• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.346-359
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• 2011

The purpose of this study was to examine students' reasons and standards for purchasing their casual upper garments through online shoppin. A questionnaire composed of 26 items in five-point Likert type (14 items for measuring reasons, and 12 items for measuring standards for their purchase) was administered. The subjects were 422 male and female students attending middle schools, high schools and colleges located in the metropolitan region of Daegu. For a statistical analysis, a $3{\times}2$ two way ANOVA design (3 levels of schools: middle school, high school and college and 2 sexes: male and female) was involved, and Turkey's HFD multiple comparisons were made. The results showed that the reasons for students' purchasing casual upper garments through online shopping malls were as follows: quality, availability of discount coupons and points, other benefits such as special promotions, gifts, the easy return of goods and refunds, and also no trial of wearing shirts even at off-line stores. Significant differences in purchasing reasons through online shopping were found among middle schoo, high school and college students. There were also significant differences between male and female students mostly found in three variations of purchasing reasons: ease of availability of garments in contemporary fashion, convenient shopping without any restriction on time, and the decision to purchase with help from consumers' recommendations. Significant differences among middle school, high school and college students were found in the following standards for the students' decision to purchase their casual upper garments through online shopping: affordability, color, design, style, payment safety, and ease of maintenance (cleaning and ironing). Differences between male and female students were found to be significant in the following categories: affordability, fashionable, brand name, free delivery, product quality, coordination with other clothes, and consumers' recommendations on the products concerned.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.339-348
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• 2000

The purpose of this research was to offer basic data for study of men's suits by investigating the buying conditions of men's suits. For data collection, a questionnaire was composed of a purchasing price, a purchasing place, the source of the information, the reason of the suit buying, a standard for choice, recognition of the ready-made suit's size and a number of suits they buy etc. The subjects of this research were male who aged 20∼59 and resided in Seoul and the capital region. The results of the research were summarized as the following : 1. Most of the men purchased a ready-made suit rather than a custom suit and a easy-order suit because of the convenience for buying. But the elder was tend to purchase a custom suit than the younger. And the reason of custom suit or easy-order suit buying was size for fitness. 2. It was usually done in a department store and an agency as a purchasing place. The men who resided in Seoul used a department store more than ones who resided in the capital region. Most of the men used bargain sale. The source of the information of suits came principally himself and a wife. Most of the men purchased the suits with their wives of themselves. The elder depended upon their wives for buying suit than the younger. The standards for buying the ready-made suit were color, style and price. The number of suit they buy in a year was 0.9 suits for S/F, 0.7 suits for winter, 0.4 suits for summer and 0.2 suits for combination. The main purchasing price was 150,000∼250,000 won. 3. Most of the consummer was to be satisfied a sense of wearing, color, design etc, but they ware not to be satisfied price, A/S, size etc for ready-made suits. And they usually didn't know the size of ready-made suits.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.1-12
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• 2008

This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• Textile Coloration and Finishing
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• v.3 no.2
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• pp.16-24
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• 1991

The textile fabric have the functions of sanitation, decoration, wearing style and washing in the practical use. Among various texitle fiber, silk has less utilities than synthetic fiber in practical use although silk has good benefits of the high quality. Thus no textile fiber, neither natural nor synthetic, has all the functions. In this sence, many blend yarns have been improved various functions of fabric. However, this has been disturbed with the problem of dyeing, especially in the case of blend fabric of silk. In this study, we dyed silk/PET blend fabric in one step useing one bath dyeing method by acid dyes/disperse dyes. The results of the experiments can be summarized as follows; 1) Yellow index of silk fabric treated at $130^{\circ}C$ increased about 7.8 (color difference 4.5 NBS) and whiteness decrease about 5%. 2) Both elongation and tensile strength of silk fabric treated at $130^{\circ}C$ of pH 5-6 decreased about 10% and tensile strength of silk spun yarn treated at $60^{\circ}C$ of pH 10 have little changed. 3) While silk/PET blend frbric dyeing, silk soiling of disperse dyes causes from difference of dyeing rate and degree of silk soiling with dyes. 4) Fastness and soiling of silk/PET blend fabric dyed by one bath dyeing method of acid dyes/disperse dyes was same as two bath dyeing method.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.15-28
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• 2011

This study will focus on research and analysis covering the period of time since the creation of the People's Republic of China to current day China, with an emphasis on 20-something year-old women living in Shanghai. In conducting this research, historical evidence of fashion was derived from books, photographs, and Internet resources pertaining to the specific periods of interest. Furthermore, each set of data has been organized in approximately decade-long segments that best reflect the transformation of Chinese fashion from 1949 to 2000. As a result of the countrywide emphasis placed on revitalization of the newly created Chinese state during the period of 1949 to 1965, detail to fashion was largely ignored, in preference to the successful upstart of a working economic foundation. This neglect of fashion is evident by the scarcity of new and daring styles during this period. The following the period of 1966 to 1977 ushered in a cultural revolution that was aptly demonstrated in the changing fashion tastes. When compared with the previous period, the blandness of clothing, authorized by the Chinese government clearly reflected the rules and regulations strictly enforced by a government mandate of conformity and obedience. These orthodox changes were so drastic, that women wearing these clothes could hardly be differentiated from men in the same style wear. After Mao Ze Dong's death in 1976 and the end of the sternest period of the Chinese Revolution, a new era of Chinese culture and fashion was made possible by a more lax and tolerant government. During the later palt of the seventies through the eighties, this new governmental policy fostered more openness and self-expression, both of which led to a newfound interest in expressing one's desires and personality through the clothes he or she chose to wear.

