• Korean Journal of Human Ecology
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• v.7 no.2
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• pp.81-91
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• 1998

The subjects in this research were 368 girls in high school for survey, and wearing sensation and physiological responses were investigated through wearing trials on human body in climatic chamber based on these results from the survey. The results are as follows : 1. They enjoyed wearing t-shirts, jackets, vests, and blouses in order for the upper clothes, and they preferred t-shirts to blouses. For the lower clothes, they enjoyed slacks much more than skirts. The weight of clothes was significantly heavier in the group where they wore the uniforms(U-group) than in the group where they wore the free styles(F-group). When they chose the school wear, activity was the most important of all, and the maintenance was the least. 2. As the classes were a little cool and dry, most of them dissatisfied the environment. The degree of the satisfaction of the class environment and properties to it were higher in the U-group than in F-group. 3. In the textiles, colors, styles, activity, static electricity, seasonal property, and easiness of putting on and taking off the clothes, F-group was more satisfied than U-group. U-group was more satisfied than F-group in the soil of the clothes. 4. The thermal comfort, thickness, and tightness of the clothes were not significantly different between the groups. The clothes of U-group was heavier than those of F-group, and the tactile sensation in U-group was worse than F-group. In U-group the students felt the skirts very inconvenient when they acted. 5. The weight of the clothes influenced the wearing sensation, therefore the heavier the clothes were the less satisfied they felt. 6. The inside temperature of clothes was significantly higher in U-group than in F-group. The skin temperatures of abdomen and arm were significantly higher in U-group than in F-group, while the skin temperatures of thighs and legs were significantly lower in U-group than in F-group. U-group felt heavier than F-group in wearing the clothes. Therefore the improvement of the clothes weight is needed.

• Korean Journal of Human Ecology
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• v.21 no.6
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• pp.1161-1172
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• 2012

The recent trend in tourism souvenirs has shifted from traditional products to modern, practical, and budget oriented products. As a result, tourism souvenirs that meet the changing demands of consumers need to be studied and developed. Aprons are one of the most important accessories worn for housework, and are also an important part of uniforms worn at restaurants and hotels. As a result, aprons typify the characteristics of makgeolli - practical products that meet the needs of modern consumers. Therefore, the development of tourism souvenirs targeting tourists that seek Jeonju Makgeolli is expected to bring substantial social and economic benefits. The purpose of the study is to develop designs for aprons for promotional and tourism souvenirs for the Jeonju Makgeolli Research Center. The research has been conducted with a survey on design preferences of aprons, design proposals, production of actual aprons, and selection of the final design. The study is empirical in nature and realistic in scope since it is anticipated that the trial and manufacture of aprons will be commercialized as tourism souvenirs. It is expected that aprons, which can be produced at low cost, will meet the needs of recent consumers who prefer elegant, modern, and practical goods as compared to simple and bland folk crafts or traditional products. More studies and research on the development of designs of aprons as tourism souvenirs is expected to be conducted based on this study.

• Journal of the Korean Home Economics Association
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• v.24 no.1
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• pp.17-26
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• 1986

War has been a reason for the culture of one conservative country to make contact with the culture of another country. The Crusade, among other wars, caused cultural exchange between the orient and the occident and had a great influence on the western costume. This paper has made an attempt to find out the influence of the Crusade with respect to the cultural exchange between the orient and the Occident and to study the influence which the Crusade has had on the western costume. The Crusade was the war in which the European Christians tried to retake the Holy Land, Jerusalem, from the Islamites through the 11th century to the 13th century. As a result of this war,the autyority of the Pope was weakned, the nobles were ruined and royal authority was consolidated. Due to the contact with the Orient, trade had become active, cityes had developed and the middle class of rich merchant had grown. Gothic architecture also appeared in the Occident at this time due to the religious influence of the Crusade. Turban type headdress and the brink decoration of clothes had been very popular under the influence of the Orient. Embroidery and applique had developed and silk fabrics which had been imported from the Orient had made the costumes more fabrics which had been imported from the Orient had made the costumes more gorgeous and luxurious. Many accessories were imported from the Orient. The Oriental culture contributed to the use of rich and bright colorsm, various ornaments and splendid textiles of the western costume. Owing to the influence of war itself, many costumes had been newly made in order to adapt to the hot desert climates of the Orient. Blazon decorations, uniforms and armour had also developed.

