• 복식문화연구
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• 제16권2호
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• pp.249-262
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• 2008

The purpose of this study is to contemplate evening dress in contemporary fashion, thereby to analyze aesthetic characteristics of evening dress. For such purposes, this thesis first provides the historical survey of evening dresses, and to conduct a case study of survey of fashion photographs covering $pr{\hat{e}}t-{\acute{a}}t$-porter design products from 2000 to 2007 presented by Valentine. Based upon the historical survey, there are five representative styles in evening dress. Flapper chic looks could be characterized by frequent usage of sleeveless straight silhouette with long or mini hemlines, expressing sensuality, luxury, and ethnicity. Satin Siren looks were characterized by bias-cut, slim, long silhouette, expressing sensuality and luxury. Feminine Ideal looks were characterized by hourglass silhouette and decolltage with feminine details such as bow, pleats and frills, expressing historicism, luxury and sensuality. Freedom and fantasy looks were characterized by ethnic details or modern silhouette with transparent, printed materials, expressing ethnicity, sensuality, and luxury. Finally, postmodern glamourous looks were characterized by body-conscious silhouette with transparent, shiny, or stretch materials, expressing sensuality, experimentalism and luxury.

• 한국정보과학회논문지:소프트웨어및응용
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• 제36권11호
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• pp.960-966
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• 2009

다양체는 고차원 표본 데이터들 사이의 관계를 표현하기 위해 저차원 공간에서 생성된 구조로서 고차원 데이터인 영상과 3차원 인체 구성 데이터를 처리하는데 많이 사용되고 있다. 다양체 학습은 이러한 다양체를 생성하는 과정을 말한다. 그러나 다양체 학습을 이용한 포즈 추정은 학습하지 못한 실루엣 변화에 취약하다. 실루엣 변화는 2차원 영상에서 시점 변화, 포즈 변화, 사람 변화, 거리 변화, 잡영에 의해 발생되며, 이러한 변화를 하나의 다양체로 학습하기란 어렵다. 본 논문에서는 실루엣 변화를 유발하는 문제중 하나인 시점 변화에 대한 문제를 해결하고자 한다. 종래에 시점 변화에 상관 없이 포즈를 추정하는 방법에서는, 각 시점마다 다양체를 가지거나 사상 함수에서 시점에 관련한 요소들을 분리하석 별도의 다양체로 학습한다. 하지만 이러한 방법들은 복잡하고, 추정 과정에서 어떠한 시점의 다양체를통해 포즈를 추정할지 판단을 요구하며, 비교사 학습으로 인해 실루엣과 대응되는 3차원 인체 구성을 지정하기 어렵다. 본 논문에서는 시점 다양체, 포즈 다양체, 인체 구성 다양체를 편향된 다양체로 학습하여 사용하는 방법을 제안한다. 그리고 영상과 시점 다양체, 영상과 포즈 다양체, 인체 구성과 인체 구성 다양체, 포즈 다양체와 인체 구성 다양체 간에 사상 함수를 학습한다. 실험에서는 학습된 다양체와 사상 함수를 이용하여 24개의 시점에서 강인한 포즈 추정 결과를 보여주고 있다.

• 복식문화연구
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• 제20권1호
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.

• 한국의류산업학회지
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• 제15권1호
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.

• 한국의류학회지
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• 제38권6호
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• pp.896-912
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• 2014

This study analyzed the reality of avatar size when it was automatically changed by different height and waist circumference inputs. This study focused on analyzing 22 of 28 avatar parts created by the 3D Clo virtual fitting program, based on the height and 'waist circumference of 2,247 woman samples from the $6^{th}$ Size Korea survey data. The 'waist back L'. and 'bishoulder L'. of the avatars were shorter than the bodies; however, the avatars' 'waist H'. and 'arm L'. were longer. Differences between the avatar and body increased in the taller groups. The body proportion of tall avatars was more distorted than small avatars. There were also some exaggerations in some circumferences. The 'bust C'. of the avatar was larger in the group with thin upper torsos; however, the 'hip C'. and 'upper arm C'. were larger in the group with thick upper torsos. The avatar torso silhouette of each somatotype was not representative of the real body silhouette as the 'hip C'. and 'bust C'. always increased together.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 1998년도 추계학술발표 논문집
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• pp.235-249
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• 1998

The purpose of this study is to provide an understanding of the designs that aid in the production or selection of clothing that generally corresponds with the contours of the human body. The study looks at effective and attractive clothing design used in various situations with the goal of gaining understanding of the nuances of women's jackets. To achieve the goals of this jacket study, a sensuous test was employed and several horizontal sections, based on silhouette appearance, were compared and then analysed. The sensuous test was aimed at understanding the visual effects of the silhouette of the jacket.

• 한국의류학회지
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• 제35권9호
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 한국의류학회지
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• 제38권5호
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• 한국의류산업학회지
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• 제13권6호
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• pp.934-942
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• 2011

This study was intended to analyze conventional grading increments and methods for middle-age men's pants, and to suggest new grading guidelines that will enable to improve satisfaction with size and silhouette as a result of combining the concept of grading, which help maintain the ratio and proportion by sizes as one of ready-made apparel's advantages, with body form oriented and aesthetic approaches. In the apparel industry, the current sizing specifications and methods adopted by relevant companies, as well as the characteristics of body forms of men aged 35 to 55 years were comparatively analyzed to find out problems and ultimately to suggest their solutions or improvements. It was considered that as the conventional grading practices used in the industry were customary on the basis of the past experiences, it was required to take the body forms of target consumers into account and also, to reconsider the conventional grading methods. Analyses of sizing and specifications by brands show that 4 to 19 sizes including 82 or 84 as standard size have been produced. Since men's apparel has a large number of sizes with the large range of sizes, grading is critically important. As silhouettes depend on the distribution of grading rule values at each point of increment pattern in the main regions during grading, it is necessary to consider both size grading and form variations. To maintain an appropriate silhouette with keeping the angle of center back line of a pattern, it is desirable to set the ratio of side line part to center part from the crease line to approximately 3:7. It is required to diversify the values of grading rules according to different sizes and pattern regions in consideration for the body forms of key consumers. In addition, if the natural lines of designs and patterns for the width increments of waist circumference and hip circumference, the increments of hip width in pant's front and back panels, the ratio of grading rule values of the right and left sides of crease line, knee circumference, thigh circumference and so on are taken into account, grading will be satisfactory in the all aspects of size, silhouette and ratio.

• 한국의류학회지
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• 제34권3호
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• pp.480-491
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• 2010

This study investigates the body satisfaction and fitness apparel depending on age and silhouette. The subjects were 254 females 20~50 years of age living in Chungju South Korea. There are various body types in women over the age of 35, the lower part of the body-development type, regular type, the upper part of the body-development type, and the rectangular body type. In addition, there is a lower satisfaction level in circumferences related with apparel fit, especially in the sleeve length, armhole, and crotch length. Therefore, a size system is needed that considers various body types in ready-to-wear clothing for middle-aged women. Design, color, and pattern are most important in clothing purchases by unmarried women, but the ease of laundry management and price discounts are the most significant for clothing purchases by married women. The upper part of the body-development type is unsatisfactory in the size-fit of sleeve length and shoulder width, but the lower part of the body-development type is unsatisfactory in the circumference of the waist, hip, abdominal, girth of skirt, and crotch length. The rectangular body type and the lower part of the body-development type are unsatisfactory in movement comfort, especially in hip girth and crotch length. The upper part of the body-development type is unsatisfactory in the movement comfort of the chest and elbow girth.