Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men’s dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men’s dress was deliberately designed to demarcate stylistic distinctions in women’s dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon’s Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men’s dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men’s dress during the Joseon Dynasty.

복장은 한 사람의 성격을 반영하고 개인의 심미적 수준 및 내재적 수양을 직관적으로 체현한다. 한 민족에게 이는 민족의 문화와 풍속 더 나아가 한 민족의 사상과 심미를 체현한다. 이는 일종 특수한 언어이고 매 역사 시기의 경제적 발전, 생활 환경, 종교적 신앙을 체현하기도 한다. 우리나라의 각 민족의 복장 특징에는 각 민족의 문화 형태가 들어있다. 중국 복장은 5,000년의 발전 역사를 지니고 있고 그 중 만족 복장 중의 치파오는 중국 복장 발전 역사 중 독특한 매력을 지니고 있을 뿐더러 그 속에 숨겨진 의미도 있다. 치파오의 정신에는 민족의 지혜가 숨겨져 있다. 민족의 신앙은 치파오가 수수께끼가 가득한 매력을 지니게 하였다. 어떠한 사회 혹은 민족이든 시시각각 변화하고 있는데 이는 문화 자체 혹은 기타 문화와 서로 접촉하여 생긴 문화적 융합과 변화이다. 치파오는 샤먼 복장 문화의 영향을 받아 한족 문화를 경험하고 또 치파오의 시대까지 오게 되었다. 복장 제도의 제한이든 민족 문화의 영향이든 치파오의 색채와 도안은 사람들이 아름다운 생활 형태에 대한 동경을 표현하였다. 치파오는 중국 전통적인 복장 문화의 중요한 조성 부분으로서 치파오 중의 요소는 역사적 문명을 계승하였을 뿐만 아니라 자신의 민족 특색 또한 보류하였고 참고, 전통, 재창조를 통하여 더욱 잘 융합시켰다. 치파오의 발전과 변화는 민족 복장 사이의 상호 반응에 유력한 작용을 하였다. 치파오의 요소는 이미 세계 복장 문화 속에서 풍부한 시대와 문화적 특징을 체현하였고 현대 복장 디자이너들에게 수많은 영감과 창작 원천을 제공하였다. 이후 치파오는 중국에서만 입는 것이 아니라 세계 적으로도 사랑을 받게 되었으며 현대에 수많은 예복의 양식 또 한 중국 치파오의 스타일 및 꽃무늬 도안을 참고한 것이다. 이러한 전통적인 복장은 현대 디자이너의 눈에는 기타 용도가 있을 것이고 그들의 창작 중 전통적인 ‘중국식 요소’는 새로운 빛을 발하게 될 것이다 — 이는 중국 전통적인 민족 복장이 세상에 가져다 준 서프라이즈와 마찬가지이다.

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

This study aimed to categorize women’s body shapes by type after extracting prototypes of 25~34 year old Korean woman. The standardizing research service project conducted by the Ministry of Commerce, Industry and Energy in 2005, divided the age ranges of adult women into three groups: 18~24 years (young), 25~34 years (young-adult) and 35~49 years (adult). This study utilized this age division method to create a concrete body type categorization schema with the most marriageable period, 25 to 34 years old as target age the target age group. We used, measurement data from the 7th Korean Human Body Size Survey (Size Korea) for the body shape analysis. We completed a statistical analysis using the statistical program SPSS 21. After creating the body types using CLO 3D, which is based on the 7th Korean human body measurements, we input data for the average size for each type into the Avata. We then compared and analyzed the cross sections using the Rapidform XOR program. The results of the type-specific characteristics are as follows: big square body of obese body, small square body of plain flat body with tall, plain square body of plain flat with short, triangular body of lower body obesity there was. Significantly, the results of this study should facilitate the development of various apparel products using mass customization or easy-order systems.

Through this study the influencing factors for the development of a national dress for Tanzanian people was explored. The need and desire for this development received support from several groups including the Tanzanian Government, local tailors, NGO’s (Non-Government Organisations) and Tanzanian societies. This stage of the study focused on the effectiveness of traditional Tanzanian textiles’ motifs and natural symbols in the design process employing imported recycled second-hand clothes (mitumba). Qualitative data was obtained through interviews and focus group discussions. The study explored what Tanzanians need to strengthen their national identity and the use of recycled mitumba within a national dress. The study used a co-design style workshop for the development of the national dress as a different approach to addressing the issues identified in Tanzania regarding National dress. The participants added valuable contributions providing ideas for cultural conservation through building a national identity, ideas for strengthening the concept of recycling mitumba and suggestions for the incorporation of kanga and kitenge as inspirations for the design of a national dress in order to promote national identity. The study examined the presence of mitumba from abroad, several styles of indigenous traditional dress worn by different ethnic groups in Tanzania and reasons for strengthening Tanzania’s national identity. This paper reports on the main primary research activities and finding used for the experimental textile and dress designs, and includes the plan for the next stage of the project.

