• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.35-52
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• 2011

The purpose of this study is to identify the effects of college students' relationship status on their clothing behavior and purchasing process. The subjects of this study were college students. After a survey, 113 questionnaires were used for the data analysis excluding incomplete ones. Factor analysis, paired t-test, Pearson's correlation, one-way ANOVA, MANOVA and Chi-square test were conducted. The data analysis found that female students had higher levels of clothing interest, and fashion-seeking, impulse buying and individuality-seeking motives than male students. Female students who had boyfriends showed particularly higher levels of fashion-seeking and impulse-buying motives. Throughout the clothing purchase process stages, students were most influenced by girlfriend/boyfriend, especially in the evaluation stage. Students who had girlfriends/boyfriends were significantly more influenced by them. Female students were more influenced by parents at the evaluation stage and their female friends at the information search stage.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.191-202
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• 2015

The purpose of this study is to examine the form of the clothing of the Scythians who lived in the northern region of the Black Sea. This study refers to data, which has been extracted from reviews of literature, articles and catalogs of Scythian exhibitions held in Germany, a country where famous Scythian research was collected and analyzed. Results of this study are as follows: Regarding the basic form, there was no change in the appearance of the Scythian clothes which can be linked to social classes and regional background. But the detailing of the clothes changed. Russian archaeologist Klocko has stated that decorative bands of ancient costume appear to depend on the construction of ancient clothing. I have analyzed the upperjacket of Scythians with the decorative bands based on the research of Klocko. From this analysis could be observed that decorative bands of upperjacket had also been varied depending on their region and their social status. The decoration of the revers of upperjacket differs according to social status. According to their width, trousers were classified in types; in narrow and wide. The basic set up of the narrow-type is as follows: the trouser is divided into voluminous straight forms and leggings in close contact with the legs. The width of a trouser differs according to the social status of Scythians and from the region where they lived. Regional differences could be observed more significantly, than differences resulting from social status.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.1-18
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• 2015

The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.151-163
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• 2008

This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

• Journal of the Korean Society of Costume
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• v.29
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• pp.127-142
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• 1996

The purpose of this study was to Inferr the attractiveness and Men's occupational Status by facial Impressions and Clothing Styles. The Study was consist of experimentals methods. The experiments developed a set of stimuli and response scales which was pro-fessional suits(C1) general clerical position suits(C2) small business suits(C3) artist at-tire(C4) student attire(C5) The impression of stimuli were measured by means of semantic-duffernential scales an open-ended questionnaire and data was processed ANOVA Duncan's multiple range tes and x2-test. Judging the effects of occupational charaoteristics the experiment was designed in the between-subject design. The subject were 30 male and female who were divided 25 experimental groups as arranging 12 subjects. The conclusions of this study are as follows. 1)Facial characteristics affect the attract iveness and occupational status. 2) Clothing styles affects the inferrence men's attractiveness and occupational status. 3) Perceives inferrence of occupational status affect more impression of the high levels positions person and artist person. 4) High quality texiles deep yellow color suits are perceived high levels positions and white knit jacket and check printed slacks are judged Artist. 5) Artistically characterized person is perceived only artist even change any types of cloth.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.669-691
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• 2023

This study aims to analyze the variations in online clothing purchasing patterns based on demographic attributes and purchasing behavior. The survey subjects comprised individuals in their 10s to 50s who had prior experience with online shopping. The survey was conducted in Gyungnam from May to June 2022. A total of 397 questionnaires were analyzed using the χ²-test statistical method. The analysis of clothing purchase type based on demographic characteristics revealed differences in terms of gender, marital status, age, monthly income, and occupation. Notably, when analyzed by demographic characteristics and clothing purchase types, monthly online purchase frequency displayed significant differences in marital status, age, and occupation. Similarly, monthly purchase amounts through online platforms exhibited significant variations based on marital status, age, monthly income, and occupation. The online fashion platforms, when examined in relation to demographic characteristics and purchase types, showed significant differences across all variables. Clothing purchases by consumers seeking individuality and differentiation exhibited significant differences in age, occupation, and purchase types. Furthermore, the reasons for choosing online platforms for clothing purchases varied significantly based on age and occupation. These findings indicate diverse purchasing behaviors on online platforms influenced by demographic characteristics. These findings can be valuable for effectively segmenting the online fashion market.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.407-426
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• 1996

The study, "a semiotic analysis on 1930′s costume", is based on semiotic theory which analyze the meaning of signs. In the novels, "흙" and "삼대", character′s costume were used as a visual language that implies massages of character′s status, class, and the view of value. Analyzing the meaning of clothing signs, clothing could deliver the people′s informations to others and could be first things when people accept new value. The object of the studies are the novels, Hulk(흙) and Samdae(삼대) which are written by lee, Kwang-Soo and Yeom, Sang-Seob. In the novels, the social structure is classed as modern and traditional after we accept the western cultures and institutions. The traditional clothing, Han Bok, were dressed by the conservative woman. However, we could find the modernized woman dress with the western dress and the modified traditional style. According to the result of the research, we could find that clothing could be a sign which indicates value and also clothing is one of the first thing to change when people acquired new value.

• Journal of Fashion Business
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• v.6 no.6
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• pp.68-77
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• 2002

In this study, based on Choi, Jong Rim's script (2000), the main characters' stage costume designs were presented with 15 illustrated pieces in terms of compounding the images of Korea and West. I considerered the main characters' social status and personality by each act and scene, as well as the correlation of the stage costume's minor theme, color and material. In expressing the stage costume, this study has chosen the formational method of the comparative design dimensions between costumes in 1650s Joseon and baroque period and used the joinder of flat pattern and draping in various parts of the costumes.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.