• Human Ecology Research
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• v.57 no.4
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• pp.513-522
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• 2019

This study analyzes the characteristics of somatotype changes of girls from the ages of 13 to 18 that provide basic data on clothing construction for middle and high school girls. We use data obtained from body measurements of 1,590 adolescent girls 13 to 18 years of age provided in the 6th national anthropometric survey report. The differences among the age groups for 56 direct measurements were analyzed by ANOVA, and the structures of the differences by SNK (Students-Newman-Keuls test) were analyzed. The two major growth ages were 'ages 13-14' and 'ages 15-16'. The first major growth ages focused on all measurement items of height, length, circumference, breadth, depth and other items. The second one focused on measurement items of height and length of torso, circumference, and breadth of lower body. The major growth pattern of the age groups was 'ages 13<14&15<16&17&18' which appeared focused on the height and length items of upper body and torso, the width items of lower body and the circumference items of upper body and lower body. The measurement items of front length like waist front length, N.P. to B.P to waistline, N.P. to B.P., and B.P. to B.P. showed the growth pattern for 'ages 13<14<15<16<17&18'.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.934-950
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• 2018

This study suggests a new perspective for designing men's tailored jackets by more carefully considering human muscle structure. For this study, we examined research regarding the construction of the tailored jacket that is based on costume history references, as well as research regarding human muscle structure that is based on human anatomy references and the analysis of recent fashion designs illustrating the human body image. Based on this research, we developed various tailored constructions that account for human muscle structure. These constructions are applied primarily to the backs of four tailored jackets, as the back of the jacket needs a mechanism to accommodate the wearer's movement. The following conclusions have been derived from the study: First, by developing the tailored garment structure that accounts for the muscle structure of the human body, we suggest a new design direction for tailored garments. Second, we propose a new type of tailored jacket structure for the back of the jacket that incorporates an artificial muscle structure to accommodate the wearer's activities. This new type of jacket indicates the potential for designs that use structure, particularly the structure of the human body. Finally, by using the embroidery technique, we changed the texture of the material into the shape of human muscle. Thus, we propose a design that uses three-dimensional volume to accounts for the shape of human body tissue.

• Journal of the Korean Society of Costume
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• v.32
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• pp.293-312
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• 1997

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.

• International Journal of Costume and Fashion
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• v.3
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• pp.89-105
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• 2003

The purpose of this study is to classify sleeves that play an important role in upper-garment designs and that can be presented in diverse shapes by meaningful era. Also, characteristics and trends of sleeves are analyzed to provide a basis for development of design on modem woman's dress. To examine formation and construction of sleeves, literature review and empirical examination were conducted, focusing on patterns of woman's dress presented in literature. This study is to concentrate on the period, the Renaissance to the 19C. In this study, characteristics of sleeves are analyzed by each era according to its shapes and construction. By analyzing the shape of sleeves and the characteristics of the construction of sleeves, the following conclusions had been reached. 1) Sleeves evolved from single, draped garments into dimensional shapes which were manipulated to reflect the changing trends. Considering the comfort and ease of movement have always been very important in clothing design and the construction of sleeves throughout the ages has consistently been able to provide the comfort that wearer demanded. 2) Shape of sleeves varies a little in each period, but recurring trends in fashion led to similar design in sleeves being repeated. Also, instead of a dramatic change in the construction of sleeves, each period had its own unique technique to add freshness by using a variety of ornamentation.

• International conference on construction engineering and project management
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• 2015.10a
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• pp.142-146
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• 2015

Human resources development is considered a critical issue for improving productivity of workers in construction industry. The aim of this study is to identify and rank the key motivating factors that impact skilled workers productivity according to their relative importance. A total of 27 factors were identified through a literature review, which were categorized into 2 group financial and un-financial motivators. A questionnaire instrument was adopted in this study. The study revealed that the most significant group which affected skilled workers' productivity in construction projects was financial group with the recognition of the un-financial group importance. The results emphasized that the financial group has an edge over the un-financial group which reflect the priority of need for the respondents. The results indicated that the un-financial group represents a backbone in its importance after the financial group which reflects that un-financial factors can improve productivity. The findings showed that the provision of companies to safety conditions factor such as protective safety clothing and protective equipment was ranked very low by the respondents. This is due to the dominant culture of the workers as well as the lack of their awareness regarding their own safety and lack of companies' interest in safety and health for workers. Construction companies are advised to take the key motivating factors obtained from the results of this study into serious consideration in order to improve the satisfaction of their workers and improve their productivity.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.179-192
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• 1999

The purposes of this study were to investigate the needs for the educational subjects of practitioners in apparel distribution industry and to examine the relationship between the needs and their socio-demographic variables. And it was intended to be used as basic data to develop the curriculum for continuing education in university. The subjects were consisted of 473 practitioners in apparel distribution industries in Taejon and Chongju. A questionnaire was used and classified into seven areas--basic area textile science, design, clothing construction, fashion marketing theory, fashion marketing practice and business management. Descriptive analysis, t-test and ANOVA were used for statistical analyses. The results of this study were as follows: First, the educational needs of subjects by practitioners were in the following order: 1)fashion marketing practice, 2)design, 3)fashion marketing theory, 4)business management, 5)clothing construction, 6)textile science, 7)basic area. Second, the educational needs of subjects by practitioners were also related to their socio-demographic variables like educational background, work area, type of market, total work experience, years in present job, and the role. It was implied that subject areas like fashion marketing and design with theory and practice we of most importance for practitioners in apparel distribution industry. Therefore, a university curriculum of continuing education for them should take into account of those factors mentioned above.

