• Korean Journal of Human Ecology
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• v.24 no.6
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• pp.875-887
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• 2015

The analysis in this work is about costumes among the rhythmic gymnasts in competition, which is intended to develop designs about rhythmic gymnastics costume and provide the basic material from the results. In its research method and range, the general information on rhythmic gymnastics was reviewed in literature and the case analysis was followed about costumes of world high rankers in competition during 2012~2015 seasons. Research showed the following results. First, leotard took a shape of skirt-added one-piece type, where a combination with long tight sleeve, round neck line, and stand-up collar had a relatively higher percentage in design. With regard to a bottom line of skirt, an amorphous type was most common that highlights rhythmical beauty without any particular form. This design exposed shoulders and waists on both sides, expressing the feminine beauty. Second, in color used mainly, white appeared most frequently. In its combination, more than three were employed. Third, transparent mesh was applied as basic, where lace and chiffon were used. Abstract pattern took the highest portion in pattern. Particularly, crystal bead or gradation coloring was used to maximize the visually splendid image, giving an effect of optical illusion as if neckless clothing, choker, bracelet, or glove were worn. Fourth, it appeared that the costume for each event was changed in every season, when only music was substituted but the same earlier costume was put on for the different event.

• Korean Journal of Human Ecology
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• v.14 no.4
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• pp.673-681
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• 2005

Sewing is an important process in clothes-making. It is directly or indirectly connected to a factor of fitness, as is the case of pattern making and design. The purpose of this study is to compare and analyze the sewing methods for tight skirts currently being sold by twelve clothing companies on the market. For the purpose, the skirts, which was released in 2002 Fall season, was physically disassembled and then every sewing detail was closely investigated. The major findings are as follows: All sorts of the skirts show different sewing methods in hemlines, back slits, and zipper. Hemlines and zippers, hand-sewn, are often used by high-price brands. Brands that emphasize trends usually use machine sewing. Specifically, the sewing methods applied in the allowances at the upper part of the back slit show significant differences among brands. One method leaves allowances enough in both sides for the stability of the skirts, another trims both allowances very closely, and the other trims only left-side allowance down to the edge of the back slit. This study findings will be helpful not only in understanding sewing techniques for skirts and improving its quality, but also in offering more comfortable and superior clothes for consumers.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.151-165
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• 2000

This study was to find out clothing design preferences, according to the clothing self-image of elderly women and to grasp the variety on clothing of elderly women and thereby to help in merchandise production planning and putting the brands into markets and to provide data for establishing a sales strategy a d to itemize women with the goods which can satisfy the desire and taste of consumer groups in the quality market. For this purpose , various researches as above were conducted .The object of this study was a total of 488 elderly women above full 55 from an elderly women and who lived in downtown Pusan. The data were analysed by using MANOVA, ANOVA , factors analysis and frequency analysis, and the Cronbach α was also applied . The conclusions made based on the theoretical background and the result of questionnaire surveys are as follows ; 1. The realistic self-image of clothing showed a similar pattern by age. 50's and 60's showed little difference by item but 70's was greater in variation between items compared to 60's. The response to each item was that most people answered "common" and they showed a pattern that responded low only in items of 'colorful' , individualistic', 'susceptible to fashion'. A similar pattern was shown by age band also in the ideal self-image and the response to each item appeared higher than in the realistic self-image , and also in items of 'colorful', 'individualistic ' , 'susceptible to fashion' the response appeared low and showed a unity. 2. The results of clothing design preferences examined on the self-image according to age are as follows ; 1) Fro jacket in the realistic self-image , 50's and 60's preferred 'tailed collar' , 'set-in sleeve', 'hips long' and 'plain jacket' and 70's agreed to the design preferences in the items except 'open collar' and also in the idealistic self-image , the degree of preference was same. 2) For skirt in the realistic self-image , 50's and 60's preferred 'tight skirt', 'normal length' , 'plain skirt' and it was appeared that 70's preferred 'pleat skirt' , 'medium length' , 'plain skirt'. Also in the idealistic self-image , the degree of preference was same. 3) For blouse in the realistic self-image, 50's preferred 'open collar', 'round neck line' , 'long set-in sleeve' , 'plain separation belt', 'open front', 'zipper' ad 60's agreed to the favorite designs with 50's except puff sleeve, and 70's appeared to prefer fastening buttons without belt. In the designs preferred in the idealistic self-image, 50's agreed with 50's of the realistic self-image and for 60's , the designs except puff sleeve type and no belt type agreed to 50's and 70's except puff sleeve agreed with 70's of the realistic self-image in their design preferences.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.

