• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1535-1545
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• 2005

The study aimed firstly, to develop the women's bodysuit sleeve block construction method adopting the appropriate pattern reduction rates according to the fabric stretch property. Secondly, the details applied to the bodysuit sleeve block drafting (Dr the educational and industrial usage were proposed. For these, several distinguishing bodysuit sleeve pattern making methods(i.e. Joseph-Armstrong: T1, Shoben & Ward: T2, Esmod: T3 and Mixed Joseph-Armstrong: T4) were analyzed and divided into two categories that adopt 1) the equally (i.e., T1) and 2) the differently(i.e., T2, T3 & T4) distributed front and back armhole length measurements. Women's sleeve samples were made for the research using the same stretch fabric($50\%\;and\; 70\%$ in wale and course each) to the previous research. A group comprising 5 relevant experts evaluated the fit and comfort features of the samples. Experiments analyzed the appearance of sleeve samples focused on total 13 evaluation parts(including the front/side/back fit tolerance, sleeve centre line, sleeve length, appropriateness of the sleeve appearance balanced with the bodysuit and etc.): and performed the comfort test evaluating three kinds(vertical-front/vertical-side/ horizontal) of arm movements. The most appropriate bodysuit sleeve to fulfil the original aims of the study was suggested. The findings and suggestions throughout the study were: 1) the measurements and required reduction rates for the bodysuit sleeve block developed: outer sleeve length (with 1.0 RR), crown height(with 0.7 RR), front and back armhole lengths measured on the bodysuit blocks ($0\%$ ease amount), elbow width(0.9/0.95 RR), wrist girth measurements(from $12\%\;to\;18\%$ tolerances can be given to): and 2) the differently distributed front and back armhole length measurements resulted in the better fit and comfort through the research.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1700-1709
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• 2007

The purpose of this study was to examine the relationships between thermo-physiological factors and the insensible loss of body weight(IL) of resting women wearing seasonal comfortable clothing. Air temperature was maintained at a mean of 22.5, 24.7, and 16.8 for spring/fall, summer and winter, respectively. We selected a total of 26 clothing ensembles(8 ensembles for spring/fall, 7 ensembles for summer, and 11 ensembles for winter). The results showed that 1) IL was $19{\pm}5g{\cdot}m^{-2}{\cdot}hr$ for spring/fall environment, $21{\pm}5g{\cdot}m^{-2}{\cdot}hr$ for summer, $18{\pm}6{\cdot}m^{-2}{\cdot}hr$ for winter(p<.001). 2) Insensible water loss through respiratory passage(IWR) showed the reverse tendency to IL. IWR was $6{\pm}1g{\cdot}m^{-2}{\cdot}hr$ for winter and $5{\pm}1g{\cdot}m^{-2}{\cdot}hr$ for summer. This difference was significant(p<.001). 3) The proportion of IWR out of whole insensible water loss(IW), had a mean of the mean 28% for summer and 38% for winter(p<.001). 4) In comfort, the heat loss by IW out of heat production had a mean of 25% for spring/fall, 27% for summer, and 23% for winter. 5) There was a weak negative correlation between It and clothing insulation/body surface area covered by clothing. 6) There were significant correlations between IL and air temperature$(T_a)$, air humidity$(H_a)$, energy metabolism, ventilation, mean skin temperature $\={T}_{sk})$ and clothing microclimate humidity$(H_{clo})$. However, the coefficients were less than 0.5. In conclusion, there were weak relationships between the IL and thermo-physiological factors. However, when subjects rested in thermal comfort, the IL was maintained in a narrow range even though the clothing insulation and air temperature were diverse.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1784-1792
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• 2007

