• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.892-907
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• 2010

The purpose of this study was to compare torso pattern made by draping and flat pattern method in terms of the size of breast. The size of this study was classified as 75A and 75D according to the size of breast. Each torso pattern by the combination of the size and pattern method was compared and analyzed. In order to test the fit of the draping and flat pattern that was developed according to the size of breast, the outer appearance was evaluated. The results of the study were as follows: First, The most striking size difference was difference between the front and the back on bust line level, which decides on position of the side seam in comparison of size between draping and flat pattern of 75A and 75D. In the flat pattern, the difference between the front and the back in the size of breast was consistent regardless of a change in the size of breast. However, in the draping, the bigger breast led to the bigger difference between the front and the back on bustline level. Second, the flat pattern in 75D was evaluated to be the worst in 27 items among total 46 items for the evaluation of outer appearance in the draping and flat pattern of 75A and 75D. Third, regardless of size, the draping was evaluated to be more suitable in the areas related to neck, arm hole, and waist dart than the flat pattern. These results are suggesting that the draping is a method of reflecting characteristic of the body type more accurately than the flat pattern, and that the draping is a more suitable method than the flat pattern for the design of clothing pattern of the body type with big breast like 75D.

• Journal of Korean Society of Steel Construction
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• v.22 no.1
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• pp.33-42
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• 2010

Patterning with a geodesic line is essential for economical or efficient usage of membrane materialsin fabric tension membrane structural engineering and analysis. The numerical algorithm to determine the geodesic line for membrane structures is generally classified into two. The first algorithm finds a non-linear shape using a fictitious geodesic element with an initial pre-stress, and the other algorithm is the geodesic line cutting or searching algorithm for arbitrarily curved 3D surface shapes. These two algorithms are still being used only for the three-node plane stress membrane element, and not for the four-node element. The lack of a numerical algorithm for geodesic lines with four-node membrane elements is the main reason for the infrequent use of the four-node membrane element in membrane structural engineering and design. In this paper, a modified numerical algorithm is proposed for the generation of a geodesic line that can be applied to three- or four-node elements at the same time. The explicit non-linear static Dynamic Relaxation Method (DRM) was applied to the non-linear geodesic shape-finding analysis by introducing the fictitiously tensioned 'strings' along the desired seams with the three- or four-node membrane element. The proposed algorithm was used for the numerical example for the non-linear geodesic shape-finding and patterning analysis to demonstrate the accuracy and efficiency, and thus, the potential, of the algorithm. The proposed geodesic shape-finding algorithm may improve the applicability of the four-node membrane element for membrane structural engineering and design analysis simultaneously in terms of the shape-finding analysis, the stress analysis, and the patterning analysis.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.562-577
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• 2003

The object of my research is to inquiry into the immediate constituent and techniques of underwear after looking into basic theory of underwear, techniques by materials classified according to the matter of elasticity, and studying flat pattern and draping which are basis of corset and brassiere structure focusing on corsetry among underwears and production techniques. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. To make the flat pattern of corset and brassiere fit to the body tightly, design dart two times without any space and draw smaller than the body. To support the breast sufficiently, move the side seam 1¼″ to the front panel and the seam should pass the apex in all occasions. For draping, dart should be added into short of elasticity materials in the past but dart is no use these days since the material today is extremely elastic. It is possible now to show the body line with only the seam or a pattern. In a case of elastic material, set the elastic direction to the grain line and have a draping as pulling from the center to the out side. As production technic, for an hem, put a zigzag stitch in elastic materials with a 10-20% short elastic band, pulling the band. Then make 3/16″-1/4″ short inseam.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1582-1594
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• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.157-164
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• 2023

The purpose of this study is to compare and analyze bust point information presented in literature and the 8th Korean Anthropometric Survey (Size Korea 2021) as a basis for pattern making for Korean adult women. Therefore, the the bust point position was analyzed through the length from the side neckline to the bust point and the horizontal length from the bust point to the chest. The results are as follows. First, Size Korea's population shows an increase in bust circumference and Side Neck Point to Bust Point with age, with the largest Bust-Point Breadth in the 30s, followed by the 20s, 40s, 60s, and 50s. Second, the Bust-Point Breadth in the female Basic Bodice pattern of Kang Soon-hee, and Oh Sun-hee, which were created from the bust circumference measurements of Size Korea's population, was wider than the measurements, and the difference was verified as a highly significant. Third, in the female Basic Bodice pattern of Kang Soon-hee, and Oh Sun-hee created with the bust circumference dimensions of Size Korea's population, the length of Neck Point to Bust Point was shorter than the measured value, and the difference was highly significant. Fourth, the Bust-Point Breadth and Neck Point to Bust Point in the female Basic Bodice pattern of Kang Soon-hee, and Oh Sun-hee, which were created with the bust circumference of the population of Size Korea by age, were analyzed in different age groups and showed significant differences from the measurements of Size Korea.