• Journal of the Korean Society of Clothing and Textiles
• /
• v.25 no.5
• /
• pp.880-890
• /
• 2001

The purpose of this study was to find out the correlation between the spirit of the times and the characteristics of each eras fashionable silhouette and clothing in Gothic and Modern Period. Theoretical studies about the spirit of times, and the characteristics of clothing about each times were preceded. The results were as follows: The similarities of spirit of times were 1) emphasis on reason and rationality 2) centralization by christianity in Gothic Period, and modernism theory in Modern Period 3) times of the nobility and the churchman in Gothic, and elite class in Modern era. The similarities of characteristics of clothing were 1) preference of slim body form as the ideal body figure, 2) emphasis on convenience and function for freedom in action, 3) discontinuation of traditional way of clothing attitude, 4) emphasis on straight and simple on the silhouette and design, 5) tendency of eliminating ornaments on clothing.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.22 no.1
• /
• pp.18-28
• /
• 1998

The objective of the study was to observe the difference of moving function of lower-limb in relation to the length 8t silouutte of tight skirt. Four types of tight skirts (2 lengths$\times$2 silhouettes) were made for the experiment. The surface E.M.S in four different locations of leg muscles (Rectos femoris, Semitendinosus, Tibalis anterior, Gastrocnemius) were recorded. The sensory test to decide how to be fatigued after longtime wearing of skirt were examined two times per a day. The fatigue sensory test was scored a Likert-type scale (1= no fatigue, 5=heavy fatigue). Data were analyzed by the repeated ANOVA ann Duncan's multiple range test with use of SAS Package. The main results of this study were as follows: 1. As a result of analysis of E.M.S., in case of walking on the floor there was significant difference in the moving function according to length of skirt and in case of stepping there was significant differnce in three ways (length silhouette, length, silhouette). 2. From the record of walking the step-length, stride-length, step-width were found affected by garments, but foot-angle was not affected. The moving function of slim type was lower than that of semi type and that of ankle-length skirt was lower than that of knee-length skirt. 3. The results of the sensory test agreed with that of E.M.G and Footprints.

• Journal of Fashion Business
• /
• v.17 no.6
• /
• pp.158-175
• /
• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.47 no.1
• /
• pp.35-51
• /
• 2023

This study used text mining to extract 2,842 keywords from 7,397 product names and organized them into categories in order to analyze the characteristics of keywords appearing in the product names of jeans after 2020. The item category included denim and Chungbaji [청바지], and Ilja [일자], while the silhouette category included wide and bootcut. In addition, high-waist and banding comprised the making sector, and the materials category consisted of napping, spandex, and soft blue. Denim surpassed the others in frequency, co-occurrence frequency, and centrality, and co-appeared with various other keywords. Also, the co-appearance of item and silhouette was prominent, and there were many keyword combinations that showed characteristics related to (a) high waist; (b) hemline detail; (c) rubber band; and (d) partial tearing. Furthermore, idiom expressions such as 'slim fit' and 'back tearing', which were not highlighted in the co-occurrence frequency, were additionally confirmed through correlation. Therefore, the product name analysis effectively identified the detailed characteristics of the silhouette and the making of jeans preferred by consumers.

• Fashion & Textile Research Journal
• /
• v.18 no.6
• /
• pp.787-799
• /
• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.

• Journal of the Korean Society of Costume
• /
• v.60 no.2
• /
• pp.1-19
• /
• 2010

The purpose of this research is to examine the rise of hip-hop culture and its characteristics which have been established as a part of popular culture amid other subcultures and to examine the overall concept of hip-hop fashion which has been developing since its rise in the 1970s and particularly to examine the hip-hop after the turn of the new century when it has gone through several iterations and changes while simultaneously accommodating different trends and reflecting a highly diverse larger culture. The research methodology is a literature-based research that uses classification and analysis based on the preceding research including related books and dissertations and, considering that this research focuses on the characteristics of hip-hop from the 2000s to the present, mainstream news media such as newspapers and magazines around New York images of famous hip-hop culture & stores websites were used in this research. The most characteristic hip-hop fashions since the 2000s examined by this research comprise prep-hop, slim formal suits, skurban, hip-hop Goth, and hip-hop Tatto. First, prep-hop is a mixed match of a preppy look with latest hip-hop sentiments and hip-hop styles. Second, there are slim formal suits that reflect a change of trends that strongly show changes of hip-hop fashion consumers who have been following sports stars' fashions. Third, skurban is a hip-hop fashion combined with the look of skaters. Fourth, hip-hop Goth is what emphasizes strong Goth images such as grunge, skull, and devil in hip-hop fashions based on vintage fashion. Fifth, hip-hop Tatto style designs have appeared in diverse items such as trendy clothes and accessories that were most popular since the 2000s. Hip-hop fashion since the 2000s up to the present is beginning to be integrated with diverse other cultures and its most prominent characteristics is a change into slimmer silhouette.

• Journal of the Korean Society of Costume
• /
• v.53 no.5
• /
• pp.79-95
• /
• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women´s status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• Journal of the Korean Society of Costume
• /
• v.50 no.8
• /
• pp.177-198
• /
• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• Human Ecology Research
• /
• v.60 no.2
• /
• pp.273-287
• /
• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.1
• /
• pp.105-115
• /
• 2015

This study aims to compare the ease of men's single-pleated pants patterns, and to analyze the fit and appearance through the 3D virtual garment system. The researchers selected five(four educational materials and one industrial pattern) slim-fit single-pleated pants which is the current fashion trend in menswear. The CLO 3D Modelist program was utilized to carry out the appearance evaluation through virtual wearing, opacity, and clothing pressure. The results showed that D pants had the greatest ease on the waist circumference, while C pants had the least ease. The E pants had the greatest ease on the hip circumference, then B pants and C pants showed less ease. Also, the E pants had the longest on the pants length, then D pants showed the shortest. In the appearance evaluation, A pants received the most favorable results, followed by D, B, E, and C pants, in descending order. The clothing pressure appeared to be mainly red on the waist, crotch, and hem in all pants, so the clothing pressure was high. From the results, we can understand that each of the 5 single-pleated pants patterns has different ease amount and silhouette.