This study set out to identify the problems with hat labels and to search for improvement measures by examining and analyzing consumers' practice of managing their hats. It also intended to provide accurate and enough information about how to keep and wash hats and thus help consumers use their hats for a long period. In an attempt to investigate how consumers wash and manage their hats, a survey was carried out to 395 individuals in their twenties and over who owned hats living in urban areas including Seoul, and were quota sampled according to age and gender. The survey period is March to April 2007. The collected data were statistically treated with the SPSS 12.0 program in terms of frequency, percentage, mean, standard error, cross tabulation, t-test, and one-way ANOVA. The findings were as followed. First, the respondents were in the average level of perceiving and practicing the washing methods of their hats. The female respondents who had more experiences with laundering than the males knew and practiced the washing methods for hats better than males. Second, compared to other clothing items, hat wearers were more likely to pay careful attention to their hats by putting their hats in a laundry net and applying a laundry detergent for wool fabrics when using a washing machine or washing their hats with their own hands. And third, most of the hat wearers were aware of the importance of hat labels and showed a lower level of trust in them than other clothing items. The suppliers need to offer accurate and practical labels in order to regain the consumers' trust. Many consumers had some difficulties figuring out the size system of hats. In particular, the male consumers had a low level of perception of labels, which implies that there should be specific efforts to educate them about general labels.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.1
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• pp.74-82
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• 2002

The present study is aimed to investigate the effect of the safety hat on the balance of body temperature by observation of the physiological response under hot working environment. The experiment was carried out in a climate chamber of 3$0^{\circ}C$, 50%RH for 70 minutes. To compare the two kinds of safety hat, 5 healthy male subjects worn safety hat without hole (called 'without hole') or safety hat with hole (called 'with hole') according to a randomized cross-over design. The main results of this study are as fellows: Rectal temperature and heart rate were significantly lower level in 'with hole'than in 'without hole'. The mean skin temperature was significantly higher in 'without hole'than in 'with hole'. Blood pressure were significantly low in 'with hole'. Sweat rate which was measured by weight loss before and after experiment was higher in 'without hole'. In subjective ratings, subjects replied more hot, more uncomfortable and more wet, they felt more fatigue in condition of 'without hole'. Work ability which was measured by a grip strength dynamometer was higher in 'with hole'. Safety hat which can be used for safety of the brain in work place is meaningful device of behavioral thermoregulatory response under the hot working environment. The safety hat which is designed for proper ventilation and hygiene can maintain the homeostasis of body temperature by releasing body temperature efficiently.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1690-1696
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• 2006

The purpose of this study is to provide the basic data useful in designing apparel patterns for aged abdominal obese women. The body measurements of 318 women were taken at random, whose ages were over 60 and fields of action were colleges, sports centers, or business sites in Seoul and the neighboring districts. A total of 33 features in the upper body and lower body were used fer the anthropometric measurement and analysis using anthropometry. The collected measurement data were processed statistically using the SPSS 12.0 program for technical statistical analysis, t-test, frequency analysis, correlation analysis. The results of the study are as follows. 1. Subjects were classified into two groups as a result of analysis for measurement data. It was revealed that 251(about 79 percent) women of total subjects(n=318) have a characteristic of abdominal obese body type and elderly women of these group usually had big abdomen rather than hip. The criteria of abdominal obesity based on waist-hip ratio, WHR(=0.85). 2. Aged abdominal obese women have shown much larger size in most body measurements except items of some vertical length, such as bust ponit-bust point, font interscye, back interscye with circumference and depth of armscye, bust, waist, abdomen and hip while showing no difference in height, biacrominal breadth, hip width, neck shoulder point to breast point, crotch length. 3. Vervaeck index(=100.1) and Rohrer index(=1.7) indicated that the abdominal obese women were fat in overall body. And aspect ratio of waist(=0.86), abdomen(=0.92) and hip(=0.75) also appeared high that the shape of cross sections in those regions was similar to a figure of circle 4. In view of the correlation coefficient between hip circumference and the rest measurement items, and between hip circumference inclusively of the abdomen protrusion and the rest measurement items, there were found some differences for each group. In case of Group (abdominal obese group), the former is smaller than the other. 5. In case of Abdominal obese women, hip circumference inclusively of the abdomen protrusion is more mutually related to the rest items related to make apparel pattern as waist circumference, depth of armscye and so on than what hip circumference is. This result indicated which must be considered hip circumference inclusively of the abdomen protrusion to make apparel patterns for abdominal obese women unlike women of common body types.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.2
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• pp.67-74
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• 1985

