• Journal of the Korea Fashion and Costume Design Association
• /
• v.23 no.4
• /
• pp.117-132
• /
• 2021

As the golfwear market grows rapidly and expands due to the influx of MZ generation golfers, competition among brands is intensifying, so it is necessary to plan knit golf wear products that are suitable for the consumer needs. The purpose of this study is to contribute to product planning by analyzing the design characteristics of women's knitted golfwear products among golfwear brands. First, the top 10 brands, as selected by Golf Magazine, were used for analysis. The selected brands include PXG, Titleist Apparel, Wide Angle, Pearlygates, Footjoy Golf, Castelbajac, Fantom, Ping, Le Coq Golf, and PGA Tour & LPGA. 692 women's cross-knit knitwear products were investigated based on design elements, such as flat tissue, gauge, color, pattern, image, and items. The characteristics of women's knitted golfwear showed a high utilizations of Jacquard and high gauge Intarsiafor pattern expression and a low variety of deformed stich. The proportion of achromatic colors is large, and many brands use point colors based on black and white. Brand identity is important, and brand letters, Monograms are frequently used, and the proportion of sportive and modern image in the products is high. With the increase of MZ generation golfers, the preferred design direction will change and gradually deepen.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.2
• /
• pp.11-24
• /
• 2005

The purpose of this study was to obtain and offer useful information on innerwear industry through an analysis of consumer purchasing behavior and preference of their between the 20's and 60's. From 310 questionnaires that were distributed, 310 with usable data were coded for further statistical analysis including descriptive statistics(frequency and chi-square test), by using SPSSWIN 10.0. The results were as follows: The results show that since the surveyed women's purchasing patterns were varied according to their ages it is necessary to develop new items and designs tailored for particular needs and wants of each age group. For those in their 20's, it is suggested that the innerwear design may consider reflecting the trend of the young women nowadays as characterized by a major fashion-led group who regard fashion as a way of expressing themselves and are not hesitant to wear clothing designed to be exposed their body. The innerwear products for women in their 30's and 40's should emphasize on the aspects of customizing and satisfying these women's different lifestyles. The study also reveal that for age groups of the 50's and 60's women these products should be developed in a way to intensify functions of thermal property and absorbency coupled with a classic design rather than daring styles. In conjunction with material developments it is necessary to establish a sizing system for the knitted innerwear products which reflect the specific characteristics of women's body type in their middle-and later years.

• The Research Journal of the Costume Culture
• /
• v.19 no.2
• /
• pp.430-448
• /
• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.4 no.3
• /
• pp.75-87
• /
• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

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

• Proceedings of the Korea Fashion and Costume Design Association Conference
• /
• autumn
• /
• pp.147-149
• /
• 2004

• Journal of the Korea Fashion and Costume Design Association
• /
• v.24 no.4
• /
• pp.11-25
• /
• 2022

Convergence, a universal phenomenon in modern society, takes place in various ways throughout society, and the concept of convergence can also be observed in fashion shows. The concept of convergence is actively emerging in terms of fashion show directing. The purpose of this study is to suggest the development of fashion show directing by analyzing the convergence characteristics of fashion show directing through a Louis Vuitton fashion show, and to provide data on convergence in fashion shows. The object of the study is the women's Paris Pret-a-porter and women's cruise collection presented at the Louis Vuitton fashion show. The research method integrated the criteria for analysis and the characteristics of fashion show production through previous studies and a literature review. The characteristics of convergence production in Louis Vuitton fashion shows were identifeid through literature and visual data. In this study, the convergence of the Louis Vuitton fashion shows were divided into four categories: genre integration, sensory synesthesia, perspective diversification, and media scalability. First, the integration of genres enhanced the brand image and effectively conveyed the concept of the show. Second, the synesthesia of the senses expanded communication with the audience and increased the audience's immersion. It has also become a new way to experience fashion shows in person. Third, the diversity of perspectives changed and diversified the way audiences experienced fashion shows. Fourth, the scalability of the media means various ways in which the audience can experience fashion shows. Through this, it is possible to effectively convey information and experiences about fashion shows to the audience.