• 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 Clothing and Textiles
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• v.27 no.12
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• pp.1390-1396
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• 2003

본 연구는 타이트 스커트의 트임의 개수가 왼쪽 옆선에 1개 있을 때와 왼쪽 옆선, 오른쪽 옆선에 각각 1개씩 모두 2개 있을 때 평지 보행, 계단 승강, 버스 승강 등과 같은 일상동작에 잘 적응할 수 있는 타이트 스커트의 적정 트임 길이를 설정하는 것을 목표로 하였다. 아울러 각 동작시의 트임 길이에 따른 생리적인 반응을 의복압, 산소 섭취량을 통해 알아보고자 하였다. 평균보폭은 4m 구간을 평상시대로 걸을 때의 발자국간 평균거리를 이용하였으며 국민표준체위조사보고서(1997)에 의한 평균체형을 가진 9명의 피험자를 정하였다. 스커트의 형태는 무릎길이인 타이트 스커트로 정하였다. 스커트의 트임은 왼쪽 옆선에 1개 있는 경우와 왼쪽 옆선, 오른쪽 옆선에 각각 1개씩 있는 경우의 2종류이다. 트임이 1개인 스커트는 2cm 간격으로, 트임이 2개인 스커트는 1cm 간격으로 트임 위치를 표시하여 길이를 조정하였다. 적정 트임 길이는 Likert 척도에 의한 만족도 평가로 측정하였으며 의복압은 air-bag system으로, 산소 섭취량은 Quark $B^2$ 으로 측정하였다. 본 연구의 결과는 다음과 같다. 1. 스커트의 최소 적정 트임 길이는 트임 1개일 때 평지 보행시 4cm, 계단 승강시 12cm ,버스 승강시 18cm이며, 트임 2개일 때 평지 보행시 2cm, 계단 승강시 8cm, 버스 승강시 15cm로 나타났다. 2. 의복압의 경우, 동일 트임 길이에서 트임 1개의 의복압이 트임 2개의 의복압보다 높았지만 트임 개수에 따른 전체 트임 길이로 보면 트임 1개의 의복압이 트임 2개의 의복압 보다 낮게 나타났다. 동작별로는 버스 승강의 의복압이 가장 높고 계단 승강, 평지 보행 순으로 낮아졌다. 3. 산소 섭취량의 경우, 동일 트임 길이에서 트임 1개와 트임 2개의 산소 섭취량은 거의 비슷하였다. 트임 개수에 따른 전체 트임 길이로 보면 트임 1개의 산소 섭취량이 트임 2개의 산소 섭취량보다 낮게 나타났다. 동작별로는 버스 승강의 산소 섭취량이 가장 높고 계단 승강, 평지 보행 순으로 낮아졌다.

• Journal of Fashion Business
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• v.18 no.2
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• pp.54-65
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• 2014

This study developed basic pattern for competition figure skating wear for school girls. Figure skating wears are difficult for making basic patterns based on standard size chart, because girls' body size are slimmer and more slender compared to the general girl's and the competition wears such as, swim suit with sleeves are, closely in contact with the player's body. The competition wears for school girl was made with consideration of changing of the body shape, physical exercises, and various specificities according to stretch material. To raise artistic effect while doing beautiful motions, and to assist in facile technique motions, competition wears need to have enough ease on the side line from waist to armpit, from armpit to wrist, and in trunk girth including crotch girth. Also, to stand out in beauty, a costume designing has a proper skirt position, length, flare width, and a tight bodice according to the player's body proportion. Most of the customers are displeased at the high price, unfitness of size, insufficient design, and difficulty in access, since they are not sold in sporting goods store. Therefore, a competition wear's basic pattern was made through scientific and emotional process including concerns on material properties, room for activities, and ideal body proportion. Systemizing the basic patterns of production method will solve high repairing expenses, unsuitable sizing, and improve accessibility for purchase.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.956-970
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• 2006

The purposes of this study was to analyze the characteristics of national races' costumes in Chinese contemporary costumes. For the purpose, this researcher concentrated on the relations between national races' costumes and Chinese contemporary costumes and discuss systematically depending on references such as fashion magazines, picture albums, and historical records. The results of study were as follows: First, the formation of fashion has been influenced by Man, Uighur, and Choson races. For example, Qipao, the tight style of Man race's fashion, Uighur race's bell style sleeve and cyclic skirt are applied to women's modern fashion. Second, weaving, printing, and embroidery technique of a minority race developed more than Han race, so applied still. Recently, Chinese contemporary costumes accepted the weaving technique of Miao and Uighur race through publicizing of a minority culture. Third, a national race's costumes are famous with splendid design and applied to modern fashion directly. They are commonly made to hair pin, necklace, earing, bracelet and so on. Recently, styles from a national race's costumes and old style are becoming popular to Chinese and it's easier to found such a fashion in market.

• Journal of the Korean Society of Costume
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• v.24
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.