• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Journal of the Institute of Electronics and Information Engineers
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• v.50 no.9
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• pp.136-143
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• 2013

In this paper, a algorithm to find joints of a small animal like a lizard from the multiple-view silhouette images is presented. The proposed algorithm is able to calculate the 3D coordinates so that the locomotion of the lizard is markerlessly reconstructed. The silhouette images of the lizard was obtained by a adaptive threshold algorithm. The skeleton image of the silhouette image was obtained by Zhang-Suen method. The back-bone line, head and tail point were detected with the A* search algorithm and the elimination of the ortho-diagonal connection algorithm. Shoulder joints and hip joints of a lizard were found by $3{\times}3$ masking of the thicked back-bone line. Foot points were obtained by morphology calculation. Finally elbow and knee joint were calculated by the ortho distance from the lines of foot points and shoulder/hip joint. The performance of the suggested algorithm was evaluated through the experiment of detecting joints of a small lizard.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Proceedings of the Korean Society of Machine Tool Engineers Conference
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• 2004.04a
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• pp.235-240
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• 2004

The equipment of industrial robot in manufacturing and assembly lines has rapidly increased. In order to achieve high productivity and flexibility, it becomes very important to develop the visual feedback control system with Off-Line Programming System(OLPS). We can save much efforts and time in adjusting robots to newly defined workcells by using OLPS. A proposed visual calibration scheme is based on position-based visual feedback. The calibration program firstly generates predicted images of objects in an assumed end-effector position. The process to generate predicted images consists of projection to screen-coordinates, visible range test and construction of simple silhouette figures. Then camera images acquired are compared with predicted ones for updating position and orientation data. Computation of error is very simple because the scheme is based on perspective projection which can be also expanded to experimental results. Computation time can be extremely reduced because the proposed method does not require the precise calculation of tree-dimensional object data and image Jacobian.

• Journal of Fashion Business
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• v.1 no.3
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• pp.95-102
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• 1997

This study is aimed for men's jacket draft not only to other style but also helping for men's jacket fits for trend by presenting the course to get a style we want by adding to the partial drafty changes in existing pattern of men's formal jacket selected two kinds of men's jacket style fit for 1997 S/S trend. In this 1997 S/S trend, the trend I of the characteristic formal jacket is a style slim expressed over the basic formal wear, and trend II of the characteristic casual jacket appears to women's wear that roundly expressed by collar line of V-zone returened back by the shoulder line of jacket made of a big diagonal wrinkled line of X-style in front centered around a button of center front line. In this study, it called that the existing traditional formal jacket of men is a A style of jacket and jacket style I, II is a jacket B, C style. Jacket A, B, C style, a distingtion in draft that added to make form an oblique wrinkled line of the X-shaped-making artificially to the front button line sharply distinguished by eyes will be come out by control of front neck width over the back neck width. According to this, we shall be found that place of front neck point is a cardinal point in draft that will be added any changes in a style of jacket.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.940-951
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• 2012

This study evaluates the fit preference of the tailored jacket according to body types for 20's adult women through a comparison of real and virtual fit. A five point fit evaluation scale utilizing a wearer acceptability scale by Shen and Huck was used to evaluate the degree of the preference of real and virtual fit. This scale contained 23 items in three categories: front fit, back fit, and side fit. For each item, 5 responses from 'too tight' fit (1 point) to 'too loose' fit (5 point) were possible. The middle position for each fit criterion indicated a 'good' fit (3 point). The data were analyzed with a t-test using statistical program SPSS 17.0. According to the results, there were no significant differences ($p{\leq}.05$) between the real and virtual fit preference in total measurement items such as front collar, lapel and roll line, front shoulder slope, front armhole, front waist, abdomen, sideseam, hemline, front silhouette, side shoulder, side armhole, side sleeve width, side hip, side silhouette, back collar stand, upper back, back armhole, back waist, back hip, back silhouette except front bust, side waist, and back center back. The factor that caused a difference in the fit preference between the real and virtual fit evaluation was a specific body type such as Body Type A that indicated a small bust circumference and a big hip circumference.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.37-49
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• 2012

The purpose of this study is to provide basic data of dress design by researching three-dimensional decorative techniques representing flowers, a popular motif in dress design. This study analyzed 44 dresses that were presented in Valentino collection. The result of this study is as follows: First, the detailing expression method can show various patterns and colors through embroidery technique, sub-materials, and bonding techniques in embroidery, beads flower, and ribbon flowers. Second, the fabric flower technique expressed flower image in three-dimension in more various images than do either the ribbon or beads flower technique. Fabric flowers are mostly made from the same material as dresses. The expression technique of fabric flower is classified into the following three classifications: 1) A technique underlying a flower image with one, two and three large flowers, 2) a technique decorating a large area with a number of an identical motif, and 3) a technique highlighting a part of the body or design line by attracting eyes to one point, creating a corsage decorated where a designer wants to emphasize. Third, a silhouette technique realizes a flower image with a silhouette of a dress like sculpted structure and it is thus used less than a detailing expression technique. A flower image is expressed by making use of body lines or emphasizing the face. Finally, flower images on a dress were realized as a full blossomed flower, through visually streamlined shapes and curved lines.

• Journal of Fashion Business
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• v.20 no.1
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• pp.82-97
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• 2016

This study attempted to summarize the characteristics of fashion in the 1930s which were the background of 'Bonnie and Clyde' and analyze how fashion in the 1930s was expressed through costume in the movie, focusing on some critical scenes. For this, previous studies and domestic & foreign books, magazines and DVDs relating to movie costume were examined. For analysis of movie costume, 'Bonnie and Clyde (1967)' DVD was referred to. In the movie, meaningful scenes were captured using a GOM Player. Then, the study results found the followings: First, in terms of women's fashion in the 1930s, adult look and slim & long silhouette which naturally revealed breast, waist and hip with a long skirt, a military look with strong shoulders and tailored costume were found. In terms of men's fashion, in contrast, the Duke of Windsor Style (a slim silhouette jacket and loose pants) was popular. Second, in the movie, Bonnie's costume started with a slim linen H-line dress at her first meeting with Clyde. While committing crimes and becoming a famous gangster, she displayed the fashion styles which were in vogue in the 1930s such as fancy and luxurious slim dress, tailored suit and trench coat. Third, in terms of Clyde's costume, from his first meeting with Bonnie to his first crime, he put on common costume (ex: pants, vest, shirts, etc.) which revealed his open and unconventional character. After he became a famous gangster, he would wear the Duke of Windsor style (jacket, vest and pants). The study results well describe movie costume's role as visual language which expresses characters' inner circumstances and outer situations that reflect socio-cultural background.

• The Research Journal of the Costume Culture
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• v.31 no.2
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.