According to the records that all the people in our country were taught the way of braiding the hair and hatting in the first year of 'Tangun' (the founding father of the Korean nation) and that the discipline between sovereign and subject, man and woman, and the standard of food, drink and dwelling were originated from that year, it seems that all the people in our country had lived with keeping a certain standard of food, clothing and shelter, and with maintaining the order in life from ancient times. So, our country have been called 'the Eastern Land of Courtesy' and also regarded as 'the country of the true gentle-man' which was characterized as the custom of a humane, and as the country that had the immortality since a benevolent person lived to a great age. Thus, all the people in our country have lived with keeping and maintaining a certain standard of all aspects in life, and the philosophy in life that we have today was established by the influences of our characteristic thought, Confucianism, Buddhism, Taoism and Christianity, especially the life style in the Chosun Dynasty Period have strong influence on our today life. Thus, the contents concerned with the standard of custume life among those of all life in the Chosun Dynasty Period was studied, and clothes itself is unable to give expression to its ends but when the relationship that is, the inter-harmony among clothes, the body which will be dressed in, and the inherent psyche in that body is formed, then the ends, the complete beauty will be expressed. Though there were many studies dealt with clothes itself, no one was concerned with the all kinds of standard in activities that the dresser should keep, so the purpose of this article is that as above. The literature search is used as the research method. The eight books, 'Noneo' (the Analects of Confucius), 'Yeogi' (the Book of Courtesy), 'Sohak' (the book of Precepts for child-ren), 'Yeosaseo'(the Women's Four Books), 'Sasojeol'(Korean Scholars' Minor Principles) 'Eonhaenaehoon' (Private Moral Instructions for Women), 'Woo-am seonsaeng kyenyeoseo' (Master Woo-am's Cautions for Girls) and 'Kyoobangkasa' (the Lyric Lines of the Boudoir) that had influenced the whole field of life in the Chosun Dynasty Period are analyzed, selected and finally arranged for studyilng the foundation of culture of the clothing and for helping to that culture in modern and future life. The results are as follows: 1. The standard of the clothing life in the Chosun Dynasty Period had deeply rooted in the teaching of confucianism, but also had been influenced by the custom which rooted in our people. 2. There is the emphasis upon the trinity among mind, clothes and activities in the clothing life. 3. The clothing and hat have to be dressed symmetrically in full of all required elements, 4. There is the harmony between the clothing with hat and environments or surroundings. 5. The true elegance in the clothing life will be realized not by the exterior outfit but by the interior outfit with the attitude of chastiny. In conclusion, as the material of clothing life in the Chosun Dynasty Period has the characteristics of the simplicity, the cleanliness, the elegance and the refinement, our clothing life is to be mastered with the simplicity, the cleanliness and the elegance in that life and with the harmony between the inside and the outside.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.486-493
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• 2008

Safflower red colorants extracted by two solvents including the traditional ash solution and $K_{2}CO_{3}$ solution was used for dyeing cotton, ramie, viscose rayon, silk, wool, and nylon fabrics. The effects of extraction solvents on the reflectance, K/S value, and color properties of the dyed fabrics were investigated. Wash/dry cleaning and light colorfastness were evaluated. Reflectance curves of cotton, ramie, viscose rayon, and silk fabrics dyed with red colorants extracted by $K_{2}CO_{3}$ solution were similar, showing the maximum absorption at 520nm, to that of the dyed fabrics with red colorants extracted by ash solution. The reflectance curves of wool and nylon fabrics were different, showing the maximum absorption at 400nm. K/S values of dyed fabrics with red colorants extracted by $K_{2}CO_{3}$ solution were higher than that by ash solution with the exception of nylon. $L^{*},\;a^{*},\;b^{*}$, and $C^{*}$ of the dyed fabrics with red colorants extracted by $K_{2}CO_{3}$ solution were higher than that by ash solution except for $L^{*}$ of nylon and $b^{*}$ of viscose rayon. Color difference(${{\Delta}E}^*$) of the dyed fabrics between ash solution and $K_{2}CO_{3}$ solution increased in the order named as cotton, silk, ramie, viscose rayon, wool, and nylon. Regardless of extraction solvents, safflower red colorants produced RP color on cotton, ramie, and nylon, R color on viscose rayon and silk, and YR color on wool. Wash/dry cleaning fastness of the dyed fabrics was high above 3/4 rating but light fastness was very poor. It is considered that the use of $K_{2}CO_{3}$ solution instead of the traditional ash solution would be more effective in terms of color reproducibility and extraction process.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.4
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• pp.622-637
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• 1993

