• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.1
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• pp.90-100
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• 2013

This study uses a survey questionnaire to identify the major customer age class of adult women who frequently mountain climb as well as analyze their purchasing behavior and preference of mountain climbing pants. The field survey, classified the types of mountain climbing pants, selected the types of mountain climbing pants that consumers preferred, and then analyzed the degrees of satisfaction for mountain climbing pants based on an evaluation of wearing. Specifically, the patterns of mountain climbing pants preferred by national brands and licensed brands were compared and analyzed. The validities of commercially available mountain climbing pants were analyzed through an evaluation of wearing comfort and an evaluation of wearing on a 3D simulation of the human body. The basic data for the development of mountain climbing pants are presented based on the results. The survey questionnaire results indicate that the major class of women consumers of mountain climbing goods was in the 40s to 50s; in addition, the types they most wore were straight type and functional cut type. The preferred brand was KOLONSPORT (which occupies a 21.2% market share), followed by THE NORTH FACE (13.0%), K2 (11.5%) and Kolping (10.0%). The main reason (26.8% of responses) that they preferred these brands was functionality. The difference in measurement of climbing pants patterns could be analyzed accurately in the pattern analysis, the wearing evaluation by the self-sonsory test and evaluation of wearing comfort through 3D simulation. The results of ANOVA on motions and items indicates that no significant difference was found among motions; however, a significant difference was recognized among items. A comparison of straight type and functional cut type showed that the functional cut type excelled slightly in wearing comfort.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.741-755
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• 2012

This study mathematically and scientifically investigated the aesthetic consciousness of women inherent in the costume craftworks craftworks of the Chosun Dynasty through a systematical analysis of their textile pattern composition using visual language theory. The tangent value from the horizontal and vertical ratio of the costume craftworks craftworks indicated that they had an indigenous proportion system with a relatively regular form and pattern but without an exaggerated type. There was a module based on structures in the textile patterns of the costume craftworks craftworks and the patterns were constructed by the module with the syntagms of the ratio structure. Moreover, the analysis of the pattern designs indicated that the whole form of the costume craftworks craftworks was built through a repetitive structure of feature and one of pattern units; in addition, the craftworks had the extended composition and blank space of daring patterns, an important factor to make a whole design. Therefore, our study suggested that the costume craftworks craftworks of the Chosun Dynasty was characterized by the presentation of the aesthetic style with a Geumgang ratio (an indigenous proportion system used in Korea) and could be interpreted as an art style based on the beauty of space. Moreover, it is suggested that the spirit inherent in the costume craftworks of the Chosun Dynasty (which tried to understand the whole as one and equate the whole and parts) might agree with a holistic tendency as the foundation of Korea art.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.4
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• pp.687-697
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• 2017

To figure out an appropriate pressure level for a body warming base layer, human responses were observed when the pattern reduction of base layers varied. Under the condition of $2^{\circ}C$, 60% RH, 0.1m/s, ten male subjects participated in the experiment with four sizes of experimental vests where heating pads were attached. The subjective evaluations of the heating vests with different sizes were reported using 7 or 9 point scales. We simultaneously observed chest, abdomen and scapula skin temperatures and microclimate humidity. It was found that the tight pattern as in the case of A or B provided a warmer subjective sensation and skin temperature than C or D; however, there were no differences in skin temperature at the chest. Eventually, the chest temperature decreased after about 30 mins of heating; however, temperature of abdomen increased and indicated that heating with two commercial pads used was inadequate for whole body warming. The pressure sensation of 'tight' was improved after warming the abdomen in a cold environment. Overall, the gaps beyond the original circumference of the abdomen, as in C or D, were not desirable for the local heating of abdomen under the conditions of this experiment where walking was included in the protocol. The experiment garment B with nude waist circumference was the best, and D with the largest ease, was the worst for a comfortable warming vest.

• The Research Journal of the Costume Culture
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• v.14 no.3 s.62
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• pp.404-417
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• 2006

The purpose of this thesis, therefore, is to examine the shaping methods and the knitting drafts of sleeve cap in the knitwears which are currently used by the manufacturers; to study the curve forms of sleeves in knitwears by analyzing synthetically the results of investigating the problems of knit wear sleeves; to present the most suitable sleeve cap for the knitwears. As the studying methods, I collected the basic data from the working-level persons of knit wear manufacturers, examined the knitting draft in the knitwears, and from that, made three kinds of comparative experimental garments and one kind of research experimental one as 10G and 16G. In doing so, I showed the sleeve cap suitable for the knitwears with plain stitch after operating sensual evaluation with Liker's 5-point rating measure. The analysis of data was handled with statistics by using SPSS Ver. 12.0; the method of statistics was executed by Frequency Analysis, Trust Analysis, one-way ANOVA, and Duncan test according to each topic of the research. As the result of the sensual evaluation of the experimental garments produced from the study, the research experimental garment looks better than the comparative experimental one in both 10G and l6G; has less extra folds around the front part of sleeve cap; looks more natural in sleeve caps of the body part and of a sleeve. From this, I am able to figure out that the research experimental garment looks better than the comparative experimental one produced by knit wear manufacturers. In addition, I can come to know that the different knitting of the front line and the back one of armhole in the knitwears has a favorable impact on improving the appearance of a sleeve.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.21-29
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• 2020