• Journal of the Korean Society of Costume
• /
• v.64 no.8
• /
• pp.1-19
• /
• 2014

The purpose of this study is to do an in-depth examination of Korean women in their 30's on the characteristics of their online fashion shopping, clothes-wearing, and presentation. In-depth interview and quantitative analysis were conducted as study methods. Results of this in-depth analysis showed that the factor with the most significant influence in their lifestyle was "childbirth." Childbirth was a major factor during fashion shopping and clothes-wearing. Also the results showed that the reason they used online shopping was for convenience, efficiency, rationality, pursuit of information, variety, and hedonism. In particular, women in their 30's had a higher motivation for efficiency and rationality compared to those in their 20's, and of those women, married working women showed the highest preference for fashion soho malls. Meanwhile, full-time homemakers, who pursued rationality, used open markets to search for fashion items based on price. Furthermore, the factors that women in their 30's considered during online shopping were price, design, purpose or situation for wearing the clothing, respectively. Compared to the women in their 20's, they emphasized recommendation, product properties, credibility, economy more than women in their 20's. Factors such as marriage and childbirth were more influential than occupation. Meanwhile, the factors that women in their 30's considered for wearing and presentation were time, place, and occasion(TPO), which all showed high importance in in-depth interview and quantitative analysis. Other factors were 'suitable image to self' and 'covering up body figure.'

• Journal of Fashion Business
• /
• v.27 no.6
• /
• pp.124-146
• /
• 2023

This study analyzes the characteristics of each element of neo-deconstructivist fashion design and examines fashion expression methods and techniques. This study combines theoretical research and case analysis to analyze the aesthetic characteristics of neo-deconstructivist fashion and the expressive characteristics of neo-deconstructivist fashion. Through analysis of previous research, the aesthetic characteristics of neo-deconstructivism were derived as inclusiveness, playfulness, communication, and intertextuality. Inclusivity in fashion refers to including various people, body types, aesthetics, and cultural backgrounds in the scope of design, and does not limit the scope of clothing design based on individual differences such as body type or gender. Playfulness is a neo-deconstructive fashion brand that combines exaggerated makeup, vibrant colors, intriguing designs, and imaginative fashion shows to spread upbeat and playful ideas. Communication in neo-deconstructivist fashion demonstrates communication through the use of creative themes and items that reflect consumers' needs through design and the consumer's fashion presentation method. Through the mutual quotation of aspects like traits, status, T.P.O., and materials that can reveal opposing texts, intertextuality emerged as a tendency to break up binary oppositions or break away from genres. The expressive qualities of neo-deconstructivist fashion design were examined and applied to the creation of innovative fashion design through examination of the case's silhouette, color, and material. Six sets of women's clothing were designed and produced. The results of this study can be used as basic data for the development of neo-deconstructivist fashion design, and are expected to provide a wide range of inspiration for fashion design ideas.

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.211-225
• /
• 1996

In this paper we discuss the corelation be-tween feminism and fashion and examine its influnce on mordern fashion. And we also try to infer what the fashion design will be like in the future by understanding the value of modern fashion from a new viewpoint. The Early Feminism which advocated the similarity between man and women held the thought that women could be equal to men only when they behaved in the same way as men did, In 1970s when the pendulum of the Early Feminism movement reached its highest point a manish look began to flourish. The manish look introduced the items once employed only for men such as trench costs tidy tailored suits shirts and ties to women clothes. It has taken root deeply in women's life and is still employed in various ways by many designers. From the late 1970s the pendulum of feminism movement began to swing toward the Essentialist Feminism which emphasized the differences between men and women. It focused not on the negative image of women seen from male-oriented viewpoints but on their positive image and stressed women's sexual characteristic to make distinction between two genders. in fashion the Essentialist Feminism played a role in bringing about a sexy look which stressed the erotic silhouette of woman's body. The latest feminism is the socio-cultural one. It sees the distinction between men and women as sexual discrimination and introduces the androgynous human which carries the characteristic of two sexes. it leads to ambiguity of sex roles and at the same time serves to make androgynous social atmosphere by admitting the coexistence of two genders. The androgynous idea in fashion is expressed as a new trend which crosses men and women's own beauty while keeping their own identity intact. As we have briefly reviewed feminism in fashion has been presented in various ways with regard to expressing the nature of men and women. And it has continuously indicated the ultimate message of the salvation of mankind such as the respect for humanity and recovery of humanism.