• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.694-703
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• 2013

A variable dress design can be an alternative to satisfy a consumer need for diverse expression and self-realization at a lower cost factor. In the area of wedding dress, the change in the trend of wedding culture (which tends to demand more units of wedding dress) makes the cost factor more important in the purchase selection. A variable design has a clear advantage for wedding dresses and the wedding industry. This is the first research on a variable design that focuses on wedding dresses. This research develops a variable wedding design which respects consumer preferences independent of a variable wedding dress design that presents a new shape of silhouette or the development ofa new wedding dress materials. A survey on the supply side was conducted to examine market preferences by first browsing the Naver portal site and then checking the websites of major wedding dress suppliers. A questionnaire survey was conducted with a sample of 348 brides-to-be that inquired on wedding dress selection factors and purchase patterns. The survey shows that consumers prefer mermaid and A-line silhouettes, silk material, white-ivory color, and tube top necklines. The result conforms to the types commonly found in the designs of suppliers. We apply a detachable design to a basic mermaid silhouette and implemented change for 7 kinds of styles -based on the result of the survey. We suggest a variable wedding dress design as a new means to solve the cost concern and the customer need for diverse expression. The research represents a new life style for wedding culture and facilitates the development of the wedding industry.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.135-152
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• 2022

Recent weddings have been performed in more unique and characterful styles going beyond the existing same old method of past weddings, and they are changed into small weddings with simplified style without unnecessary procedures by choosing a wedding venue different from others. It is necessary to develop a new wedding dress design suitable for such changing wedding culture, and especially, dresses are required to have some practical designs, so that they can be worn not only for the wedding ceremony or party but also for everyday life. Therefore, the purpose of this study is to develop a new normal wedding dress for small weddings that reflect design according to the emerging small wedding culture. To this end, a theoretical review of small weddings was conducted, and based on this, a new normal wedding dress design was developed for small weddings. Based on practicality and economic feasibility, the New Normal Wedding Dress exhibited 'variable by wearing method' that changes according to the wearer's purpose and 'variable by attaching and detaching method' that changes according to the detachment of details. The small wedding dress developed through this study is expected to become a new standard for wedding dresses that is suitable for the changing wedding culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.7
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• pp.921-928
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• 1999

The purpose of this study were 1) to find out impression dimensions of the dress wearer with various motifs 2) to evaluate the impression effects of motifs in Korean traditional dress for women. The research method was a quasi-experimental with the between subjects design. The experimental materials developed for the study were a set of stimuli and response scale. The stimuli were consisted of 12 drawings with full factorial design of 3 independent variables : motif sorts (2:flower animal) motif types(2: realistic stylized) motif arrangements(3: all over the traditional to modern) The stimuli consisted of color photographs and color of clothing and motifs was controlled the blue. The response scales were consisted of 30 bi-polar adjectives. The subjects were 333 undergraduate college students of Taejon. The data was analyzed by factor analysis MANOVA and Duncan's multiple range test. Results were as follows: 1. The wearer's impression were consisted of the 3 different dimensions : attractiveness · dignity dimension. Interaction effect among motif sorts motif types and motif arrangements was significant on the same dimension. Interaction effect between motif sorts and motif arrangements was significant on the visibility dimension. 3. The motif arrangements were a significant variable on the attractiveness·dignity and the evaluation dimension. The traditional arrangement and the modern arrangement showed more faborable impression and the all over arrangement showed less favorable impression on the attractiveness·dignity dimension. The all over arrangement showed positive impression on the evaluation dimension and the traditional arrangement and the modern arrangement showed negative impression on the same dimension. There were no significant difference between flower sort and animal sort and also no significant difference between realistic type and stylized type in their impression effects.

• Korean Journal of Human Ecology
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• v.16 no.2
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• pp.407-419
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• 2007

The purpose of this study was to identify the effect of four clothing cues dot pattern size and ground field of color area ratio on dress's wearer image. The experimental materials developed for this study are a set of stimuli and response scales(The 7-point semantic). The stimuli were 30 color pictures manipulated with the combination of dot pattern size, dot pattern on background of color area ratio and neutral dress's using computer simulation. The subjects were 180 female undergraduates living students in Gyeong-nam. The result of this study are as follows: Image factor of the stimulus was composed of 5 different components (visibility, gracefulness, attractiveness, cuteness, womanly). Especially, Neutral color combination independently influenced the every components. In regarding the effect of interaction between each variable, the combination of dot pattern on background of color area ratio, dot pattern size on the combination had cuteness, womanly.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.1
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• pp.99-109
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• 2008

