• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.61-77
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• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.105-120
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• 2006

Today's radical change of environment and technology spreaded high-technology art by cutting across a general idea of art, expressed machine aesthetic in fashion style by influencing materials and production processes of fashion. The purpose of this research is to take another look at the value and the importance of ornaments in terms of fashion design, to overcome the negative aspect of Technology Fashion by designing Retro Technology Fashion that harmonizes reason with sensibilities through floral patterns. The results of this study are as followings. 1. If Retro technology Fashion was analyzed by time and space element that are postmodernism techniques, there are Ethnic Technology Fashion that are based on space and historical Technology Fashion that are based on time. In terms of spare element, there is the hybrid of revival of exotic folklore with Technology fashion. In terms of time element, there is the hybrid of costumes of before 20th Century with Technology Fashion. It means unifying detail or silhouette of costumes of ancient time to modern time wit Technology Fashion. For another time element, the hybrid of retro fashion after 20th Century with Technology Fashion. The retro nostalgia is revived by the floral patterns or silhouette of Hippie fashion unified with Technology Fashion. 2. Based on above research, Retro Technology Fashion with floral pattern on CAD were designed. As the results, for Ethno Fashion that is spatial retro, 'Asian Technology fashion' was designed with bright colors, China collar that are oriental, and vinyl material. For historical Technology fashion that are based on time, 'Space Middle Age' was designed with tight silhouette, party colored pants and plastic material.

• Journal of Fashion Business
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• v.16 no.3
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• pp.13-31
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• 2012

The purpose of the study was to analyze the work clothes' clothing comfort and wearer mobility of painting workers with the consideration of the work environment features in the machine and shipbuilding industries in South Korea. A questionnaire survey was conducted for the study, which consisted of questions on the clothing comfort and wearer mobility aspects of painting work clothes by clothes types and body parts. The work clothes' clothing comfort and wearer mobility levels were scaled in 5 points i.e. 1(: very tight/very uncomfortable) to 5(: very slack/very comfortable). The painting work environmental hazardous features were considered as high impact levels of workplace temperature, oxygen deficiency, organic solvent, toxic gas factors while metal fragment factor only impacts 'low' in the painting processes with the findings throughout this study. Since the painting work consisted of surface washing and the spray and touch-up painting processes, which was carried out in an outdoor work place, the painting work clothes should meet high performance of waterproofing from the painting material and air permeability specially in summer as well as thermal performance in winter. The subjects painting workers' assessment of the existing work clothes' clothing oppression was in the levels between 3 (i.e. moderate) and 4 (i.e. comfortable) in a range of 1 to 5 points. The existing painting work clothes' wearer mobility was evaluated 'very uncomfortable' in all work clothes parts, especially, armhole length, biacromial breadth, sleeve length of the jumper; and body rise, waist, hip, thigh and knee circumferences of the pants.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.675-689
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• 2014

This study developed an ideal jeggings pattern with an improved body fit for 20-24 year old females. The results of the study are as follows. First, samples for wearing test were made using jegging patterns from three manufacturers; subsequently, one pattern with a relatively outstanding body fit was selected from the first test. The selected pattern suggested a tight knee, belly, and crotch, high front waist line, and low back waist line. The side lines were also lean to the front; consequently, the front hip width was extended for 0.5cm for more space around the belly and the extended front knee part for 0.2cm to increase moving suitability to fix the leaning side lines. A 1cm front waist line was extended for 0.5cm to fix it lower; in addition, the back waist line 3.0cm was extended for 0.5cm to heighten it. The crotch width was also extended for 0.5cm to add more space. The second wearing test for the fixed forms were evaluated for their outstanding features in appearance as well as moving functions that were proposed as final jeggings forms. The results of the study suggested a jeggings pattern with a better body fit using manufacturer patterns that can be used as basic data for pant patterns with better fitting using various stretch fabrics.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.1
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• pp.50-65
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• 2024

By analyzing the style of creator avatars in the world of Metaverse, which is emerging as a fourth-generation social media platform, this study aims to identify the meta-fashion tastes of Generation Z (Gen Z) creators (born in the late 2010s and early 2020s) and to analyze the extent to which current trends in the fashion market are influencing meta-fashion. The research method uses a case study to compare meta-fashion and current fashion trends. First, five Gen Z fashion creators on ZEPETO were selected to analyze the meta-fashion styles presented by this group. In the end, a total of 100 fashion styles were analyzed by combining 50 items each from the current meta-fashion and real fashion trends. The fashion styles were found to be hip-hop, easy-casual, punk, lovely feminine, and sexy, and the main fashion items were analyzed as jeans, hip-hop style pants, sneakers, tight crop tops, dresses, tattoos, chain accessories, and dyeing. Meta-fashion is the emergence of items similar in shape to those popular in the current fashion market, but are more exaggerated or show off the human body than actual fashion items.

