• 복식문화연구
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• 제31권3호
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• pp.277-295
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• 2023

The Body Appreciation Scale-2 (BAS-2) measures the extent to which individuals feel, accept, and respond to their own bodies in a positive manner. Given the research need to explore positive body image and its associations with various sociocultural factors and related consequences among individuals with various cultural backgrounds, several studies have established the psychometric properties and factor structures of the BAS-2 in different languages and samples with different characteristics. The current study investigated the psychometric properties and measurement invariance of a Korean version of the BAS-2 in an older Korean adult population (599 older Korean adults with the average age of 70 years). Data were collected using both online and offline (paper-based) survey questionnaires. The results of exploratory factor analyses and confirmatory factor analysis evidenced the unidimensional factor structure and measurement invariance of the Korean BAS-2 among older Korean men and women, after dropping item 1. Scalar invariance was supported across gender, and men and women did not significantly differ in observed mean scores of the Korean BAS-2. The results also supported good convergent validity and criterion validity. Incremental validity was demonstrated by predicting self-esteem over and above measures of age, BMI, subjective financial and health status, body esteem, and ageism. High internal reliability and test-retest reliability over a 2-week period were confirmed. Overall, the results of this study support the reliable use of a Korean BAS-2 to measure positive body image among older Koreans after excluding item 1.

• 한국의상디자인학회지
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• 제25권4호
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• pp.13-28
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• 2023

The purpose of this study is to analyze the characteristics of hippie style in emerging brands pursuing the hippie spirit, examine the changes in hippie style, and apply them to the design development process to propose a hippie style design that reflects contemporary characteristics. The research method of this study was used to grasp the characteristics and current status of hippie style based on a literature review and prior research. Through the analysis of Bode and Story mfg, a new brand that reflects the hippie spirit, the design expression methods and characteristics of modern hippie style were derived, and based on the analysis, the design of the 3D CLO virtual outfit was developed. The results of the study are as follows. First, in addition to the use of eco-friendly materials, the digital technology of the CLO 3D program was applied to the design development process, which made it possible to increase sustainability from the production process. Second, by creating a retro design centered on a striped pattern expressing freedom, revolution, and equality, and a handcrafted design based on a tie-dye pattern, the design was able to express the hippie spirit of loving nature, and through this, a new direction of eco-friendly and modern fashion design was presented.

• 한국의상디자인학회지
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• 제26권2호
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• pp.115-127
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• 2024

This study was initiated by focusing on the characteristics of 3D virtual clothing utilized by fashion brands aiming for sustainability. The purpose of this study is to analyze the characteristics of fashion brands that utilize 3D virtual imagery to mitigate environmental pollution caused by the fashion industry from the perspective of green design. The research methodology draws on green design literature and analyzes three hypothetical cases. These include experiential immersive design, design that rewards engagement, and design that delivers economic benefits that were utilized by fashion brands from 2019 to 2023. The findings and conclusions are as follow. First, the for the commercialization of virtual clothing, offline stores are reproduced in the digital world to provide an immersive shopping experience, similar to reality. These promote fashion products in a virtual space without the constraints of space and time, and creates profits and sustainable value. Second, virtual clothing promotes playfulness. Games and events utilize branded virtual worlds and characters to attract users. Rewards are given for achieving goals, and it is a practice of green marketing that uses virtual items to express products and minimize resource waste. Third, virtual clothing is affordable and can reduce the financial burden on consumers by digitally reproducing expensive products as physical brand collections at an acceptable price point. This reduces environmental pollution, saves physical resources, and increases the utilization of virtual clothing by providing a convenient way to purchase. This study is a basic study that examines the current status and characteristics of fashion brands' use of 3D virtual imagery from the perspective of green design based on literature and case analysis, and follow-up studies are expected on empirical virtual imagery activation measures through interviews or surveys with users for each case.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 한국의상디자인학회지
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• 제10권3호
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• pp.27-36
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• 2008