• Fashion & Textile Research Journal
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• v.8 no.3
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• pp.275-285
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• 2006

With these excavated clothes discussed above, the clothing style before and after the Chosun-Japan War from 1592 to 1597 can be summarized as follows. 1) Shroud was a clothes newly made for funeral or usually worn by the deceased. Shroud was mostly a unlined clothes whose adjustment was made in such way its left part was on top of its right one. Yeomeui, a clothes used to wrap up the body of the deceased or fill between the body and the coffin, was usually lined or quilted. Suryeeui was a suit sent by close relatives of the deceased or granted by the court. Mostly padded with cotton or quilted, suryeeui was used only for yeomeui. 2) The term of ching was used to count units of po and suits of trousers and jeogori during dressing the deceased for burial. If trousers and jeogori were not joined into a suit, they were not counted as ching. 3) Aekjueumpo, bangryeongsangeui, three-forked trousers and haengjeon for women were all clothes worn around the war. All these clothes were not worn after the war. 4) Several types of po which were discovered in Daejeon included danryeong, simeui, nansam, jikryeong, cheolik, aekjuempo, changeui and jungchimak for men and jangeui for women. Often, jikryeong, cheolrik, aekjueumpo and bangryeongsangeui were used before the war and changeui and jungchimak since then. 5) The git of jeogori had the style of mokpan git before the war, which was changed into that of dangko git through making the rectangular ege of mokpan git rounded in the 17th century. And jeogori became entirely small sized and the baerae line of sleeve became oblique. 6) In funeral rites of Daejon, simeui and nansam both of which were symbols of Confucian scholars, instead of official uniforms, were used as funeral garments. This suggests that funeral rites of Daejeon considerably reflected academic traditions of the Giho school meaning groups of scholars representing the region.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.237-246
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• 2015

The purpose of this study is basic data for developing baseball uniform in the future by carrying out a survey of amateur baseball players on the wearing pattern of uniform and inconvenient details. To do this study, a survey targeting 307 male social baseball players in their 20s to 40s was conducted, and a preliminary survey through interview with designers, MDs and patternmakers had also been carried out and analyzed prior to the main one. The result shows that armpit and back patches get wet with perspiration the most, and patches around knees are likely to be worn out because of frequent sliding. Thus, they are dissatisfied with poor protective function the most and need quilted pads around knees. Answers for a question on injuries during games indicates that shoulder injuries due to pitching or batting and abrasion owing to sliding are most common and knee injuries are also frequent. As for the wearing satisfaction of uniform, they want elasticity and breathability of textile to be improved; they are not satisfied with its design and fit because they think top and bottoms are much too long and uncomfortable; they often find dirt inside of the uniform during games. Besides, they find it very difficult to remove dirt from the uniform even after washing. There has been a growing population of amateur baseball players over recent years, so this study would help develop functionally improved uniform and be used for developing uniform for professional baseball players.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.834-840
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• 2013

This study aims to suggest practical considerations for designing protective clothing with increased visibility that will have higher user acceptance by law enforcement officers. Light-emitting diode(LED) patrol vests were visually and structurally assessed, and 125 police officers' responses from surveys about user acceptance of the vest were analyzed. The current LED patrol vest was designed for enhanced safety of police officers by increasing visibility in the dark. However, the user acceptance rate of the LED patrol vest indicates low use of and low satisfaction with the vest despite its enhanced safety features. In particular, differences in materials, design, functionality of the pockets and size of the vest depending on the hours worked, were statistically significant. The police officers' responses suggest areas of improvement in design, materials, ease of movement, size and functionality. Key issues include 'tactile discomfort'; 'impeded vision from the glare of the LED'; 'frequent malfunctions of the LED'; 'impossible repair of the broken LED units'; 'no user feedback'; 'inconvenient to replace batteries'; 'brittle materials' and 'unpleasing look'. To increase user acceptance, designer should incorporate context-awareness, a convenient user interface, a modular design approach, first responders' self-image as public servants in relation to their aesthetic perspectives of their uniforms, and scientific evaluation of the effectiveness of the intended functions of the clothing. Suggested implications for designing the LED patrol vest can be applied to designing other functional/protective clothing for intended end users with special needs.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.219-245
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• 1996

