• Science of Emotion and Sensibility
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• v.19 no.1
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• pp.49-60
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• 2016

This study examines the similarities and differences in the clothing habits between a breast-conserving surgery group (68 patients) and a mastectomy group (45 patients). In common, both parties expressed that they did not want to conspicuously display their altered body shape from the surgical procedure, and they also confirmed that they did not want to be treated as breast cancer patients by others. On the other hand, a mastectomy group significantly preferred clothes, bras and breast prostheses which enhance the body silhouette in comparison to the patients who received breast-conserving surgery. However, the patients who received breast mastectomies reported that the bras and breast prostheses available have been expensive with low emotional satisfaction, calling for particular need in specialized clothing for female patients who undergo breast surgery. Hence, this research to further the development of clothes, bras and breast prostheses for Korean women who must undergo breast surgery would be effective in helping to improve body image and quality of life in these women.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.97-113
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• 2016

This study develops pant patterns using body shape, measurement and shell mesh data to decide optimal women's pants according to styles with excellent size, fit and shape for different individuals and silhouettes. Standard landmarks, lines, triangles and structures were set on a 3D scanned lower body shell to represent women in their twenties and flattened as a 2D pattern. Patterns were created and analyzed according to culotte, formal, slacks and tight type considering crotch shape, location of the crotch point, and adjusting waist darts. Flattened patterns were rotated to compare existing methods. The crease lines were then set through the hip protrusion point and compared. The main factor of the pant pattern were extracted, total rise, crotch depth, crotch width, angle of center line, shape of the center line curve, the thigh width, the amount of waist dart, and crease line position. With going tight style from the culotte, the fits are closer to the figure with minimized thigh circumference, the dart amount decreases, the crotch depth increases, the crotch extensions were shorter, and the angle of the center back increased. The total rise is U shape for culotte and is closer to V shape as the silhouette tightens. T-test of appearance evaluation of the developed pant pattern were conducted after analyzing measurements and shapes of each styles. The results of the developed patterns were superior to existing patterns in accordance to hip line between body and pants as well as appearance evaluation. We found systematic mechanisms among pattern factors that create various pant silhouettes. Evidence on classification of the silhouettes of traditional types of pants were explained objectively through the process of playing out 3D forms.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.2
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• pp.282-297
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• 1996

The effective construction for ready-made clothes is one of the central concerns of both consumers and manufactuers in today's apparel industry. In order to reduce the burden of stocks and increase clothing fitness, systematic information on typical body sizes and somatotypes is essential. The purpose of this study i-: to provide basic data on young women's somatotypes for form designers and pattern makers. The subjects of the survey were 310 women of 18 to 26 years old. The study collected 84 anthropometric data for each Person. The data was analyzed by using of the multivariate method. The factor analysis was utilized in regard to the 65 items obtained from anthropometric measurement respectively. The principal component analysis was applied to the data with orthogonal rotation after extraction. The factor scores used in the factor analysis became the basis of determining the value of each variable of the cluster analysis. The cluster analysis was applied for identifying typical somatotypes. Ward's minimum variance method was applied for the purpose of extracting distance metrix by the standardized Euclidean distance. The element forming each cluster can be subdivided into several sets by crosstabulation which is obtained by the fastclus of the SAS. This research has demonstrated 3 distinctive types of silhouette contour of the trunk. Incidentally it also identified 4 of the lower body from the waistline to thigh contour respectively. The discriminant analysis showed that the most significant discriminant factor of the trunk classification were side neck point -1 scapular -1 waistiline length and waist girth. In Korea, the average somatotype of female college students tends to be tall, slim and straight. Reviewing the relationship between the classifications of three parts of body, they are related to each other to some extent but their distribution are not constant. Therefore, in view of clothing construction, a proper separation of the body surface is a necessity.

• Journal of the Korean Home Economics Association
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• v.30 no.3
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• pp.15-32
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• 1992

The purpose of this study was to detect the effect of the lower body type on the shape of flare skirts. The subjects for the wearing test were 50 female students, who were controlled in their hip and waist shapes. The skirts used for wearing test were six types(three flar angles $\times$ two fabric types). The effect of lower body type on the shape of flare skirts was determind by the hemline trace method and the silhouette photography. The data were then analyzed by the repeated measures of analysis of variance and the SNK multiple range test. The results obtained from this study were as follows : 1) When a flare skirt made with larger flare angle and better drapable fabric was worn, the numeric of the nodes increased as the drop value(hip - waist) increased. When a flare skirt made with smaller flare angle was worn, the width of horizontal sectio of hemline increased as the drop value increased. The hemline uneveness decreased on the sides and back as the drop value increased. When a flare skirt made with worse drapable fabric was worn, the sides angle of the flarskirt increased as the drop value increased. 2) When a flare skirt made with larger flare angle was worn, the numeric of nodes increased as the ratio of dropped hip increased. The wave-height increased and the back variation ratio of wave-height was higher than the front variation ratio of wave-height as the ratio of dropped hip increased. The hemiline uneveness decreased on the back as the ratio of dropped hip increased. When a flare skirt made with larger flare angle was worn, the sides angle of the flare skirt increased as the ratio of dropped hip increased.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.137-152
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• 2007

