• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.35-46
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• 2007

The purpose of this study was to modify a Flared Skirt for women according to the somatotype of lower body. The subjects for the wear test were 3 students, who were in mean${\pm}1{\sigma}$ each somatotype. As seen in the study, it was found out that there was a difference in three dimensional shape of the lower part of the body even in the group of whom the body heights, measured by Martin's system, are alike. Due to such a difference in the three dimensional shape of the lower part of the body, it was found out to be a difference in drapability of the flare skirts. In order to have better fitness of the lower part of the body and to raise the visual effect, therefore, it is suggested that there need to develop a new model of the flare skirts considering three dimensional shape of the lower part of the body for the wearer or to take complementary measures for each body shape in case of applying traditional model.

• Proceedings of the SOHE Conference
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• 2003.10a
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• pp.77-77
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• 2003

본 연구의 목적은 후프(hoop)의 기원 및 변천과정을 고찰해보고 시대별로 후프의 유형을 분류한 후, 포스트모더니즘 이후 더욱 다양해진 후프가 현대패션에서 어떻게 응용되고 있는지를 살펴봄으로써 후프의 역사적ㆍ미적 가치를 재인식하여 오늘날 복식디자인에 창조의 영감을 줄 수 있는 하나의 모티브를 제시하는데 있다. 후프가 발생하였던 르네상스시대에는 신 중심에서 인간중심으로 사고가 변화하면서, 복식에 있어서도 인간의 신체미를 과시하려는 의도로 인체의 실루엣을 과장ㆍ확대하고자 하였다. 따라서 속옷의 중요성과 역할에 따른 심미적인 기능이 복식에 절대적으로 필요하였고, 뿐만 아니라 기교적인 면에서 속옷에 요구되는 장식성은 어느 시대보다 절실하였다. 그 결과 겉옷이 확대되고, 이에 따라 속옷도 인체를 크게 보일 수 있는 후프가 고안되었다. 후프는 스커트를 부풀리기 위해 철사나 고래뼈 등을 세공하여 만든 테를 넣은 속치마를 말한다. 16세기 중엽 스페인에서 유행한 종형의 파딩게일(farthingale)을 시초로, 영국과 프랑스에서는 드럼형의 휠 파딩게일(wheel farthingale)과 오쓰뀌(hausse col)가 유행하였다. 17세기 초기에는 후프를 착용한 16세기 복식이 유행하였으나, 1625년 이후 슬림한 스타일의 17세기 복식이 유행하자 후프의 착용은 점차 쇠퇴하였다. 18세기에는 파니에(panier)가 유행하여 옆을 부풀린 스커트의 실루엣을 형성하였고, 19세기에는 크리놀린(crinoline), 벗슬(bustle)이 유행하였다.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.85-85
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• 2003

기성복은 근래에 들어 유행의 흐름이 빨라짐에 따라 디자인이 더욱 다양화, 전문화되어 가는 양상을 보여 소비자들의 개인적 취향을 만족시켜 주고 있다. 그러나 의복의 맞음새는 개인의 기호에 따라 차이가 있으며, 성별, 연령, 체형, 선호하는 패션 경향 등의 영향을 받기 때문에 소비자들의 맞음새 만족도를 높이는 것은 현실적 제한을 받고 있다. 본 연구는 성인 여성을 대상으로 기성복 정장(재킷, 스커트, 바지)의 맞음새 선호 성향을 조사하여 연령대ㆍ비만도별 각각의 선호 경향의 차이를 밝히는데 목적이 있다. (중략)

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.65-67
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• 2003

사람들은 자신이 선호하는 스타일의 의복을 착용하기를 원한다. 하지만 다수의 사람들이 자신의 체형 부위별로 본인이 생각하기에 만족하지 못하는 경우가 많아 실제로는 선호하는 스타일이 아닌 자신의 체형을 커버하는 디자인의 의복을 착용하는 경우가 많다. 따라서 본 연구에서는 정장류 착용 경험이 많고 사회 활동을 많이 하는 성인 여성을 대상으로 신체인지도 및 만족도에 따른 아이템(재킷, 팬츠, 스커트)별 선호스타일과 착용스타일에 어떠한 차이점이 있는가를 살펴보고, 이러한 차이가 나타나는 요인을 분석해 보고자 한다. (중략)

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.103-119
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• 2011