In the Korean fashion industry, 3D printing systems are considered as new technology and a new opportunity. With 3D printers, consumers can be manufacturers and individuals can develop businesses with little upfront capital. In this study, a dress form for the typical Korean women’s body shape was developed using 3D technology (3D scanning, 3D modeling, and 3D printing). Ten women with apparel sizes 85-91-160 were selected from 3D body-scan data collected by SizeKorea of 201 women aged 25 to 34 (2010). First, 15 horizontal cross-sections were collected from the 3D scan data of the 10 subjects. Then, inside lines of those cross-sections were drawn at 15-degree intervals, and the lengths were measured. The average of the inside lines was connected to the internal spline curve, and the curves were used as the average cross-sections. The average torso body and the dress form of Korean women were developed into a 3D solid model using a 3D CAD program (Solidworks 2012). An output mockup was printed by the FDM type’s 3D printing system (Bonbot 1200, Bonbot 3-H4) using PLA material. The dimensions comparing the 3D solid modeling to the 3D printed mockup of the dress form were measured, and minor differences were between 0.00cm and 0.40cm. In the future, 3D printing systems are expected to be in use for various personalized dress forms.

This paper is a qualitative study which explores perceptions of the ideal wedding dress held by Singaporean brides who choose to skip wedding fairs in their wedding preparaton process. Ten interviews are conducted: 8 with Singaporean brides who do not attend wedding fairs, and 2 with brides who do attend them. Questions to the interview are formulated by first attempting to understand the bride’s perception of the ideal wedding ceremony, and subsequently that of the ideal wedding dress. For the purpose of this paper, the narratives of two brides who do attend wedding shows are included as an attempt to make the study more complete. For example, brides who attend the wedding show might attend with the sole purpose of acquiring information of what is available for consumption in the wedding market, but still hold the same perceptions as the non-attendees. From the results, perceptions of the ideal wedding dress in relation to wedding shows are catagorised as follow: (A) The perception that a wedding dress offered by the wedding show is a bad investment; (B) The perception that the wedding dress available for sale at the wedding show is not “unique”; (C) The rejection of the wedding dress altogether; (D) The rejection of the idea of a “wedding dress package”; (E) Attributes that have nothing to do with perceptions of the ideal wedding dress, such avoiding wedding shows because brides do not like “hard-selling”, or perceiving the wedding show as a “marketing gimmick”. Wedding show organisers can consider these perceptions when planning future communication and sales efforts to appeal to a larger pool of prospective brides.