Throughout her life time, Edith Head produced cinema costumes for over one thousand movies. She was the leading cinema costume designer in Hollywood. Since the Academy Awards added the area of costume design to be recognized [during 33 years of her work(1948∼1981)], she was nominated 35 times an awarded eight times. However, there were no significant studies done on her work or accomplishments although she was acknowledged as an ingenue and creative designer who elicited artistic effects by reflect character's images through their costumes. The purpose of the study was focused on revealing Edith Head's life and work as her creations had a great impact in he field of cinema costumes. It was also to emphasize the forceful affect of cinema costumes on fashion and to disclose the powerful influence of cinema costume designers. The method of the study includes reviews of literature, movies for which she created costumes, her own possessions, and fashion magazines as well as her works that were nominated and chosen for the Academy Awards. Edith head's emphasis in costume design was based on a blend of both simplicity and sophistication avoiding excessive exaggeration and transformation in her work. Her work was also realistic and contemporary. She developed a dramatic ambience through an innovative design while preserving the actor's individual character and uniqueness. Through this accept her her work was highly renowned as an art form as it was gaining popularity. She was also a dominant figure who influenced trends in the areas of fashion magazines, uniforms, and public clothing. In the review of her cinema costumes, it was revealed that the styles of cinema costumes can be as quickly adapted by the public as movies are viewed because the cinema costumes are highly projected through a visual channel. Subsequently, a follow up study on the affect of cinema costumes on fashion would be beneficial.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1025-1033
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• 2016

It is important to compare and analyze digital camouflage from different countries to promote the continuous development of a camouflage combat uniform. This effort should lead to developing a camouflage pattern suitable for the domestic environment and expand its performance of night camouflage. This study investigates digital camouflage by comparing camouflage fabrics sampled from Korea and eight other countries (USA, UK, Singapore, Croatia, Colombia, and Mongolia) in terms of textile, near-infrared reflectivity of colors, and color distribution. First, the fabric construction of camouflage from Korea, UK, US, Singapore, Span, and Croatia were all characterized by derivative plain weaves, while derivative twill weaves were generally used in Croatia and Mongolia. It is assumed that derivative plain weaves are adopted to improve the tearing strength of fine yarns. However, twill weaves enhance the flexibility of coarse yarn fabrics. Next, reflectivity change was analyzed based on camouflage color. The reflectivity of a combat uniform in Korea, Colombia, Croatia, and UK increased before 780nm in the visible light range, but remained consistent from 800nm which falls under the near-infrared range. In contrast, camouflage samples in Mongolia, Span, Singapore and USA showed a gradual increase of reflectivity in the near-infrared range. Finally, the color distribution analysis of digital camouflage found that camouflage of countries with desert or woodland combat settings dominantly contained brown colors. It indicates the color pattern consideration of different geographic regions is important to determine camouflage performance. This research involves basic study that will have implications for developing patterns and colors suitable for the South Korean environment and expand its use as night camouflage that helps achieve continuous improved camouflage performance.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.115-125
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• 2020

Rider jackets were once reserved for military uniforms but have become an important styling item in recent fashion trends. The design characteristics of the rider jacket are rooted in symbolism, and the image associated with a rider jacket is in line with the challenging of authority and being a member of the rebellious youth subculture. Usually, young people with anti-social tendencies wore jackets, and some styles were used as a medium to express their emotional homogeneity, and they received favorable responses as the items represented them. The design characteristics of a rider jacket can be largely divided into resistance against the older generation, violence, challenging cultural norms, sexuality, and resistance, as well as embodying violent characteristics, including strength, courage. and male chauvinism. The reason for the development of these challenging characteristics are disparagement and anger of the lower class, who were excluded from mainstream society. Rider jackets can be viewed negatively due to the kind of message it is conveying against mainstream society. Among the sexual features were leather pants, short-length leather rider jackets, glossy metal accessories, and belt buckles, which also highlighted gay and decadent images that came to be associated with the jackets. The drapery created various kinds of wrinkles according to the way of dressing, and it had beautiful expressiveness while serving to express the body more beautifully. Drapery can be classified according to the aesthetic characteristics or expression techniques, and if the type of drapery is classified according to the morphological characteristics, it can be classified into variable and fixed structures, depending on whether the part to which the drapery is applied is fluid or not. In other words, it depends on the dressing method or the intention, and if the drapery technique is directly applied to the garment or is attached to the form. This fashion design proposal may have the greatest significance in that it sought to propose a new style incorporating a drapery technique with a strong feminine image to a rider jacket, which traditionally was associated with a masculine image.