms. For the research, after taking pictures of employees wearing uniforms from various occupations in Daejeon area from April 15 to May 24, 2001, the uniform styles, and the shape, color and pattern of each item were analysed by a group of four costume experts. The result is as follows: First, the uniform forms are classified by the style, and silhouette. It was found that the overall silhouette mostly consisted of hourglass silhouette, and two-piece suits. Second, for the color of each item, black was the most common color for the jacket, skirt, pants and white for the one-piece dress. Third, plain, abstract, and striped patterns, and polka dots were used for the uniforms. Among them the plain pattern accounts for the highest rate.

• The Research Journal of the Costume Culture
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• v.12 no.2
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.679-685
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• 2011

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Power suit in 1980s and the images of the Power suit styles shown in 08/09 F/W, 09 S/S, 09/10 F/W and 10 S/S collections. The results of this study are as follows: 1) The aesthetic values of the Power suit in 1980s are authority, sexuality and luxury to express the power, body and wealth. Authority is represented in wide and hard shoulders with pads and dark colors with stripe and no patterns. Sexuality is represented in tight waist jacket and tight skirt. Luxury is represented in luxurious fabrics and handicraft ornaments. 2) The Power suit styles shown in collections are expressed in classic, romantic, avant-garde and ethnic images: Classic images appeared in jacket which exaggerated shoulders with pads, mini skirt, tapered pants, dark colors with stripe and check patterns, rough materials and a waist belt. Romantic images are represented in the skirt with an asymmetric hem, pastel and splendid colors, lace and silk, romantic details made with gathers and flounces and fantastic accessories. Avant-garde images appeared in the deformed jacket, unperfected skirt, special materials and exaggerated accessories. Ethnic images are represented in big silhouette forms with wide shoulders jacket and wide pants, ethnic patterns, gold, orange and other vivid colors and ethnic accessories.

• Journal of the Korean Home Economics Association
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• v.30 no.3
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• pp.15-32
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• 1992

The purpose of this study was to detect the effect of the lower body type on the shape of flare skirts. The subjects for the wearing test were 50 female students, who were controlled in their hip and waist shapes. The skirts used for wearing test were six types(three flar angles $\times$ two fabric types). The effect of lower body type on the shape of flare skirts was determind by the hemline trace method and the silhouette photography. The data were then analyzed by the repeated measures of analysis of variance and the SNK multiple range test. The results obtained from this study were as follows : 1) When a flare skirt made with larger flare angle and better drapable fabric was worn, the numeric of the nodes increased as the drop value(hip - waist) increased. When a flare skirt made with smaller flare angle was worn, the width of horizontal sectio of hemline increased as the drop value increased. The hemline uneveness decreased on the sides and back as the drop value increased. When a flare skirt made with worse drapable fabric was worn, the sides angle of the flarskirt increased as the drop value increased. 2) When a flare skirt made with larger flare angle was worn, the numeric of nodes increased as the ratio of dropped hip increased. The wave-height increased and the back variation ratio of wave-height was higher than the front variation ratio of wave-height as the ratio of dropped hip increased. The hemiline uneveness decreased on the back as the ratio of dropped hip increased. When a flare skirt made with larger flare angle was worn, the sides angle of the flare skirt increased as the ratio of dropped hip increased.