Wedding dresses have developed along with a modern wedding culture. The 21st century wedding ceremonies of Korea and China have evolved from traditional complex procedures ; however, the demand for wedding garments for modern people is still important Consumer’s demand for wedding dresses has become more individualized and diversified according to a diversified wedding culture; consequently, an economic and practical variable wedding dress that can change dress styles has received positive responses. This study compared and analyzed the preferred designs of Korean and Chinese women when selecting wedding dresses, awareness of variable wedding dresses, and design preference type to develop variable wedding dresses of a high satisfaction level that satisfy Korean and Chinese consumers, and suggests a design for a variable wedding dress that corresponds to various procedures instead of a wedding dress that can be worn only once. To investigate the status of a Korean an Chinese variable wedding dress, this study conducted a questionnaire on women in their 20-30's (the optimal age to marry) from January 10 to November 23 in 2014. Women who reside in Seoul Metropolitan City and the capital region were selected for Korea, and women from Zhengzhou (a central city of industrial zone) were selected for China. That total of 525 questionnaires (249 copies of Korea and 276 copies of China) were used in this study. We subsequently conducted frequency analysis, t-test, and cross analysis using SPSS program to suggested a variable wedding dress based on the findings. The results of analysis are as follows. 1. Korean women preferred 'luxurious' image, 'mermaid' silhouette, 'white' color, 'silk' material, and 'off-shoulder' neckline design the most; however, Chinese women preferred 'elegant' image, 'mermaid' silhouette, 'white' color, 'lace' material, and 'off-shoulder' neckline design where only image and material of dress differed. 2. The Chinese showed a greater interest in wedding dresses than Korea. Wedding dress purchase type and customized rental was higher for Korea versus higher custom purchase intent in China. The internet was the highest method to obtain wedding dress information in Korea versus the use of both the internet and specialty stores in China. The contents that did not show differences between the two nations were the wanting to wear 2 wedding dresses and selecting a dress that 'best suits herself.' 3. Korean and Chinese women were unaware of variable designs. Few Chinese women experienced variable design products, but some Korean women had experience using fashion goods. For variable design advantages, Korean women pointed to practicality versus Chinese women pointed to diversity. For the preferred variable type of dress, Korean women preferred a 'detachable' style and Chinese women preferred 'replacement.' 4. This study suggested a variable wedding dress design with elements that Korean and Chinese women 20-35 years of age preferred by identifying the design concept and characteristics of design elements by adding the wedding dress trends of 2015. Each design for women of the two countries influenced several dresses by changing into several dresses according to type of variable dress designs as silhouette changes, variable by technology subsidiary materials, and variable by ways of wearing. This study provides a variable wedding dress design that increase practicality and economic feasibility according to the procedure of changed Korean and Chinese wedding culture instead of a disposable dress worn only during wedding ceremonies.

This study suggests designs of maternity clothes wearable after childbirth and aims at confirming that maternity wear is continuously wearable during a post-natal period. As for research methods, theoretical and empirical studies with research on a production of work were conducted, focusing on the design development of the maternity dress which may be worn even after childbirth. The results of theoretical and empirical studies possibly presented various designs which require fashionability going with the trend of time. The maternity wear also requires the adaptability for a changing body shape to enable a woman to wear it during a pregnancy period and after childbirth. Besides, the convenience of dressing and undressing with wearing comfort is considered. 6 sets of one-piece dress were made as the result of the study and three factors of fashionability, adaptability and convenience were considered. The conclusions are as follows : Firstly, it verified that the maternity wear is fashionable clothes not to cover protruded abdomen but to satisfy women's desire of self expression. Secondly, it overcame the limit of dress design through fitting it to completely different two body sizes and shapes with design factors and patterns. Lastly, it suggested a research model of maternity wear corresponding to economical, environmental and ethical principles as giving an effect of “two” dresses with one. This study presented a new direction of design study with meaningful actions of fashion designing in the aspects of economical, environmental and ethical consumption unlike artificial disposal on SPA brands.

Following the postwar trend toward wearing kimono, Japanese kimono shops and department stores became reluctant to carry the newer prêt-à-porter kimono because of their low margins. As a result, the diffusion of kimono was obstructed. Therefore, kimono manufacturers should open their own retail shops as soon as possible.

The purpose of this study was to examine interactive effect of wedding makeup, head dress, and perceiver's culture on bride's image perception. Image analysis was carried out by 10 photos which was designed for brides in their twenties with different makeup and head dress. Subjects were female university students in Seoul, Korea and 100 black female university students in Delaware, U.S. The result of study was as follows. Image perception by bride's makeup and head dress was classified as five dimensions: 'distinctive', 'tidy', 'elegant', 'soft', and 'beautiful'. There was a significant difference in image perception from culture and head dress. The result of interactive effect due to culture and makeup showed that Korean students perceived pink makeup as close to more elegant image, and American students felt orange makeup. We can know through above contents that there was significant difference in image perception by makeup and head dress between Korean and American students. Also, American students in general evaluated the photos (stimulus) presented positively compared to Korean students. This can be interpreted as a meaning that the degree to perceive each photos of American students was lower than Korean students.