• Korean Journal of Human Ecology
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• v.10 no.1
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• pp.101-111
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• 2001

The purpose of this study was to investigate using and evaluative criteria for purchasing of sleepwear in winter. Subjects were 523 males and females aged from twenties to fifties, living in Chongju and Taejon. For data analysis, frequency, descriptive analysis, t-test, and F-test were used. The results are as follows. First, the ownership of sleepwear was sweat suits with zippered top, pajamas, T-shirts/pants, underwear, and nightgown in order. The mean of using sweat suits was used the highest, and subjects used more home wear than sleepwear in winter. Second, the using or sleepwear had a significant difference in cold-sensitiveness and body types. Cold-sensitive group used sweat suit and T-shirts/pants more than cold-insensitive group. Also, groups who are thin wore sweat suit the most while groups who are corpulent, used underwear the most when they slept. Third, subjects, who are married women and use bed, used nightgown, but pajamas were used by groups who are older, married, and professional. Sweat suits and T-shirts/pants were used the most by single aged twenties. Forth, consumers considered the wearing comfort when they purchased sleepwear for winter, and they evaluated washing/management, fabric, design/style, economic, service, brand, and others' response in order, for judging the quality of sleepwear. Also, the evaluative criteria had a significant difference in demographic variables such as sex, occupation, and marital state. These results implied that sleepwear would be needed for winter in terms of behavioral temperature regulation. Especially, cold-sensitive and thin group would wear knitted and two-piece sleepwear for thermal comfort when they sleep in winter. Also, Using and evaluative criteria of sleepwear would be different in demographic characteristics. For winter, sleepwear should be develop based on physiologic as well as demographic variables.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.97-109
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• 1997

Sean means a narrow cloth added to the edge of costume or cushion. At the beginning, Seon was originated to prevent from fraying warp of cloth or wearing out of cloth. However, with the progress of clothing culture, it is used to satisfy the human desire of decoration and enhance the function of costume. The Seon appeared on costumes of Ming dynasty was simple compared to that of the period preceeding it. The position of Seon was mostly at neckline, end of sleeves and hemline. The width of Seon also was quite monotonous and lacks of varieties. The patterns of Seon were limited to ax, cloud and dragon and cloud and chinese phoenix. And the colors used were also limited to four colors, namely Blue, Red Crimson and Black. In Ming dynasty, the same colors of Seon as those of the costume were more preferably used, while different colors of Seon were used in the previous era. The reason why Seon in Ming dynasty show simple design and use the same colors as those of the costume was due to Ming dynasty's desire to represent and to enhance her castic political structure. The need for class distinction was expressed through the pattern rather than the colors of the costumes themselves. While, in Ming dynasty, Bo(補) which was attached to the breast and the shoulders was used to represent the social class because it could be easily distinguished. In Ming dynasty, to stress Bo and to make Seon less conspicuous, Seon became simple and the colors of Seon were same as those of the costumes avoiding strong contrast in style and colors.

• Journal of Sericultural and Entomological Science
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• v.23 no.1
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• pp.56-64
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• 1981

The textile fabric contains the functions of sanitation, decoration, wearing style and washing in the practical use. Among various tetile fiber, silk has less utilities than synthetic fiber in practical use although silk has good benefits of the high quality of silk fabric. Thus no textile fiber, neither natural norsynthetic, has all the functions. In this sense, many compound fabrics have been improved to reveal various functions of fabric However, this has been disturbed with the problem of dyeing, expecially in the case of compound fabric of silk. The work is carried out to improve the dyeing method of compound fabric of polyester and silk. The results obtained are as follows: 1. In the dyeing of compound fabric(P/S fabric), azo dyes was more suitable than anthraquinone dyes. 2. According to the carrier, dyeing spot was appeared by the high concentration in bath. 3. Degree of dye fixation was decreased in dyeing of methylnaptharine carrier(D.N) and anion disperser(T.S). 4. The affinity of dye was suitable in the dyeing bath of azo dye, trichlorobenzene carrier and nonion disperser. 5. Dye fixation of silk side in compound fabric by acid dye showed higher in acid bath of dyeing. 6. In printing of silk and polyester compound fabric, it must be understood relationship among fibers, dyes, and steaming conditions.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.