• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.55-64
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• 1996

The aim of this study is to get the basic data to design the clothing for the female teachers. In this study, we survey the practice of the wear in the spring and the fall of the 422 female teachers in primary, middle and high school, and their wearing sensation according to clothing construction factors. The results are as follows: first, the female teachers frequently wear blouse and skirt, jacket and blouse, jacket and T-shirts, cardigan and T-shirts in upper wear. Second, most female teachers had troubles in their clothing at work. They had serious troubles in writing on the blackboard, due to the improper form and. length of the sleeves, and the inconvenience of their skirt is due to the improper length, while they go up the strains. Third, the comfortable factors of the female teachers' blouse are as follows; round neck line, soutien and peter pan collar, sleeve attatched bodice with a little loose armhole, $10{\sim}20cm$ under from waist in length, front slit, and fastening bottons. In case of skirt, they perceive A-lined, flared, pleats skirt more convieniently than tight one, which are 10cm under from kneeline in length, side fastening system, back slit.

• Journal of the Korean Society of Costume
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• v.50
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• Journal of the Korean Society of Costume
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• v.33
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• pp.73-88
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• 1997

In old Korea from the 4th century of 6th cen-tury the lapels of You and upper garment folded slightly. It had tight sleeves and its length was not long reaching to the hips. but from the 7th century the sleeve of You became wider and its length became longer, Chinese You folded very deeply across the breast and its sleeve was tight. The length of Chinese You was short too strectching out to the hips. From the 5th century the sleeve of the Chinese You became wider Chinese trousers with wide crotch appeared in the 4th century during the time when Ezst Jin Dyn-asty ruled China. The upper garments with the wide sleeve was common by the 7th century in China. What is specially noteworthy is that Short-dalnyung appeared in the 5th ∼6th century. In old Korea strings were used to tie the bottoms of the trousers. Trousers with tight crotch did not need the strins. korean trousers with wide lines were narrower than the Chinese trousers at the bottom and it was not necessary to use the strings for people to put them on In China there were both of wide trousers and tight trousers. People tied trousers around the kness with the strings in the formal places but they did not tied the trousers with the strings when they wore the ordinary clothes. Chinese trousers were very wide just like a skirt and they were much wider than wide Korean trousers.

• Journal of the Korean Society of Costume
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• v.48
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• pp.25-36
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• 1999

The purpose of the present research was to analyse for a sample of female collge students by Korean and American the preferred style of clothing with body cathexis. The respondents were 242 Korean and 145 American female volunteers aged 18 to 27 who were enrolled at Kwangju and Cathlic University of korean and Cornell University in the Unites States. The questionnaire was composed of three sections: body size body cathexis and the preferred style of clothing. Sixteen items of twenty-six items of the preferred style of clothing showed a significant difference between Korean and American. Korean students didn't like a bulky fabric and a bright color than American do. American students like a effect of accessories and clothing to emphasize my bust line and care about sleeve shape skirt length skirt shape than Korean do. Korean students were more dissatisfied with their body than American female students. There was a negative relationship between body cathexis and preference of tight skirt both Korean and American female students. There was a positive relationship among body cathexis and preference of outfit and preference of garment of polished silhouette by Korean female students a positive relationship among preference of fitted waist and design to emphasize bust line.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.11
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• pp.1554-1564
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• 2007

In apparel industry, the production of clothing for the global market, has it#s origin in its characteristics depending on hands on working style, according to the globalization of a fashion industry. These days, however, the globalized production is unable to keep pace with the short cycle of production due to the unpredictable change of the taste or demands in the local area, as a result, the industry has come to take a focus on the production and consumption in the circumscribed region. In this stream, the northeastern area, specially, Dalian which is renowned for a center of fashion was designated as a city of this study as a representative. The cultural, racial and geographical uniqueness, asks for the analysis, based on the individual local area on the part of Korean fashion company desiring to launch into China fashion market. The purpose of this thesis is to analyse the style, color, and items of street fashion in Dalian. I would contribute to the understanding the preference of fashion in northeastern area, thereby, affording a fundamental resources for designing strategies for Korean fashion brands in China. The period of investigation is about 5 weeks from 14 May 2006 until 18 June 2006, with combined use of camcorder and digital camera. The site was Victory Shopping Plaza, in center of city, also with Mycal, Ansung, Dasang department store situated in the Economic Development area. The result of this study are as follows: 1. Preferred clothing styles are casual styles(68%) rather than formal styles(32%). In the casual styles, sports casual(36.0%), character casual(29.5%), jean casual(2.6%) were listed. All kinds of clothes are tightly fitted due to the stretched fabric and knit fabric. 2. Preferred colors are white(31.1%), red(16.6%), black(15.8%) khaki(7.8%) and blue(7.6%) for tops, and black(34.6%), blue(27.2%), white(15.4%), brown(14.6%) for bottoms. 3. Preferred clothing items are T-shirt(36.5%), jumper(33.6%), jacket(20.0%), blouse(8.7%), etc.(1.2%) for tops, pants(91.4%), skirts(8.6%) for bottoms. In the pants, cigarette pants(34.6%), bell bottom pants(21.0%), cargo pants(19.9%), straight pants(15.9%) were listed respectively. In the skirts, flare skirt(3.9%), tight skirt(2.2%), semi tight skirt(1.7%), pleats skirt(0.8%) were listed.

