• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.1000-1013
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• 2012

This study analyzes public images, role types, and fashion images of Korean First Ladies in modern times to find a correlation of a standard through an analysis of literature reviews. The conclusion of the study is as follows. First, in terms of official functions in formal situations, First Ladies represent a type of customary presidential protocol and offer appealing neat images through a moderate style and simple mode. In other situations, such as non-formal times, they show duty-based roles in regards to the lady of the house as well as the companion of the president that are represent soft and comfortable images through a feminine style and graceful mode. Second, it reflects their tastes and images in the silhouette and colors of Western style clothing through the personal roles and activities of the First Lady. Third, the Korean First Ladies tend to prefer the feminine image of housewife-based assistant that shows that they prefer clothes with a regular repetition and stabilized pattern such as dots and checkered patterns. Fourth, as compared to a previous period, they create a style for bright images and dainty feelings that use a variety of colors and light fabrics that represent many aspects of political assistance with active support.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.781-788
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• 2010

To work in the fashion industry which has entered the digital age, and in specialization and high-industrialization age, one needs to attain various skills required for the qualifications of a fashion specialist. For these, qualification certificate systems are enacted to nurture specialized technical personnel, and among these, a jacket pattern is selected from the practical examination of Western-style dress skill prepared for nurturing specialist who can design, cut, and sew women's clothing, to be compared and analyzed against the existing printed practical textbooks, technical books of making clothes which used as college textbooks, and local documents of theoretical study documents. The methodology of the research is to select 8 samples for the study, analyze the identity with the design, and then cut applying the identical dimensions and compare the measurements, and make the clothes using each cutting methods, and inspect to find the consistency with the design and made statistical analysis. As a result, we designed and made research patterns, and suggested a jacket pattern design to patterns simply that suits the design fast.

• Journal of Fashion Business
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• v.19 no.5
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• pp.199-212
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• 2015

Environmentally-friendly whole-cut designs can minimize carbon dioxide emissions which are harmful to the earth, and reduce energy, labor force and time in cutting or sewing clothes. The design and way of wearing clothing will be investigated by classifying whole-cut clothing appearing in the history of costume and past traditional outfits such as Drapery, a Pancho, Tunic, or Loincloth. According to the results from the analysis of whole-cut methods applied in design, they were classified as follows: whole-cut, utilizing square-panels as is, pleats, smoking, lip band, origami, cutting way, and subtraction-cutting whole-cut design. The whole-cut design utilizing square panel as it is can minimize the waste of energy and material but can also maximize the possibility of circulation by recycling. In utilizing an all square panel, it broke away from the existing whole-cut in the western pattern, namely, the pattern of clothes clinging to the body, and was found to have new aesthetic value with a new approach. Due to the whole-cut method having a restriction in the use of dart and line cutting in its designing process, there were only designs that did not show the body line, such as designs clinging to the body. Therefore we developed a design similar to those that cling to the body by whole-cut, In addition, the work produced was with high efficiency and variability, which produces simple designs but can be worn in a variety of ways.

• Journal of the Korean Home Economics Association
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• v.20 no.4
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• pp.13-22
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• 1982

While the women of the Korea Dynasty wore hat(笠子) and Mongsu(蒙首) on top of it when going out, the Yi Dynasty, due to more strict Contucian ethics and isolated way of life, had seen the development of the covering clothes, rather veil, for avoiding the opposite sex with diversity and both men and women began wearing PHO(coat), a Korean topcoat over the head and thurs called Changots, but originally PHO for men was named Changyi a men's outer coat. Neuwul(羅兀), like Mongsu(蒙首) of Korea Dynasty was a thin black hood worn on top of the Wowllip or a kind of skirt draped over the head and the latter was called Changots, very similar to Sgaechima, a kind of long hood formally worn by women. Meanwhile, local women wore a long veil with no arm sleeves dubbed Cheunyi(薦衣) But since western civilization and culture landed on Korea around the end of the 19th century, the women's social status has been raised to almost the same level with men and the way of life has changed towards openness, in which men and women have almost daily contact with one another, so these days we can hardly find such veil style covering clothes around us.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Journal of the Korean Society of Costume
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• v.22
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.347-353
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• 2023

Currently, soldiers enlisted in the military (Army) are receiving measurements (automatic, manual) of body parts and trying on sample clothing at boot training centers, and then receiving clothing in the desired size. Due to the low accuracy of the measured size during the measurement process, in the military, which uses a relatively more detailed sizing system than civilian casual clothes, the supplied clothes do not fit properly, so the frequency of changing the clothes is very frequent. In addition, there is a problem in that inventory is managed inefficiently by applying the measurement system based on the old generation body shape data collected more than a decade ago without reflecting the western-changed body type change of the MZ generation. That is, military uniforms of the necessary size are insufficient, and many unnecessary-sized military uniforms are in stock. Therefore, in order to reduce the frequency of clothing replacement and improve the efficiency of stock management, deep learning-based automatic measurement of body size, big data analysis, and machine learning-based "Personalized Combat Uniform Automatic Recommendation System for Enlisted Soldiers" is proposed.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.