• Journal of Korean Medicine Rehabilitation
• /
• v.21 no.4
• /
• pp.167-179
• /
• 2011

Objectives: In this study, we used with visceral fat area(VFA)/subcutaneous fat area(SFA) ratio(V/S ratio) and bioelectrical impedence analysis(BIA) for a comparative study between VFA measured from several abdominal computed tomography(CT) images and obesity indexes, such as body mass index(BM), waist circumference(WC), and waist-hip ratio(WHR). Methods: A group of 63 test subjects were gathered in the oriental medical hospital of Kyung-Won university. BIA for body composition and body size for obesity indexes were estimated to evaluate the obesity indexes. Pearson correlation coefficients and regression analysis were used to select useful obesity index. Results: The VFA-CT was significantly related to BMI, SFA, WC, hip circumference(HC), body fat mass(BFM), basal metabolic rate(BMR), and VFA-BIA. Especially, we found that the VFA-BIA and BMI were significantly correlated to VFA-CT. Conclusions: VFA-BIA index is an optimized index for diagnosis and evaluation of obesity. Finally, we found that the BMI is optimized to represent VFA.

• ETRI Journal
• /
• v.33 no.4
• /
• pp.569-579
• /
• 2011

This paper presents a novel approach for human activity recognition (HAR) using the joint angles from a 3D model of a human body. Unlike conventional approaches in which the joint angles are computed from inverse kinematic analysis of the optical marker positions captured with multiple cameras, our approach utilizes the body joint angles estimated directly from time-series activity images acquired with a single stereo camera by co-registering a 3D body model to the stereo information. The estimated joint-angle features are then mapped into codewords to generate discrete symbols for a hidden Markov model (HMM) of each activity. With these symbols, each activity is trained through the HMM, and later, all the trained HMMs are used for activity recognition. The performance of our joint-angle-based HAR has been compared to that of a conventional binary and depth silhouette-based HAR, producing significantly better results in the recognition rate, especially for the activities that are not discernible with the conventional approaches.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.46 no.5
• /
• pp.927-943
• /
• 2022

This study explores the organic form generation method, which reflects the evolving biomimetic approaches converging in fashion technology and considers the characteristics of the organic relationship between the body and the clothing to be represented in contemporary fashion. A literature review on biomimetic architecture and design-related theory and a case study on biomimetic fashion were both conducted. Images, articles, and data related to biomimicry fashion and clothing, including the increase in virtual fashion cases around 2020, were analyzed based on the literature review. Biomimicry was used to derive interdisciplinary similarities in the organic morphogenesis principle, and the result was categorized as a network system, folds and unfolds, pneumatic structures, auxetic growth, and membranes. The biomimetic fashion characteristics, including externalization of the body's interior, expansion of the body structure and silhouette, body protection, independence from the body, and post-human expression through virtualization, were analyzed. Morphogenetic processes performed through biomimetic vision are expected to aid in generating research on the possibility of mass production or popularization in the future through various experimental technical studies.

• Trans-
• /
• v.11
• /
• pp.65-95
• /
• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.

• Journal of the Korean Society of Costume
• /
• v.60 no.7
• /
• pp.14-30
• /
• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.

• Journal of the Korean Society of Costume
• /
• v.51 no.2
• /
• pp.169-180
• /
• 2001

This paper is intended to explore femininity, the ideal beauty of body and the features in fashion pursued in the fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and tole ideal beauty of body are referred to. On the part I of this paper, the femininity and the ideal beauty of body implied in the fashion system in the Victorian period will be reviewed. following are the conclusion : First, in the Victorian period, the value of femininity is put on the body of female by the discrimination of sex divided in two. Consequently, the characteristics of femininity mainly include dependence, passiveness, emotion, beauty, maternity, innocence, and purity. To emphasize the function of reproduction as primary duty and nature of female, the ideal beauty of body is represented in the form of Venus Naturalis, which symbolizes the fertility. And the external form of this body is expressed in slum waist line, ample busom and hip in fashion. Second, the features of this fashion are classified into three categories by their internal value : images of subordinate female, sensual female and maternal female 1) The image of subordinate female is expressed by concealment of legs, tightening the upper part of the body in corset and restriction on action by the crinoline 2) The image of sensual female is revealed in brazing colors and decoration, excessive exposure of the upper part of the body and hip by means of bustle. 3) The image of maternity is expressed in swollen skirt of crinoline, oval bustle silhouette metaphoring the extended womb resulted from pregnancy.

• The Research Journal of the Costume Culture
• /
• v.26 no.5
• /
• pp.806-821
• /
• 2018

The study aims to investigate the effects of media and self-image congruity of ideal body image on the dieting and exercising behaviors of Korean and U.S. female college students. This study focuses on the concept of self-image congruity in order to examine how respondents perceive actual and desired self-images compared to an ideal female body image selected by respondents. A self-administered survey was conducted, resulting in 331 total responses (194 from Korean students and 137 from U.S. students). The data were analyzed through descriptive analysis, t-test, exploratory factor analysis, and regression analysis using SPSS 23.0. The findings revealed significant differences between Korean and U.S. female college students. U.S. students were more exposed to body image ideals in the media than Korean students; however, Korean female students valued the information regarding ideal body image conveyed by the media more than U.S. respondents. Among Korean female students, exposure to media messages regarding ideal body image and media importance had significant effects on desired self-image congruity, while these factors were not significant among U.S. students. However, there was a negative effect of media exposure on actual self-image congruity among U.S. respondents only. Additionally, the study uncovered that Korean students manage their body image through dieting behaviors while U.S. respondents manage body image through exercise behaviors (weight training as well as cardiovascular exercise). The study provides further support for self-image congruity, which extends its applications to the body image field.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.12
• /
• pp.1968-1979
• /
• 2010

