• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.525-540
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• 2003

This survey paper aims to compare two significant figures in the history of Haute Couture e.g, Paul Poiret and Coco Chanel, who played a leading role between 1910 and 1930. It is found here that they have common features with respect to giving freedom to body through costume, enlarging Garconne Mode, creating more value of Costume Jewelry, exploiting advertisement strategy using models, proving exotic styles, and last but not the least contributing to Haute Couture. The research shows, however, that Poiret differs from Chanel in that he made most of various natural colors whereas Chanel used black or beige colors that had been rarely used woman wear previously. They also differed in using fabric, permitting copy by others, ingredients and bottling of perfume, meaning of silhouette. This kind of comparative research is expected to provide more understanding of fashion history and to contribute to more rigorous analysis of key success factors of designers in his or her age of fashion.

• Journal of the Korean Society of Costume
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• v.20
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• pp.179-190
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• 1993

In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one's life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier's craft but also the place for artistic expression. Her self-conscious equation of designer's objectives with that of artist is at the heart of her work. Schiaparelli's work is an expression of desire, not merely of design.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.638-647
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• 2000

The purpose of this study is to discover the interrelationship between modern costumes and Seung-Hee Choi's dancing costumes in 1930s. Seung-Hee Choi, who was a dancing pioneer in Korea, introduced the modern dancing costumes for the first time in Korea. The results are as followed ; First, we can find Eroticism in Choi's dancing dress. Choi's dancing costume had used gold thread, silver thread, spangle, see-through and a half-naked body clothing that decorated with beads and cords. It is similar to modern costumes in ubjet mtter, silhouette, design, and so on. Second, the influence of Futurism was in her dancing costumes, that is, it represented asymmetry designs and rectilineal figures. Third, not only beauty but also a Functionalism was expressed in her dancing costumes. Functional beauty was shown through bias cut, pleats, slit, and so on.

• Proceedings of the Korean Information Science Society Conference
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• 2000.10b
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• pp.553-555
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• 2000

인체와 같은 다관절체의 운동은 세그먼트 단위로 강체의 특성을 포함하고 있으나, 움직임에 따라 옷의 주름과 같은 잡음과 관절의 변화 등의 비강체의 성질을 가진다. 따라서 잡음과 움직임에 따라 다양한 특징점이 추출되며, 영상 간 특징점의 변화가 심하므로, 대상의 특징을 비교적 정확히 반영하는 대응관계를 가진 특징점을 추출하는 것은 어려운 문제이다. 본 논문에서는 인체와 같은 다관절체의 움직임으로부터 신뢰성 있는 대응관계를 가진 특징점을 추출하기 위한 기법을 제안한다. 또한 쌍 대응(pairwise correspondence)의 문제를 확장하여 특정 동작을 이루는 다수의 프레임에서의 일관성 있는 특징점 대응을 위한 간단한 전략을 제안한다. 이를 통해 정확하고 안정적인 대응관계를 가진 특징점을 추출할 수 있다.

• Proceedings of the KIEE Conference
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• 2007.07a
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• pp.321-322
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• 2007

본 논문에서는 로봇과 인간의 인터액션을 위해 인간 몸의 실루엣 및 액티브 스켈레톤 추출 기법을 제안한다. 연속된 이미지 정보로 부터 얻어진 옷영역등의 정보에서 background subtraction를 이용한 adaptive fusion을 통해 추출된 인간 몸의 실루엣을 바탕으로 active contour와 가상 신체 모델인 skeleton model을 응용하여 작은 움직임에 보다 강한 active skeleton model을 이용하여 인간 몸의 특징 점 위치를 추출하는 방법을 한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2008.05a
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• pp.11-12
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• 2008

본 논문은 이차원 영상에 투영된 삼차원 인체의 포즈를 인식하기 위하여 이차원 영상에 투영된 인체의 실루엣 정보를 이용하였다. 인체는 삼차원 공간에서 움직이므로 이차원 영상으로 모든 정보를 알아내기에는 부족한 면이 있다. 따라서 본 논문에서는 인체 포즈의 주시 방향을 결정한 후 인체의 실루엣 영상 Convex-hull 특징점 정보를 이용하여 인체의 삼차원 포즈를 인식하였다. 인체의 포즈는 PCA로 차원을 축소하였으며 Diffusion Distance로 데이터베이스의 포즈모델 중 가장 가까운 모델을 선택하였다.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.94-114
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• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.2 s.27
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• pp.169-179
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• 1988