This article aims to identify the current status of outsourced production of Dongdaemun brands and to discover the consumers' perception of those outsourced products, their degree of satisfaction, and preference in purchasing those products. Moreover, the strengths and weaknesses of the outsourced products, as perceived by the consmers, have been identified, and specific methods and directions for efficient overseas outsourcing of Dongdaemun brands are suggested. This study also contains experimental works, in which I have prepared questionnaires, and my advisor have collected data. This survey was conducted on corporation managers, who directly operated clothing stores in Dongdaemun Market in December 2007. The collected data have been analyzed using SPSS 12.0 with various techniques such as t-test, paired t-test, frequency analysis and $X^2$-test. The results are summarized as the following: a) Comparison of the current outsourcing status of Dongdaemun brands showed that only eight out of the total 42 investigated companies have actually been outsourcing the production of their clothes. The biggest advantage of outsourcing was the reduced unit production cost, while low quality of products, delayed production, difficulty of control and management were shown as its disadvantages; b) the reason for purchasing clothes in Dongdaemun Market was to buy various clothing products. Comparing these reasons among different groups showed that there was a significant discrepancy in terms of trend design and copy design, in which wholesale consumers had shown a higher degree than retail consumers; c) and the preference for outsourced products of Dongdaemun brands was negative in both wholesale consumers (71.05%) and retail consumers (83.54%), as they both prefer clothes manufactured in Korea. Both groups selected the expensive price as the biggest disadvantage of Korean products, and picked design as the biggest strength of the outsourced clothes. Furthennore, both wholesale consumers (63.16%) and retail consumers (74.68%) selected Italy as the most preferred country for outsourcing clothing production. in which their reason had been their expectation for good product quality. The least preferred country for both wholesale (47.37%) and retail (50.63%) consumers was China, a country which they expected poor product quality.

• 복식문화연구
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• 제8권5호
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• pp.681-706
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• 2000

This study is intended to understand an implication system and significance in the current community which a body image symbolizes by correlating it with fashion that is on the rise as a principal issue in various fields. For this study, the symbolism of the body image was contemplated in terms of philosophy and art, and then on the basis of it, the symbolism of the body image shown in modern fashion design was analyzed through fashion works. The research results are as follows, 1. The manifestation of sex can be taken as the symbolism of the body image which is expressed in modern fashion design. Recently sexual chaos and vagueness such as homosexuality and bisexuality are expressed through a dress and its ornaments. Though displaying sexual characteristics of male and female as they are exposing a sign or a diagram, decorating a part of body or representing sex in garments, uncertain sex identity in modern society is manifested in dress and its ornaments. It is to deny absoluteness regarding sex and emphasize diversity indwelt in human beings, and after all it shows to pursue the human essence. 2. Another symbolism of the body image is body expression as the human race and an ethnic group. The discriminating situations and the restoration of their status appeared in modern fashion too. Moreover, their cultures and issues came to alter the aesthetic standard of body made from a view of the Western white supremacist. Hereupon, fashion trends like ethnic fashion, Orientalism and African look etc. appear according to this tendency, which represents race and national identity and in addition, which signifies to present transcendental human conception embracing alienated human conception. 3. The symbolism of the body image expressed in a body, and a dress and its ornaments as nature can be considered in terms of the concern on environmental contamination and the respect of echo system. Getting away from reigning over, developing and stamping down nature at their will, the human beings pursue unity with nature, which is described in fashion. They are stressing that natural materials and objects such as animal, plant and soil etc. should activily be introduced into fashion and humans are a communal fate group and should reframe their status in nature at last. 4. The body image shown in a body, a dress and its ornaments as technology is transformed and recreated by modern scientific techniques and medical science to show post human conception namely, forthcoming future human conception as a cyborg which loses individual identity. This presents a perfect future human conception with high level of preternatural power but after all, leaves us a task to seek the meaning of human existence in alienation caused by the loss of human identity and existence. In this manner, the moderns crave for perceiving the identity of a natural human being in the current thoughts tendency of the modern times such as postmodernism, post structuralism, deconstructionism, feminism and so on, which build discussions affecting the art and fashion worlds. The categories, like sexual characteristics indwelt in a human body, racial classifications, the natural environment surrounding human beings and development of science, bring out the importance of the internal and external meaning in today's fashion which a human body contains, and present sew human conception in the coming future society.

