• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.4
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• pp.539-549
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• 1993

The purpose of this study was to find out the moving fitness and slit length of tight skirt in relation to its length & silhouette. Five kinds of length, micro mini, mini, natural line, medi and maxi, and two kinds of siihuette, slim & straight-a total of ten tight skirts-were investigated. Ten college students were chosen for this experiment. The moving fitness was tested by measuring the step length, step width and step angle in the case of walking on the flat and going up the stairway & bus stair. The slit length was tested by measuring the back slit length needed in the case of going up stairway & bus stair. Data were analyzed with use of SAS pakage. The statistics were based on average, standard diviation, two-way ANOVA, Pearson's correlation and multiple regression analysis. The main results were as follows. 1. There was significant difference in the moving fitness according to length & silhouette of tight skirt. The moving fitness of slim type was lower than that of straight type and the longer the skirt length was, the lower the moving fitness was. The significance appeared particularly in the case of going up the bus stair. 2. There was significant difference in the skirt length obove slit accorting to length & silhouette of tight skirt. The skirt length obove slit of slim type was shorter than that of straight type. The longer skirt length was, the longer it was from micro mini to natural line, that of medi skirt was shorter or a little longer than that of natural line skirt and there was little change from medi skirt to maxi skirt.

• Journal of the Korean Society of Costume
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• v.28
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.812-825
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• 2020

This study compared and analyzed the interaction visual effect of skirt silhouettes and skirt length by body mass index. This study provides basic data for women in their 20s and 30s to choose suitable skirts for their image. Twelve skirts were made, consisting of two categories of body mass index, three types of skirt silhouette and two levels of skirt length. Men and women in their 20s and 30s evaluated the visual effects of the experimental skirts using a questionnaire. The interaction effect of the visual effect following the skirt's length and silhouette by body mass index were analyzed by three-way ANOVA. Overall, a shorter the body and lower body length resulted in better vertical effects in normal weight. In terms of horizontal effects, such as lower body thickness and full-body shape, the 40 cm skirt, 50 cm tight, and A-line skirt were generally shown as better images. Skirt length helped supplement body type rather than silhouette in the overweight section. When the length was 40 cm, three skirts showed a more positive image. This study provide results for women in their 20s and 30s to choose skirts that are suitable for their image.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2005.06a
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• pp.177-180
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• 2005

Three dimensional shaded images are standard visualization method for CAD models on the computer screen. Therefore, much of the effort in the visualization of CAD models has been focused on how conveniently and realistically CAD models can be displayed on the screen. However, shaded 3D CAD data images captured from the screen may not be suitable for some application areas. Technical document, either in the paper or electronic form, can more clearly describe the shape and annotate parts of the model by using projected 2D line drawing format viewed from a user defined view direction. This paper describes an efficient method for generating such a 2D line drawing data in the vector format. The algorithm is composed of silhouette line detection, hidden line removal and cleaning processes.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.499-511
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• 2009

As the demand of the consumer for high-sense clothing, relation with materials is becoming important even in clothing construction. Especially, the cutting angle of materials is becoming an crucial element in the formation of silhouette, and drape of Hem line, of skirts. Accordingly, in this study, Hem line shapes between real clothing and 3D virtual clothing of "i-Designer" were analyzed by manufacturing semi-flare skirts of polyester 100% according to a cutting angle, and the results are as follows. As a result of comparison of silhouette between the real clothing and the virtual clothing, the real and the virtual have a similar feeling regardless of a cutting angle. In case of drape shapes, both the front and the lateral side were represented in almost similar shapes. The back side, however, the real and the virtual showed a great difference in case of grain direction. And in the whole silhouette, the real and the virtual were represented similarly. It could be known that with regard to Hem-line drape shapes between the real clothing and the virtual according to a cutting angle, the real clothing is represented in a location farther from the body than the virtual clothing and, the location or number of node was similarly showed in the real and the virtual.

• Fashion & Textile Research Journal
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• v.15 no.1
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.

• Journal of Fashion Business
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• v.17 no.6
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• pp.158-175
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• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. 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. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.934-942
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• 2011

This study was intended to analyze conventional grading increments and methods for middle-age men's pants, and to suggest new grading guidelines that will enable to improve satisfaction with size and silhouette as a result of combining the concept of grading, which help maintain the ratio and proportion by sizes as one of ready-made apparel's advantages, with body form oriented and aesthetic approaches. In the apparel industry, the current sizing specifications and methods adopted by relevant companies, as well as the characteristics of body forms of men aged 35 to 55 years were comparatively analyzed to find out problems and ultimately to suggest their solutions or improvements. It was considered that as the conventional grading practices used in the industry were customary on the basis of the past experiences, it was required to take the body forms of target consumers into account and also, to reconsider the conventional grading methods. Analyses of sizing and specifications by brands show that 4 to 19 sizes including 82 or 84 as standard size have been produced. Since men's apparel has a large number of sizes with the large range of sizes, grading is critically important. As silhouettes depend on the distribution of grading rule values at each point of increment pattern in the main regions during grading, it is necessary to consider both size grading and form variations. To maintain an appropriate silhouette with keeping the angle of center back line of a pattern, it is desirable to set the ratio of side line part to center part from the crease line to approximately 3:7. It is required to diversify the values of grading rules according to different sizes and pattern regions in consideration for the body forms of key consumers. In addition, if the natural lines of designs and patterns for the width increments of waist circumference and hip circumference, the increments of hip width in pant's front and back panels, the ratio of grading rule values of the right and left sides of crease line, knee circumference, thigh circumference and so on are taken into account, grading will be satisfactory in the all aspects of size, silhouette and ratio.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.