The purpose of this study is to research on concept, consisting factors, and specialties of theme park' character costumes to understand better about character costumes as well as to establish fundamental research data. The characteristics of character costumes in the theme park are as follows. First, theme park' character costumes are personified so that visitors may feel friendly and have emotional communication with them. Specially, costume that anthropomorphize an animal(85.3%) and silhouette of lozenge style(86.8%) dominated the highest weight. Animal figures are walking upright and wearing human's clothes. They communicate with visitors using mime actions. Second, various types of body proportion is applied to highlight the characteristics of character costume. Most character costumes are applied with unrealistic body proportion. This unrealistic body proportion give abnormal image and looks funny. The important factor is size of their head. Especially, 3.5 body proportion(78.9%) is general. Third, simplification, exaggeration, shrinkage, and modification are other factors. Simplification is applied differently by parts. Pocket, collar details are simplified to clarify the character's image. More simplification can lead to ommission. For their head, peculiar parts look stand out but other parts are simplified to stress their characteristics. Exaggeration is used with shrinkage to give strong impression to visitors. Forms are broken intentionally and they are modified. They look impressive because they are not harmonized. It is unexpected image and induces humor and familiar feelings. Matter of stylization includes exaggeration, shrinkage, modification and movement of actors that have tangible factor of character costume.

• Journal of Fashion Business
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• v.17 no.2
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• pp.33-45
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• 2013

A study using 3D virtual garment simulation is carried out for the evaluation and application on the pants fit for obese women in their age of 20s and 30s. The results are as follows; 5 obese women in their 20s and 30s were selected for the testing 3D body. They showed no significant differences in all items, comparing with the data of 5th Size Korea body dimensions. The average waist circumstance of the subjects' 3D body dimensions was 87.0cm, hip circumstance was 102.4cm, BMI was $27.1kg/m^2$, and their obese body types had similar mean values. Based on the detailed design of ready made pants and the study results of 20~30s obese women preference for pants design, pants of straight silhouette and semi-tight fit which have waist line lowered, no front dart and one back dart, were manufactured with 100% black cotton and cotton spandex mixed fabrics. When comparing the appearances between real garment and virtual garment, the average of the real garment with 100% cotton was 3.70 and the virtual garment was 4.05. The average of real garment with cotton spandex mixed fabrics was 3.75 and the virtual garment was 4.06. Therefore, the average of virtual garment was highly evaluated. When comparing the results of evaluating the appearance, there was no significant difference caused by materials between real garment and virtual garment. The expression for the ease of virtual garment and real garment was also similar for good evaluation. Thus, 3D virtual garment simulation did positively prove its reliability and effect.

• Journal of the Korean Society of Food Culture
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• v.26 no.4
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• pp.354-363
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• 2011

This study aimed to find the differences in weight control status and eating behavior of satisfied and dissatisfied female high school students regarding their own body shape. The participants consisted of 238 students at two female high schools in Nonsan-si, Chungnam-do in May of 2008. Self-assessment evaluated present body shape and ideal body shape they would like to have by providing silhouette drawings. The subjects were divided into two groups, 'satisfied' and 'dissatisfied', according to the differences between present body shape and ideal body shape. In the distribution of subjects according to body mass index, 100% of overweight, 97.0% of normal weight and 48.7% of underweight belonged to the dissatisfied group. There were significant differences in weight control and eating behavior between dissatisfied and satisfied groups in terms of frequency and reasons of conducting weight control behavior, body weight return after weight reduction, skipping breakfast and consuming fast food. The satisfied group was two times more likely to not conduct weight control behaviors compared to the dissatisfied group. The main reason for trying to control weight differed according to the group; the reason was feeling fat in the dissatisfied group and desiring to be healthy in the satisfied group. The percentage of subjects that returned to their original weights after weight reduction was 5 times higher in the dissatisfied group. The percentages of subjects that regularly skip breakfast and consume fast food were both higher in the dissatisfied group than in the satisfied group. The dissatisfied group responded 'eating alone' more frequently among nine binge eating behaviors compared to the satisfied group. Both groups, however, did not show any difference in overeating of meals, eating speed, intake frequency of regular meals, food preference, preferred cooking method, carbonated beverage intake and snack eating behavior. In summary, the dissatisfied group tried more unnecessary body weight reduction and had poor eating behavior. Accordingly, to correct the biased perception of body shape by the majority of female high school students, the values of our society should change toward the pursuit of beauty of health.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.