This study defines the pipeline for digital fashion contents production using CLO 3D, a 3D fashion design software that supports virtual clothing visualization as a cutting-edge simulation technology for fashion, and vuforia, a mobile platform augmented reality (AR) development kit for creating AR applications. The proposed production pipeline is organized in a method to produce a virtual clothing model through CLO 3D software through works of patterns, sewing lines, textures, etc., and AR contents based on computer vision techniques using the functions and properties of vuforia development kits in the Unity engine development environment. In addition, we present application method that can be practically utilized from the perspective of practical users, such as fashion designers and directors, by creating a new type of AR digital fashion contents directly as a flow of the defined production pipeline.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.80-88
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• 2006

This study attempted to undertake comparative analysis of woman's jacket pattern and details based on the Crinoline and Bustle style of the 19th century, comprehend the relation and differences between the two styles. And it also presented the resultant characteristics and attempted reproducing the original dress of the past for the development of modern woman's jacket design. Larger portion was occupied for the breast front width than the back width for both Crinoline and Bustle style, which indicated the remarkable difference between these styles and modern jackets in terms of pattern size. Circumferences also showed that both styles had larger size for the front region than for the back. Divided by two types of pattern shape. The Crinoline style has a waist line and flare. On the other hand, the Bustle style does not have a waist line and has pleats. These two styles shows distinct differences of patterns even if they seem similar. It was essential to undertake the designing of models by giving a consideration to the characteristics of patterns of the two styles. With respect to how to sketch the study models which will be applied for the reproduction to modern body sizes were as follows: the front bust circumference; B/4 +1+1 cm, the back bust circumference; B/4 +1-1 cm, front waist circumference; W/4 +1+1 cm, back waist circumference; W/4 +1-1 cm, the height of sleeve crown; AH/3, armhole line; B/4, the back width /2; 17.5 cm, the breast front width /2; 16.5cm. And for the rest parts, sizes reflecting the characteristics of the patterns of two styles have been applied.

• Fashion & Textile Research Journal
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• v.11 no.1
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• pp.130-139
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• 2009

This study was conducted to reproduce the Leg of Mutton Sleeve pattern of the ladies' costume of the 1890's for Korean women of the twenties who have the standard body type and the average size. Nineteen Leg of Mutton Sleeve patterns of the ladies' costume of the 1890's were collected and drawn to actual size. Nineteen Leg of Mutton Sleeve patterns of the ladies' costume of the 1890's were classified into three groups(S1~S3) by the pattern pieces and the bend of the lower part of the elbow line. The S1 was one-piece sleeve pattern and the lower part of the elbow line of S1 was not bent. The gathers volume of sleeve cap of S1 was smaller than S2 and S3. The S2 was one-piece sleeve pattern and the lower part of the elbow line of S2 was bent. The S2 pattern had typical characteristics of the Leg of Mutton Sleeve that the gathers volume of sleeve cap was large and the lower part of elbow line was tight. The S3 was two-piece sleeve pattern and the lower part of the elbow line of S3 was bent. The gathers volume of sleeve cap of S3 was similar with S2. The study patterns of three groups of the Leg of Mutton Sleeve which had the characteristics and the silhouette of the Leg of Mutton Sleeve pattern of the ladies' costume of the 1890's were designed like for Korean women of the twenties who have the standard body type and the average size through modifications based on the evaluation of dressing on two occasions. The study pattern of three groups of the Leg of Mutton Sleeve were evaluated to have the silhouette of the Leg of Mutton Sleeve of the 1890's and to fit Korean women of the twenties who have the standard body type and the average size with the sensory test.

• Fashion & Textile Research Journal
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• v.12 no.3
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• pp.354-363
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• 2010

The purpose of this study was to provide some preliminary results on application of 3D scan data of head shapes to the hat design and pattern-making. This paper defined necessary measurement items and concepts in 3-dimensional images of head shapes. And also it presented the methodology to pattern-making of 6-piece crown hat based on 3D data. It used the data of Size Korea to pick up and choose a head shape model with the average head size of Korean women in their twenties. Main results were: 1. The 3D scan data of head shape was better than the 1 dimensional measurement data. Because I could establish a hat pattern-making theory by the 3D scan data of head. 2. The 3D scan data provided the basis for conceptualization of basic measurement points and items for a better fit of hats as well as the definition of the basic hat circumference. 3. This presented a methodology for analyzing out head shape by 3D scan data, and allowed the derivation of the basic hat circumference from the maximum head circumference. 4. As the 6-piece Crown cloche hat made by this method fitted the head shape model perfectly, this methodology could suggest potential applicability to various hat design.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.254-266
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• 2005

The purpose of this study were to develop snow-board upper wear with improved functionality. The study consisted of figure out appropriate ease amount of snow-board upper wear and make products by applying it to pattern design. The results of this study were as follows : First, The results of examined the difference between naked body measurements of and basic wear. According to motion, chest circumference(4.7cm, 5.1%), back width(8.9cm, 20.7%), and waist back length(8.0cm, 18.3%) increased. Around the elbow the length increased by 4.4cm(21.9%) when it was bent 90 degrees, while it increased by 6.0cm(29.8%) when it was bent to the full(145 degree). Second, 3 snow-board upper wear were selected and evaluated their appearance, comforts, and functionality, and that of the biggest margin proved to be the best. Eases necessary for motion proved to be insufficient especially in neck, arm and wrist parts of upper clothing. Third, on the basis of the analysis of snow-board upper wear on market, 2 pieces of experimental snowboard upper wear were designed, produced, and evaluated the patterns of with different ease, and snowboard upper wear B for experiment was proved to be better, Fourth, Snowboard upper wear was produced and evaluated for experiment 2 by giving additional ease to specific parts. Therefore experiment 2 was presented pattern, ease, and size of snowboard upper wear for with snowboard upper wear with improved functionality.