우리나라에서는 이미 35년 전부터 트레이드 드레스의 보호가 실제 사안에서 문제되기 시작했으나, 그 세부적인 법리에 관하여는 논의가 보다 구체화될 필요성이 있다. 현재의 대법원 판례는 상품의 용기나 포장이 상품의 출처표지로서 기능하기 위해서는 대단히 엄격한 요건을 충족할 것을 요구하고 있다. 그러나 이는 디자인적 요소가 가미된 도형상표의 침해 여부가 문제되는 사안에서의 대법원 판례와 상충되는 측면이 있고, 트레이드 드레스의 현대적 기능 및 의의와 실제 거래 현실에 제대로 부합하지 못하는 문제점이 있어 보완되어야 할 것이다. 기능성 원리와 관련하여서는, 어떠한 상품의 형상이 일정 기능을 수행하는 데에 물리적으로 필요한 것이라고 하더라도, 그 형상이 특정상품이나 영업의 출처표지로서 기능하기에 적정한 수준의 표현으로 구현되었다면 이에 대한 보호를 인정하여야 할 것이다. 또한 ‘실용적기능성’이라는 개념이외에 ‘심미적 기능성’이라는 개념을 별도로 인정하는 것은 오히려 논의의 혼란을 초래할 우려가 있어 바람직하지 않다.

3D스캔-인체 및 의복 모델링-시뮬레이션-패턴 제작 및 검증의 전체 3D 의복제작 프로세스를 원활히 활용할 수 있도록 하기 위하여 3D 그래픽과 CAD 시스템 그리고 3D-2D 직접 패턴 전개 시스템을 이용해야 하는 데 이 때 장애가 되는 것은 3D 시뮬레이션한 가상의복으로부터 정확한 패턴을 추출하는 것이 어렵고, 전반적 과정의 호환이 쉽지 않다는 것이다. 이에 본 연구에서는 인체에 정확히 밀착된 부분과 드레이프가 있는 비대칭형 드레스를 대상으로 전체 프로세스를 원활하게 구동할 수 있는 방법을 모색하였다. 연구 방법으로는 3D 스캔 데이터를 이용하여 Maya로 범용성 3D 인체 모델을 만들고 이 3D 바디 모델에 맞는 3D 드레스를 디자인하고 모델링한 후, Rapidform, 2C-AN 프로그램과 YukaCAD를 이용하여 정확한 2D 패턴을 제작하는 과정의 호환성을 해결하며 진행하였다. 이 과정에서 도출한 패턴을 실제 의상으로 제작하여 착의 시킨 후 3D 의복 모델과의 여유분 분포를 3차원 측정 기술로 검증하였고 실물 드레스의 드레이프의 모양과 시뮬레이트된 드레스의 모양을 검토하였다. 그 결과 제시한 방법을 활용하면 전반적으로 만족스럽게 정량적인 3D 의복 제작 프로세스를 운영할 수 있음을 확인하였다.

In such special or precious occasions as a wedding ceremony, brides, handicapped or not, wish to wear a beautiful wedding dress. However, an ordinary wedding dress is not suitable nor convenient to a bride who has a bodily impediment. A one-piece type wedding dress, which even a normal bride needs assistants to help her wear, will create more inconvenience to crippled females. In this connection, this study is purposed to convert a normal ready-made wedding dress design into one suitable to the bodily handicapped females. For handicapped people on a wheelchair who generally put on and off a wedding dress while sitting on the chair, a one-piece type wedding dress is divided into the top and the skirt to make it a two-piece type wedding dress which is easy to get into and take off. The top should be separated from the skirt in such a manner that the wearer may not be aware of the division of the two pieces but easily put on and off since the sides or back of the top is opened. An opening is also given to the sides of the skirt so that handicapped people may sit on the skirt on the chair and then close the opening by themselves. Converting ready-made wedding dress design into functional clothes for handicapped people is really significant in that ready-made clothes can be recycled, their production cost reduced, and the economic burden of handicapped people relieved.

This research aims at developing the dress form for the aged women based on their body shapes using the three-dimensional body scan data with the body shape categorization(according to the previous research). To accomplish this goal, the sample group of representative body shape of the 50% of median was selected by using the high frequency proportion range of each type of body shape of the aged women, and the sample group of representative body shape of each type was averaged in a three-dimensional way by using the morphing method of a three-dimension reverse-engineered software. RP in the form of torso was produced based on the shape data of the final model and the data was formed into an actual object, by which an aged women’s dress form model was drawn out. The differences of the girth of the bust, hip and waist between the developed dress form model and the existing dress form model were examined. The result showed that the developed dress form had a bigger size of waist girth than that of bust and hip girth, compared to the existing dress form, which shows that it reflects the aged women’s tendency of abdomen obesity, so it’s expected to be more proper for the human bodies of the targeted age group than the existing dress form. These research results may help design the clothing suitable for the body shape of the aged women so that their demand for the clothing of good fit will be satisfied in the future.