The Purposes of this study were to investigate the significant correlation among the length changes of body surface total lines and between the length changes of body surface total lines and those of component body surface segment lines, and to reveal anticipated relation among body surface length changes by the lower limb movement including all movement direction of hip joint, knee joint & ankle joint for the more functional clothing making & designing. 10 Crosswise & 5 lengthwise body surface total lines and 48 crosswise & 39 lengthwise body surface segment lines of 26 female college students aged from 18 to 24 years were measured directly on the body surface and analyzed by ANOYA & Multiple Comparison Test(Tukey), and the length changes of them were calculated as the difference of the mean length at Fl movement from the mean length at each movement and were analyzed by PEARSON CORRELATION. The results were as following : 1. Correlation among the length changes of body surface total lines (1) Correlation among the length changes of body surface total lines significantly changed by the movement ; 1) The more GA5 expanded, the more GA6 & GA7 each expanded, and the more GA18 expanded, the more GA1 & GA3 each expanded. 2) The more GA15 expanded, the less GA14 each contracted. 3) The more GA7 expanded, the larger GA17 contracted. 4) The more GA1 & GA18 expanded, the larger GA16 contracted, and the larger GM contracted, the less GA16 contracted. (2) Only GA7 and GA17(at F4) showed high (over r=0.7) correlation coefficient, But others' correlation coefficients were r=0.4~0.7. (3) Correlation coefficients among & between girth items and length items 1) Correlation coefficients among girth items were shown + ; between GA3 and GA4, GA5, GA8, between GA5 and GA6, GA7, GA9 each, between GA1 and GA6 and between GA4 and GA7. 2) Correlation coefficients among length items were shown + or - ; shown + between GA14 and GA15 and between GA17 and GA16 ; but Shown - Between GAlS and GA16. 3) Correlation coefficients between girth items and length items were mainly shown - : shown-between GA1 and GA16, GA17, between, GA4 and GA16, between GA6, GA7 each and GA17, between GA8 and GA18 ; but shown + between GA1, GA3 each and GA18 and between GA8 and GA14 were shown +. 2. Correlation between the length changes of body surface total lines and those of component body surface segment lines. (1) All correlation coefficients were + except A147 of GA14. (2) Correlation coefficient over r=0.7 was shown ; between GA3 and CB3, A35 each, between GA5 and A054, between GA6 and A63, between GA7 and A72, A74 each, between GA8 and A83, A84 each, between GA15 and A153, between GA16 and Al64, Al65 each, between GA18 and A189 : but was not shown between GA4, GA17 and it's component body surface segment lines each. (3) Characteristics of correlation between the length changes of body surface total lines and those of body surface segment lines ; 1) If significant correlation of body surface total lines were expansion parts, it's component body surface segment lines was also expansion segment and the otherwise were the same. But exception was shown between expansion line GA3 and A031 (at F4), between GA18 and AlS9 (at F6) and between GA14 and A147, so to speak GA3 & lines and GA14 was contraction total line oppositely A147 was expansion. 2) The more GA3, GAlS expanded, the less A031, A189 contracted. 3) The more GA14 contracted, the more A147 expanded. 4) All correlation except the above 2), 3), the more total lines (GA1, GA3, GA5, GA15, GA16, GA18) expanded, the more segment lines (A15, CB1, A31, A34, CB3, A52, A54, A153, A169, A181) expanded, or the larger total lines (GA14, GA16, GA17) contracted, the larger segment lines (A141, A142, A161, A164, A165, A172) contracted.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.