The purpose of this study was to survey sizing system and preferable ease and to decide the body measuring items for pattern making in a men's dress shirt for mass customization industry that is rising to the surface as a new production system. For this, it had a survey subjects were 254 males between 25 to 44 years old who wear dress shirt frequently and the relevant on line companies, and analyzed the garment sizing system and preferable ease. Collected data were analysed by frequency analysis, t-test, $X^2-test$, and ANOVA using SPSS 12.0 for window. Garment pattern making should reflect the sizes of the body parts well, and simplification of the ordering process would work as an important variable. In relation to the preferable ease, older people preferred more ease while younger people preferred fit ease. In relation to the sizes, people wearing the size of '110' preferred more ease than the size of '90'. And people weighing over 90kg preferred sufficient ease than less weighing. People height over 170cm people preferred sufficient ease for the length between shoulders than height under 170cm. In case of the companies had no consistent sizing system. Significant difference was found in the sizes, except for the size of '100', among those companies, there was significant difference in the length between shoulders and the length of the shirt among those companies and those sizes. Significant body parts for a garment pattern making was height, the circumference of the neck, the chest circumference, the length between biacromion, the arms length, and the waist circumference.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.315-326
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• 2017

The purpose of this study is to investigate the design methods and characteristics of papercraft fashion from 2001 to 2015. The study has been conducted through theoretical research and case study. Overall, types of papercraft expressions are classified into the following four categories: narrative papercraft fashion, organic papercraft fashion, variable papercraft fashion, and recycling papercraft fashion. The characteristics and aspects of each type of papercraft is described below. First, narrative papercraft fashion expresses as factual description of the natural environment. These works convey fantastic image by showing fairy tale animals or plants using paper folding or cutting. Second, organic papercraft fashion creates a futuristic shape by expressing organic parts in nature. Also, it often depicts future-oriented images by repeatedly representing organic shapes using uniform patterns in nature. Third, variable papercraft fashion expresses a variety of changing shapes through a flexible design based on the style of wearing. This variation may be accomplished through changeable dress connected to human gestures. Variable papercraft represents play-fulness, which conveys enjoyment to the wearer and the audience. Fourth, recycling papercraft fashion uses paper materials of the past, and recreates them into artworks through handicraft techniques. Recycling papercraft conveys high value added fashion by dissolving the material into pulp.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.62-73
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• 2010

The purpose of this thesis is to make an effective Korean Hip Hop culture and suggest a new style direction in classifying the types of fashion styles of the Hip Hop musicians and studying their features. They are surveyed in stage costumes, hair styles, make-ups, accessaries, and total fashion styles, and then classified into Normal Hip Hop Style, Casual Hip Hop Style, Sporty Hip Hop Style, Mix & Match Hip Hop Style, and Classical Hip Hop Style. The results of the study are as follows: First, Normal Hip Hop Style is the most general and universal Hip Hop fashion type. They wear clothes in bigger sizes and exaggeratively. And also a cornrow hair style, a tattoo, and a piercing represent marked individualities. Second, Casual Hip Hop Style is more active and practical than Normal Hip Hop Style. Their blue jeans and T-shirts express more simple and polished style. And also they make variable fashion styles and hair styles such as a cornrow hair and a buzz cut. Third, Sporty Hip Hop Style is from B-boy's clothes when they do active and violent break dancing. As NBA basketball games are popular, they wear training clothes, breeches, big T-shirts, and jumpers & caps on embroidered sport team's names. Their hair style is short or natural and also they have caps or hoods to present active mood. Fourth, Mix & Match Hip Hop Style is existed variable elements in one style. The typical type of this style is jacket & blue jean. It is characterized by dress shirts, neck ties, blue jeans, sneakers, beards, and moustaches. Fifth, Classical Hip Hop Style is from African Americans. They try to express assimilated appearance of Anglo-Saxons. They wear black suits, shoes, hats, and sunglasses to represent formality and elegance. In the above results, there are variable fashion styles in one Hip Hop music genre and also fashion style is changed with musical inclination. This thesis is an important guide to produce variable and creative Hip Hop fashion styles in Korean Hip Hop culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.3
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• pp.341-352
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• 1998

The purpose of this study was to investigate the effect of clothing cues (color, color scheme, structure) on impression formation by perceiver personality variable. The subjects were consisted of 77 male and 86 female undergraduate and graduate students. The experimental inventories for this study were a set of stimuli, a response scale, standardized MBTI. The stimuli were eighteen photographs and one extra photograph of a female wearing Korean dress, Chima and Jokori-varied in hue (cool, warm), color scheme (related schemes, con- trasting schemes) of the same silhouette. Results indicate that the most affecting perceiver's personality variables on impression effects were judging-perceiving traits and extraversion -introversion traits. The interaction effects were most frequently appeared between color scheme (clothing cues) and perceiver's personality traits. The impression factors which were most affected by perceiver's personality traits variables were preference· evaluation factor and individuality· attention factor.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.