• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.7
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• pp.1026-1035
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• 2002

The purposes of this study were to classify the front view of trunk of adult males into several kinds of shape and to provide the characteristics and silhouette of each group which has same shape. As the sample, subjects were l290 males of 20 to 54 year-old. The procedure and results were follows; l. The principal component analysis was used to obtain the shape factor of the front of the trunk 8 factors in the front which explained 86.8% of total variance were extracted. 2. As the result of the cluster analysis of factor scores, the font of body was classified in 4 types. 4 types were named X, A, Y and H type in the front considering the characteristics of each type.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• Journal of Internet Computing and Services
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• v.9 no.3
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• pp.91-101
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• 2008

This paper proposes component-based density propagation for tracking a component-based human body model that comprises components and their flexible links. We divide a human body into six body parts as components - head, body, left arm, right arm, left foot, and right foot - that are most necessary in tracking its movement. Instead of tracking a whole body's silhouette, using component-based density propagation, the proposed method individually tracks each component of various parts of human body through a human body model connecting the components. The proposed human body tracking system has been applied to track movements usee for young children's movement education: balancing, hopping, jumping, walking, turning, bending, and stretching. This proposed system demonstrated the validity and effectiveness of movement tracking by independently detecting each component in the human body model and by acquiring an average 97% of high tracking rate.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.162-175
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• 2010

An important change started in knitwear fashion in the 1980s. Advanced designers in Japan began to provide a new interpretation on knitwear, and seamless knitwear based on computerized machinery appeared. Knitwear fashion showed differences starting the 1980s due to this change. In this regard, the study aimed to analyze knitwear fashion after the 1980s where the contemporary knitwear experienced changes to define characteristics of modern knitwear fashion and examine its inherent formative nature. Designs for 30 years from 1980s up to date have been analyzed by 10 years in order to identify the characteristics of knitwear fashion over time. In particular, formative characteristics of modern knitwear fashion have been analyzed in more depth with a focus on the period from 2001 through 2010 by narrowing the whole period. Insufficient domestic literatures and visual materials led the study to mostly use foreign books and internet sites. Insights of 7 professionals who have engaged themselves in knitwear industry over 10 years have been incorporated into this study, which will enhance the reliability of the formative analysis. As a result, the data have been organized into three tools of analysis, including exposed bodies, transformed bodies and natural bodies from the perspectives of expression and silhouette of body, and the features of flexibility, industrial artistry, innovation and sensuality have been highlighted in terms of formativeness. In this regard, it has been confirmed that the formative nature found in the knitwear fashion exists in the scope of the formative nature in the embryonic period of the knitwear fashion. It means that the formative nature of knitwear fashion contains perpetuity that transcends an age.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.49-65
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• 2009

As basic materials in this research, 874 pieces of engraving that recorded the garment produced by diverse authors in the 17-18th century were collected among the collections of male and female garment in the engraving kept by National Library of France and 216 pieces of engraving were classified among them to observe justaucorps as stated in the materials. Since type of justaucorps in the 18th century can be classified by difference in shape and change through the above engraving materials in large quantity and the shape and composition can be compared and analyzed with other materials such as picture, stored garment, written materials without difficulty, the chronology can be composed by single type of justaucorps. Intending to understand the change in composition caused by type classification and pattern making as per analysis of type property of justaucorps, the men's upper garment in France in the 18th century. Checking change in design per from and materials, justaucorps of 1680-1700s was in silhouette where waist in the length above knee was adhered and slightly spread to lower part. In the type of 1710-1750s, waist adhered remarkably and many pleats were made under waist to produce volume of form that spread to lower part like skirt. In the type of 1760-1780s, straight silhouette was attached to whole body and end of front adjustment in slant line turns to rear part. The developmental aspect of construction can be checked by making pattern. Changing the cutting line of body plate to smoothly connect section and to try to adhere to the body, the development of simpler and delicate pattern production technique was confirmed.

• Journal of the Korean Society of Costume
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• v.48
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• pp.25-36
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• 1999

The purpose of the present research was to analyse for a sample of female collge students by Korean and American the preferred style of clothing with body cathexis. The respondents were 242 Korean and 145 American female volunteers aged 18 to 27 who were enrolled at Kwangju and Cathlic University of korean and Cornell University in the Unites States. The questionnaire was composed of three sections: body size body cathexis and the preferred style of clothing. Sixteen items of twenty-six items of the preferred style of clothing showed a significant difference between Korean and American. Korean students didn't like a bulky fabric and a bright color than American do. American students like a effect of accessories and clothing to emphasize my bust line and care about sleeve shape skirt length skirt shape than Korean do. Korean students were more dissatisfied with their body than American female students. There was a negative relationship between body cathexis and preference of tight skirt both Korean and American female students. There was a positive relationship among body cathexis and preference of outfit and preference of garment of polished silhouette by Korean female students a positive relationship among preference of fitted waist and design to emphasize bust line.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.1
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• pp.112-125
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• 2012

This study researches the preferred ease of torso sloper according to body sizes and drop. For this, the eases of main body parts such as chest circumference, waist circumference, hip circumference, biacromion length, and waist back length were analysed; in addition, the drop differences of body and pattern were explored to find out characteristics of silhouette changes. The subjects were 55 women in their early 20s (aged from 20 to 24) and individual torso block made with muslin was corrected 1-3 times by a personal fitting. There were 3 meaningful results. First, the preferred ease were individually various; however, the eases of all torso blocks should be same at the pattern making step. Second, the eases were also significantly different among body size groups and the bigger group preferred less ease at the biacromion length, waist back length, armhole-depth, chest circumference, and waist circumference. Third, the eases of chest circumference and hip circumference were significantly changed among drop groups. To change their body drop, H-shape drop adopted less ease at chest circumference and more ease at hip circumference; however, A-shape drop adopted more ease at chest circumference and less ease at hip circumference.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

• Fashion & Textile Research Journal
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• v.21 no.6
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• pp.830-836
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• 2019

A diverse range of products are currently being sold; however, it is very difficult to purchase All-in-One patterns that reflect the body types of the elderly stage in the open market. This study is to develop specialized All-in-One patterns by assessing obese body types characteristics of the elderly social class. Five healthy women with typical obese body types in the elderly stage with busts, waists, and hips surpassing 100 cm were chose as test subjects. The three subjects for the wearing experiment are those with more than one year of experience wearing a bodysuit. A self-evaluation was made three times by looking in the mirror. The data from this study was processed to find averages and deviations; in addition, and a t-test was performed using the SPSS 24 statistical software. A total of 13 body parts were measured prior to and while wearing the specialized All-in-One patterns. Significant results were obtained from all 12 items. All-in-One for research appears to have produced a high level of satisfaction for subjects. This study can provide basic data on elevating the levels of satisfaction of the consumers in their elderly stages with special body types that deviate from standard body types at the time of wearing garments as well as for inner-wear companies to graft this market as a high-value-added niche market.