This study set out to analyze the solid shapes of knit flared skirts, which are best represented in a 3-dimensional shape for all knit skirts, according to the seamed and seamless production method and to estimate the silhouettes of knit flared skirts based on the results. It also aimed to help with the introduction and spread of seamless weaving by revising and supplementing potential problems and provide findings that would be put to active use as basic data, thus contributing to the development of original knitwear and offering fundamental materials for the development of the knitting industry. A number of experimental knit flared skirts were made according to skirt angle ($90^{\circ}$ and $180^{\circ}$), gauge (7G, 12G, and 15G), and grain (bias, wale, and radial), including 12 kinds of seamed knit flared skirts and 6 kinds of seamless knit flared skirts. Using a three-dimensional shape measurement system, the investigator measured the cross-sectional shapes of their hemlines. The SPSS 12 Version program was used for statistical processing, and descriptive statistics such as mean and standard deviation were used to compare the seamed and seamless knit flared skirts in the measurements (measurement items) of their solid shapes according to the width, gauges, and grain directions. The central grain direction of seamless knit flared skirts was in a radial form and even hemlines, thus presenting a beautiful appearance and solid shape. The 3-dimensional shapes show that seamless knit flared skirts are superior to seamed ones. The research findings are expected to open a door for Korea's knitting industry to quickly respond to small quantity batch production and additional orders.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.135-144
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• 2008

The reason that we are familiar with fashion from the 1950s is because of the work such as New Look done by a french fashion designer, Christian Dior who had taken on an almost mythical significance by his name. Moreover, in the sense of popularity, the appearance of Marilyn Monroe and Audrey Hepburn, two typical Hollywood actresses who each has directly-opposed image, is the symbol of youthful America of the 1950s and represents the remarkable start of the American fashion. Still, these days designers and mass medias recall the fashion from the 50s remaking and parodying it to suit public's taste. Being due to the World War II, Europe suffered not only the loss of its national tradition and reputation but also got a fatal blow politically and economically. On the other hand, the United States of America occupied a primary position in the world and outstandingly became the most powerful country. The American fashion of the 1950s represents youth and newness and rejects outdated and outmoded style. In this period, appears the indication which announces previously the youth culture. Poodle skirt is the fashion item that acquired popularity among young american women and girls in the late 1950s. In effect, it is the fashion as American as apple pie. A costly A-line skirt had been transformed into a cheap felt skirt. Instead of a real poodle dog which was carried by French women like an accessory, they embroidered a poodle dog on the lower edge of their skirt. As deriding the snobbish gait, they swayed themselves frantically to the rhythm of Rock n' Roll which swept those days. This was an attitude of young Americans against the existing trend of Europe. Poodle skirt showed the free spirit and intention of young people unbound to custom and established vogue. In addition, in the aspect of comprising the American spirit of independent, pioneer, and subjective American people, it goes beyond the bounds of common concept of fad. Poodle skirt is an unique symbol of the 1950s' American fashion which prognosticates the advent of the United States and the success in modern fashion world which was changing after 1950s.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.163-171
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• 2008

This article aims to evaluate the visual effects and images according to the changes in the width of pleats of accordion pleats skirt. I altered the width of the pleats to seven categories in changes of 0.5cm, 0.7cm, l.0cm, 1.3cm, 2.0cm, 2.5cm and 3.0cm. For the visual evaluation, seven stimuli had been placed in mannequins, and had been estimated by experts in fashion design. For the visual evaluation according to changes in the width of pleats of according pleats skirt. I used 11 pairs of items to find their visual effects, and 17 pairs of adjectives to measure the visual images. Those stimuli and adjectives had been randomly given to evaluators and had been evaluated by the seven-point Likert type scale. The data have been analyzed by frequency, factor analysis, ANOVA, Scheffes test and correlation analysis. According to factor analysis of the visual effects of the accordion pleats skirt, the result was classified into three factors: the verticality of the lower body, flexuosity of the lower body, and shape of the abdomen. According to factor analysis of the visual image of the accordion pleats skirt, the result was classified into the following three factors: activity, attraction and neatness. In visual effects, the verticality of the lower body had been assessed as the most important factor of all. The visual effect was positive when the width of pleats had been narrowed. In visual image, activity had been assessed as the most important factor. In the case of accordion pleats skirt, as the width of pleats became wider, it had a stronger image in being active and casual.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.327-340
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• 2015

Male skirt is found in traditional costumes all over the world. Due to the development of tailoring skills in the early Middle ages, men started wearing breeches and pantaloons gradually distinguishing the different characteristics of menswear and womenswear. Since then, skirt became the strong representation of the female gender, symbolizing the feminism. However, under the influences of technological development and diversification in 2000s, gender identity has been diversely expressed in modern fashion allowing male gender to embrace different sexual identities. The purpose of the study is to analyze the nature of male skirts, which have been popularized in modern men's fashion through both the expressional elements and compositional elements. This study associates design elements of male skirt, gradually appearing in the contemporary men's fashion with the sexual symbolism and reinterpreted it's significance in the flow of the modern fashion. Reinterpretation of the gender image in costumes are considered to contribute to the cultural context and extension in diversity. These research results forms a basic foundation to expand in studies of men's fashion design and gender image of costumes through cultural contexts and it's changes. It is considered that this can lay groundwork to make various attempts at passing over the archetype of the gender image besides the continuous appearance of male skirt in the field of fashion design.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.140-149
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• 2013

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.