• Fashion & Textile Research Journal
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• v.11 no.4
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• pp.592-601
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• 2009

This study was conducted to find out the purchasing characteristics, the wearing practices and the preferring style of skirts. Also the comparison between recognized body type and actual body type for skirt was analyzed. The questionnaire was developed and administered to 179 women aged 20 to 59 in Busan. The women of 20th liked to buy skirts at the road shops and the internet shops but the 30th, 40th and 50th at the department stores and the discount stores. The main purpose of buying skirts was to coordinate with other clothes. The design of skirt was the most important factor of buying. The women of the 20th wore skirts without special purpose but the 30th, 40th and 50th wore those for social life. The women of the 20th liked to wear skirts with t-shirts and cardigan, the 30th with blouse and cardigan and 40~50th with blouse and jacket. As the age increased, the ratio of women who felt discomfort of skirts increased. Most of these women felt discomforts in the waist and abdomen part of skirt. The style of skirt that made up for the weak points in the body type was preferred. The preferred silhouettes of skirts were semi-tight and A-line. The preferred lengths of skirts were different from ages. Black was preferred color of skirts. There was a significant difference in recognized body type according to age groups. As the age increased, the ratio of women who thought themselves as thick waist type increased. Just only 43% women of total subjects recognized their body type accurately.

• Journal of Fashion Business
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• v.13 no.4
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• pp.1-20
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• 2009

The main investigation of this thesis is about the comparative analysis of the fashion style preferences in the ages of 20-30 women, according to the style, by researching the area of Dalian and Seoul, represented as outstanding fashion cities in north eastern area. Both taking pictures and recording camcoders were performed at the famous fashion street in Seoul and Dalian. The period of investigation was from 24th of July to 2nd of August 2008. The result of research are as follows. Generally, the casual style was predominant in both area. The jean casual in Seoul was somewhat tidy and conservative, while that in Dalian showed the tendency of boldly exposed their body. In terms of easy casual, T-shirts and mini-tight skirt were preferred in Seoul, while T-shirts and midi-flare skirt was popular in Dalian. In Seoul, the blouse and mini skirt were in vogue, while one-piece dress, blouse and 5/7/9 length pants were prevalent in Dalian, in case of romantic style. The sports casual was relatively low in frequency in both areas, however, it was relatively more popular in Dalian than in Seoul. The frequency of classic style was similar in both areas. The T-shirts/blouse and Chanel-line skirt were preferred in Seoul, while the combination of jacket/shirts and full-length straight pants were preferred in Dalian. The one-piece dress was predominant in feminine style, the combination of mini one-piece dress and shoulder bag prevalent in Seoul, while the combination of Chanel-line one-piece dress designed as boldly exposed body was popular in Dalian, which shows the tendency of sexy, feminine style. The clear contrast or differences of street styles in Seoul and Dalian would become evident by this research. The continuous investigations into the various regions of China would be expected as an important measure for the successful launching into the Chinese fashion market.

• The Research Journal of the Costume Culture
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• v.25 no.1
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• pp.64-74
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• 2017

The purpose of this study is to identify the sensibility images when the direction and width of stripes change on semi-tight skirts. The researcher made 12 stimuli consisting of images of skirts with a combination of six stripe directions and two stripe widths. The images were assessed by 126 subjects who were students majoring in apparel. Three sensibility image factors were found: personality, attractiveness, and activity. Images of skirts with different stripe directions were perceived as having significant differences among these factors. Stripe widths of 1.5cm and 3cm in upward diagonal, vertical side line, and downward diagonal directions influenced the personality factor. Diagonal stripes with a width of 1.5cm positively influenced attractiveness and activity. Stripes in a vertical direction increased attractiveness when the stripe width was 1.5cm rather than 3cm. Although the interaction of stripe direction and width significantly influenced perceptions of attractiveness and activity in images of semi-tight skirts, they did not significantly influence personality. In accordance with the analysis, stripe direction was significantly different for all factors. This analysis indicated that each factor has its own independent influence. Stripe width had major independent effects, showing significance in attractiveness and activity. However, personality did not indicate any significant difference. The results of this study will help women select suitable clothing according to their individual preferences and body shapes by influencing how images are depicted because women will be able to use the images to estimate their body images when the skirts are put on.

• Journal of the Korean Home Economics Association
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• v.38 no.1
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• pp.1-8
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• 2000

In this study 61private brand skirts and 67 brand name skirts were compared to see if the skirts from the different markets were suitable for both comfort and movement. The researcher chose size 66 skirts with a waist circumference of 68~70cm and hip circumference of 92cm. The resets are as follows. (1) In the waist measurement, the minor brand skirts were made at the maximum measurement (70cm) and the department store brand skirts were at the minimum (68cm). (2) Compared with the standard back split length of 9cm for a 48cm-long skirt, the minor brand skirts had a split of only 4.5cm, while the department store brand skirts were 3cm less (split length-6cm). From this result, we see that both of them are less practical than they are supposed to be (3) For the department store skirts, the hip circumference and waist circumference show a significant correlation to skirt length (p<0.05) and back split length (p<0.001). Larger waist & hip measurements equal longer split length. For the minor brand skirts, the length of the split shows a significant correlation to the depth of the hem-line Shorter split equals smaller hem depth. From these results, it can be concluded that the two groups of skirts do not differ except for back split length and waist circumference, but regarding the split length, both of them should be modified for else of movement and comfort.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.