• 복식
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• 제2권
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• pp.9-21
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• 1978

The object of this article is to examine the shapes and the development of the costume worn in the early and middle Yi Dynasty from the viewpoint of the history of customes with the excavated clothing from Chung-Ju (1530 A.D.), Wool-San (1650 A.D.), An-Dong (1650 A.D.) etc. The study of the history of costumes of the early years of the Yi Dynasty has been mainly dependent upon fiblirographical records sofar. So I have arranged in order some excavated clothing of the early Yi Dynasty, which gives us some means for the study of Korean historical costumes. It is noticeably remarkable that the daily wear of the early Yi Dynasty period was excavated for the first time from Chung-ju. The results drawn from this research are: It is argued that the original from of Chul-nik(天翼) has been excavated. This is the remnants Mongolian clothing of the Koryo Dynasty, and it is sketched in the Dai-Myong-jib-lei(大明集禮) as Yo-sun-o-ja which the lower classes usually put on. The similar clothing is also handed down as a Dan-po(緞袍) from the ming Dynasty, and we can presume that Chul-nik was a common clothing regardless of the social status of their wearer. It is also remarkable that even women at those times wore the Chul-nik. The length of the Cheo-go-ri of the early Yi Dynasty was the middle hip length, and the edge of the sleeves was very wide which called Cham-soo, and it was handed down to the middle period of the Yi Dynasty which can be seen in the coat (po) of women(直領袍). The systems of the straight-collar Po(袍) during the early Yi Dynasty were discovered for the first time. This Po(袍) which would represent the po-system of the early years of Yi Dynasty, is handed down even to the middle of Yi Dynasty. The collars of the Po(coat) of the early Yi Dynasty are mostly double collars(二重衿) and these give us the advantage in reconsidering of the cheo-go-ri(赤古里) of the Kingdom of Shin-la, or Koryo Dynasty. The edge of the women's Ba-ji(袴) of the early Yi Dynasty was wide and the Ba-ji had a shoulder belt which connect the front part with the back one, which showed the practical point of Ba-ji. The men's Ba-ji of the middle Yi Dynasty was the same as can be seen today and it is clear that the Mongolian Ba-ji dated to B.C. 1 was the same one also. In the system of the Chi-ma(常), there seems to be no differences between the ancient styles and those of these times.

• 한국의류학회지
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• 제21권7호
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2004년도 제20회 발표논문집
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• pp.109-114
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• 2004

The purpose of this study lies in analyzing the characteristics of the carbonized textile fabrics and to know the carbonizing mechanism. Samples were Jiyo excavated from the grave of Mrs. Hansan Lee as the wife of Jinju Kang at Daeduk-gu, Daejon, and black fragements assumed as of the outside material of cotton skirt and black dusts collected out of Jikryung for official dress. The composition and status of the fiber were clarified by means of Microscopic FT-IR and both cross sectioanl and side parts of the fiber were observed using the technique of scanning electron microscopy(SEM). Finally EDS analysis was carried out to qualitatively analyze inorganic ingredients contained in the carbonized fiber. As a result of FT-IR measurement, characteristic peak was very strong around $1625cm^{-1}$ and could be found even between 2500 and $2300cm^{-1}$ because of a high-molecule pigmental substance, melanine. When SEM photography was applied to the fractions, the tissues were identified as silk fiborine through the observation of their side and cross sectional parts. SEM-EDS measurement indicated that both the cotton skirt and Jikryung for official dress contained a high proportion of inorganic substances such as Si, Ca suggesting the existence of silicide and calcium carbonate.

• 패션비즈니스
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• 제12권5호
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• pp.126-140
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• 2008

This thesis aims to examine the symbolism of color in the clothing of women, focusing on the protagonist of the movie Elizabeth: The Golden Age (2007). At the beginning of the movie, the Queen wears gowns with cartwheel ruff and wheel farthingales, symbolizing the attempt of establishing a powerful majesty. However, the Queen falls in love with Walter Raleigh and her clothing comes to emphasize femininity displaying her cleavage. Later on, her clothing indicates charismatic authority as she prepares for the Spanish war. At the end of the movie, the Queen who led the the country to victory in war puts on a luxurious gown with butterfly wings that reminds of a fairy queen. The colors of the Queen's clothing are categorized into three groups. First, the color red represents two opposite allegories. The positive image of red denotes Christ's blood, the love of God, and noble status of the Queen's image as a savior of England. On the other hand, red represents lewdness and evil which insinuate that the Queen is being attacked on her religious and political genuineness. Second, the color blue represents Saint Maria, chastity, and divinity. Third, the color goldw and white represent the Queen's ideals which are chastity as a virgin Queen and divinity.