New technology that includes 3D body scanning, digital virtual human, and digital virtual garments has had a significant impact on the current apparel industry. Virtual simulation technology enables the visualization of a 3D virtual garment on a virtual avatar so that consumers can try on garments with their virtual avatars before purchasing. However, the manual virtual avatar provided for online apparel shopping currently has revealed limitations on the different body sizes and shapes of customers. This study analyzes the process of designing the automatic virtual avatar and the manual virtual avatar using OptiTex software; in addition, the study compares the practicality of the automatic virtual avatar with that of the manual virtual avatar. Data was examined by evaluating how much each virtual avatar is similar to the real body and how well it matched the needs of the current apparel industry. In the study, Avatar 1 was automatically created from three-dimensional body scan data and Avatar 2 was manually created from body measurements. The virtual avatar images laid over a real body image and the results were evaluated by comparing the simulated sizes of virtual avatars with those of a real body. Consequently, Avatar 1 was evaluated as more similar to the real body than Avatar 2 in all five body shapes. This study illustrates that an automatic virtual avatar might solve the fit problem that is the most common reason for a high return rate for online shopping. The results show that future virtual simulation technology needs to be improved for the practicality of the virtual avatars.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.26 no.1
• /
• pp.61-76
• /
• 2024

The purpose of this study is the development of an experimental design that aims to implement three-dimensional fashion design by observing the human body, extracting and combining geometric shapes and forms, and focusing on attempts to decompose the geometry of the human body in art history. Considering the characteristics of fashion design, which inevitably reflect human images visually, this study considered works by deriving geometric shapes and forms of the human body and focusing on decomposition and combination to apply them to fashion design. The results obtained through the development of fashion design through decomposition and combination based on geometric human body analysis are as follows. First, geometric analysis of the human body as an object of expression continues from the history of Cubism to modern fashion design. Second, the geometric shapes of the human body that appear in contemporary fashion design maximize visual effects through three-dimensional composition, emphasizing simplicity while showing originality through various expressions. Third, when exploring the geometric shapes of a moving human body, it was possible to extract a wide variety of shapes and forms through drawing and simplifying the human body's movements. Fourth, the formative method of fashion design was introduced and used for the aesthetic combination of objects for fashion design through decomposition and combination. This study was able to show unique and diverse combinations of visually concise and ordered geometric shapes in the expression of fashion design by decomposing and combining them. The significance of these geometric forms is that they can diversify formative informativeness in the expression of fashion design with modern compositional beauty.

• Korean Journal of Applied Biomechanics
• /
• v.12 no.1
• /
• pp.233-249
• /
• 2002

The purpose of this study was to employing MRI in the estimation of the biomechanical body segment parameters of Korean adults. for this purpose MRI study on 19 Korean living subjects were used to measurement. All the parameters that was concerned were inertial characteristics of human body mass of each segment, center of mass of them and the length of radius of gyration of them. The cross sectional images and saggital images of every 1cm interval were got using the 0.5 Tesla MRI from the top of head to the bottom of foot, whole body. And then, by tracing the images of the film and scanning them, got the area which the several tissues occupied in the image of slice. By summing the area of slice of each segment which were calculating and by multipling the density of the tissues, got the mass of segment and other inertial characteristics. The ratios of radius of gyration in both transverse axis and longitudinal axis though the segmental mass and segment length are as follow: male A : head($0.229\pm0.0029$), neck($0.256\pm0.0095$), thorax($0.374\pm0.0059$) abdomen($0.245\pm0.0020$), pelvis($0.368\pm0.0106$), thigh($0.288\pm0.0030$) shank($0.280\pm0.0043$), foot($0.277\pm0.0195$), upperarm($0.311\pm0.0074$) forearm($0.286\pm0.0051$), hand($0.253\pm0.0095$) female A : head($0.214\pm0.0032$), neck($0.254\pm0.0112$), thorax($0.295\pm0.0061$) abdomen($0.289\pm0.0021$), pelvis($0.329\pm0.0108$), thigh($0.288\pm0.0036$) shank($0.280\pm0.0047$), foot($0.243\pm0.0206$), upperarm($0.279\pm0.0083$) forearm($0.286\pm0.0048$), hand($0.229\pm0.0097$) male B : head($0.532\pm0.0006$), neck($0.533\pm0.0006$), thorax($0.658\pm0.0008$) abdomen($1.350\pm0.0022$), pelvis($0.875\pm0.0002$), thigh($0.213\pm0.0001$) shank($0.160\pm0.0001$), foot($0.152\pm0.0002$), upperarm($0.136\pm0.0002$) forearm($0.202\pm0.0002$), hand($0.273\pm0.0006$) female B : head($0.198\pm0.0002$), neck($0.335\pm0.0011$), thorax($0.238\pm0.0001$) abdomen($0.888\pm0.0001$), pelvis($1.318\pm0.0117$), thigh($0.095\pm0.0001$) shank($0.075\pm0.0001$), foot($0.181\pm0.0006$), upperarm($0.0.062\pm0.0001$) forearm($0.083\pm0.0001$), hand($0.105\pm0.0007$).