• Journal of Fashion Business
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• v.3 no.4
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• pp.147-160
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• 1999

This paper is intended to compare and analyze the fashion trends that were introduced in the recent shows, held abroad and in Korea, so as to investigate how well the designers in Taegu and Kyungbuk (TK) area are keeping up with the international vogue. The research has done, analyzing Pret-a-Porter in Paris and the three events held in the TK area in 1997 -The Taegu Collection, Kyungbuk Fashion Festival and Textile & Apparel Fair and using reference pictures and documentary records. In order to investigate the trends the research is divided by four groups which are the silhouette, the detail, the color and the Fashion image and has done with the help of three postgraduate students. The results are as follows. 1. The Silhouette The slim-line has the greatest importance in the silhouette analysis of the recent collections. Like Elongated and Fit & Flare, tight-fitting and female-line were also appeared quite a lot. Compared with foreign collection, Korean collections put the bigger importance on the slim-line. 2. The Detail The printings, using paintings and plant-logos had the large portion of the accessories in both foreign and Korean collections. Draw string and wrap style were also presented a lot. Especially, at the Korean collections, layerd, corsage, and craft accent were emphasized, too. As for the necklines the similarity was found over the four events considering. Camisole neckline and halter neck were presented the most, and bared top, Vneckline, boat and low-neck which can highlight the feminity were often appeared as well. Considering collars, tailored and peaked collars which are frequently used for the jackets, were usually shown at the collections. Like convertable, shirts, wing and Italian collar, the collars that can be applied for the sports wears were presented a lot. Virtually no variation of design was found in the sleeve analysis. While set-in-sleeve and sleeveless were found commonly, not so many ornaments were added to the sleeves. The ankle and knee length for the pants and skirts were common. Furthermore, including the micro-mini, showing extremely feminine style the mini-style had the 20% portion of the skirt-length. Unbalanced lengths, using bias-cut were presented quite a lot on the runways. Deep slit skirts, wide pants and irregular hem skirts were in vogue. On the runways of Paris, more than 21% of the design was the burmuda pants. 3. The Color Red and Blue were in vogue in the four collections considering. Sometimes, yellowish was combined in Korean collections. Black and pale tone were appeared to be in fashion also with light grayish, moderate and deep tone. 4. The Fashion image As for the fashion image, feminine-decorative trend amounted to the large percentage in korean collections. At the foreign collection feminine-decorative trend and feminine trend were predominant, then mannish trend and simple trend were apeared equally. The research shows that TK area and foreign collections are fairy similar, which means that the designers in TK area have been making their efforts to satisfy the clients who have the international minds. However, compared with foreign collections, TK collections were apprered to be strongly inclined to only a few trends. Consequently the season trends are not as diverse as the foreign trends, which cannot satisfy the fashion taste of the clients in TK area. The local designers should know the tendency and the taste of the clients and make the more efforts to read local clients' mind.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.31-47
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• 1979

1. The old Korean costume had two different kind of dress, one was a military uniform (Goon bok) for military only and the other was uniform (Yoongbok) for civilian and militarian. 2. The military uniform (Goonbok) were dressed under armour, was for war time. And the civilian and military uniform were dressed under Mo (Hat) and Po (Coat dress), was for War time or emergent case. 3. Armour were made of leather in ancient times but later they were made of metal. 4. In generally, armour is classified; 1) To protect neck 2) To protect shoulders and arms 3) To protect breast 4) To protect both legs 5) To protect hands 5. Armour and military uniform (Goonbok) for military only. at the time of three Nations (Ko-kuryo, Bakje. Silla) 1) Armour-a) Identified by found relics or ancient wall picture. b) They had improver! armour. c) Armour of three Nations were resembled each other. 2) Military uniform(Goonbok) a) The Jeogori reached to hip area was called Jangyoo. b) The pants were tight trousers. 6. Armour and military uniform (Goonbok) for military only at Koryo Dynasty. 1) They had improved armour like three nation's age. 2) They were made of iron. leather, paper or cloth 3) The color was white. puple. red. 4) Military uniform(Goonbok) a) Hat-(1) Banggak (2) Josamoja (3) Ibgak (4) Jakwan (5) Sabgak (6) Sumale (7) Jaragwan (8) Kummoja (9) Mubyunkwan (10) Pyungyunchek b) Dress-(l) Jayeisokade (2) Bosanghwa Gayendae (3) Hongbeja Rokrahansam (4) Jag- ongbok Hongeung (5) Jagongbok Jogeung (6) Kumyeisokdae (7) Bilapeja Rokrahansam (8) Jasupoto (9) Kumyei Honggung (10) Kumyei Dokuyeunsokdae (11) Bibosunghwa Dongokumdae (12) Bidaesuyei Kayeundae (13) Jasosulansam (14) Biyeiko (15) Chung-yei Dongsim Sokdae 7. Armour and military uniform of Lee Dynasty 1) Armour-a) the Helmets were attached with visor ar without visor, and later it was added the neck protecter. b) dresses were given various names according to the materials used. for example, Suiejakap or Kyungfunkap. 2) The military uniform (Goonbok) were composed by molip, Hyunchungsakpuja, Jundae, Soowhaja. 8. Military uniform (yoongbok) for civilian and militarian 1) The unifom was developped through Imjin war, Byungja war since the middle of Lee Dynasty. 2) The military uniform (Goonbok), (Yoongbok), armour were by the established dress reg-ulation of imperial ordinance dated April 8th, 1895 which falls 35th year of Kojong. the dress regulation was based upon the western uniform.