In the part 1, relations were found between fundmental mechanical properties and primary hand values, performance of Korean women's summer fabrics. In this paper, in order to investigate the hand values and mechanical properties such as tensile, shearing, bending, compression, surface and thickness & weight of the women's fall & winter fabrics were measured by KES-F system. Sorts of 90 commercial fabrics for women's fall & winter clothes were classfied into 39 silk and 51 polyester fabrics according to meterials. The experimental results were analysed statistically to relate the hand values and the mechanical properties and concerning to formation of weared clothes and transformation behavior were investigated. Furthermore, there mechanical properties as well as their hand values were discussed in comparison with those values for kimono fabrics. The main results are summarized as follows; 1. The shape of silk fabrics in formation for weared clothes show a box-shaped silhouette. Polyester fabrics has a easy to shape-less and make a silhouette which goes along with the body. 2. Silk fabrics for Korean women's fall & winter clothes have ${\pm}1\sigma$ range of bending, shearing, surface properties and thickness as compared with kimono fabrics. 3. A wrinkle recovery and drapability of silk fabrics for Korean women's fall & winter clothes are inferior to kimono fabrics. On the other hand, the fabrics for Korean women's fall & winter clothes have conical-shaped silhouette based on higher bending rigidity. 4. Except for flexibility with soft feeling, a primary factor of mechanical properties contributes to the hand values of fabrics for Korean women's fall & winter clothes having no concern with materials were same as the women's summer fabrics. 5. As for the hand values of fabrics for Korean folk clothes, stiffness, anti-drape stiffness are larger than those of kimono fabric and stiffness, anti-drape stiffness, crispness of fabrics for Korean women's fall & winter clothes have smaller values as compared with Korean women's summer fabrics.

• Journal of the Korean Home Economics Association
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• v.44 no.9
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• pp.31-39
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• 2006

This study was conducted to reproduce the two-piece sleeve pattern of the ladies' jacket of the 1890's for Korean women of the twenties who have the standard body type and the average size. Fourteen two-piece sleeve patterns of the ladies 'jacket of the 1890's were collected and drawn to actual size. The length and width proportion of the upper-sleeve and under-sleeve pattern of the ladies' jacket of the 1890's were similar to the two-piece sleeve pattern of jacket which we see now. The elbow line of the two-piece sleeve pattern of the ladies' jacket of the 1890's was lower than the two-piece sleeve of jacket of today. The cap of the sleeve of the ladies' jacket of the 1890's was gathered and this gave volume to the upper part of sleeve but the lower part of the sleeve was tight. The study pattern of two-piece sleeve pattern which had the characteristics of the sleeve pattern of the ladies' jacket of the 1890's was designed like for Korean women of the twenties who have the standard body type and the average size through modifications based on the evaluation of dressing on two occasions. The study pattern was evaluated to have the silhouette of the sleeve of the ladies' jacket of the 1890's and to fit Korean women of the twenties who have the standard body type and the average size with the sensory test.

• Korean Journal of Human Ecology
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• v.23 no.6
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• pp.1191-1204
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• 2014

Even though a Han-bok, or traditional Korean costume, should be inherited since it is invaluable part of our culture, research on Han-bok is scarce. Since the development of a Jeogori pattern, the upper garment of Korean traditional clothes, is done mostly based on the chest size, the design does not completely consider on wearer's body shape. Moreover, unless made by an expert, trial and error is almost always necessary to improve the fit of the clothes. In this research, a Jeogori pattern was suggested that improves the fit based on the shape of the upper back(straight or bent) of a female in her late 20s who often wears a Han-bok and is comfortable when moving. Using a 3D virtual clothing system, the optimum pattern was selected based on the body shape. The final selection was made, and each subjects tried the garment on to evaluate the comfort when moving, along with its appearance, based on a seven point Likert scale. As a result, for a straight body shape, the optimum ease for the front bust width was 2.5cm, and that for the back bust width was 2.0cm. The optimum center back dart was 1.0cm. The optimum Geodae width was 7.6cm, and the optimum back Geodae point was 2.0cm. For the bent body shape, the optimum ease for the front and back bust was 2.0cm. The optimum Geodae width was 8.4cm, and the optimum back Geodae point was 1.5cm. Furthermore, if the Hwajang slope was set at half of the vertical distance between the laterals of the neck and shoulder, a fitted silhouette appeared, which is preferred nowadays. In the appearance evaluation, the final pattern designed in this research received higher scores than the original design(straight; p<.001, bent; p<.05). The results of the evaluation of the comfort when moving also showed higher scores for the final pattern that was designed.