• Journal of the Korean Society of Clothing and Textiles
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• v.2 no.1
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• pp.157-166
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• 1978

The purpose of this study was; (1) to examine ready-to-wear dresses to find the characteristics of labels and construction which existed at three different price levels and (2) to make the gathered information available to consumers, designers, manufacturers and the people who are concerned with ready-to-wear garments. A check sheet was made listing a wide variety of features which could cause garments to be different. For the statistical analysis. 87 dresses were used out of 116 dresses examined. Observation was made at the stores in Myung Dong, Suh-Dae Moon and No Ryang Jin in Seoul from February 16, 1978 to March 3, 1978. The findings are; 1. The average prices of high, medium and low priced levels were ${\\}54,728$, ${\\}41,448$ and ${\\}7,225$. The average price discrepancy between high and medium priced levels was ${\\}13,000$ and ${\\}34,194$ between medium and low priced levels. 2. Most of the dresses examined had labels in all three priced levels. The most informative labels were found on medium priced dresses and then high. The low priced dresses had no information which would be of help to the consumer in regard to care, size and Jiber content. 3. Most of the dresses examined were cut on lengthwise grain. The stitching of medium and high priced levels were satisfactory. The chief way of fastening threads at the end of stitching was by backtracking. $28\%$ of the low priced levels was found unappropriate in stitching number because it was too large to the fabric. Many dresses in low priced levels were not pressed well. The average hem width of low priced dresses were less than 3cm, the high 3-4cm and the medium 4-5cm. Hemming was done mostly by hand in high and medium and by machine in low priced dresses. The medium priced dresses used more linings than low and high priced dresses.

• Journal of the Ergonomics Society of Korea
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• v.5 no.1
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• pp.19-28
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• 1986

To study the body trunk form which is essential to clothing constructions, necessary body sizes were measured indirect1y from 216 unmarried women from 19 to 24 years old by a photographic network method. The results are obtained as follow; 1) In this study of body type measurements, the four factors of bust, abdomen, column and hip size have been divided into four-stage intervals and given the body type codes 1, 2, 3 and 4, with 1 designating the size difference of the factor with the minimum size difference of the factor with the maximum size difference from waist size. These body type codes can be easily, linguistically interpreted. In this study, among $4^4=256$ possible body types, 54 types appeared frequently. These 54 types are integrated into 6 groups of types by clustering analysis. Representative types of each group are types 3333 and 2333 in group 1, 2233, 1233 and 1332 in group 2, 2222, 1222 and 1223 in group 3, 2223 in group 4, 2323 and 2322 in group 5, and 3323, 3223 and 3322 in group 6. In the types of groups 1, 2, and 3, the change is mainly in bust size, and in the types of group 4. is single type. In the types of group 5 the change is mainly in hip size, and in the types by groups 6 the change is mainly in abdomen size and hip size. 2) The analysis by measuring the four elements of body trunk in reference to waist size is scientific and grading of similar styles is possible in clothing construction. 3) Assuming that the human body is oval, using the calculating method, the size of girth, which cannot be measured by the indirect measuring method, is obtained approximate to actual size, with an error of ${\pm}2.8cm$.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.397-415
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• 1995

The purpose of this study was to identify the change and characteristics of 20th men's fashion. The result of the Study as follows; 1 In the period 1890's-World War I there was a display of opulence and extravagance Therefore men's fashion pursued with elegance and grace. The rise of sports and an erosion of rules of Victorian society were evident influences before 1914. So men's silhouette resembled athletic appearance and less formality was shown in masculine attire. 2. During the period World War I-1920's the new equality of social relations between the sexes had an influence in fashion. Unisex look evolved so boyish shaped became the feminine ideal, men wanted to boyish fitted leaner stylings and natural shoulder suits. In the twenties youth, who seemed to have a social dominance, asserted their own testes in fashion. New style of men's fashion such as oxford bags and Ivy League Look appeared. After World War I "comfort" is the aim of fashion so casualness was reflected in fashion: vests often were discarded and man wore a soft, detachable collars. 3. In the thirties depression marked a shift in mood from gaiety and progressivism of the twenties to the conservative, even reactionary values. The role of men and women returned to more traditional attitudes, Every men's general appearance was bold and manly: his chest was broad and well-built, his shoulders square and muscular. The effects of World War ll were not on style but on textiles and clothing construction: lighter weight fabrics appeared and construction was simplified 4. Men's dress changed only in detail and not in essence. But there was a continued increase in the variety of clothes and color in men's fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.1-10
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• 2022

The purpose of this study is to analyze the structural properties of 100% wool fabrics knitted with various stitch types and to evaluate dimensional stability from shrinkage in wet cleaning and drying. Materials were weft-knitted from twenty-four different stitches with 7 gauge using a computerized flatbed knitting machine. Weight, thickness, density, and length were measured. A domestic washing machine and a tumble dryer were used for the shrinkage test. The results are as follows: Knitted fabrics were divided into 3 groups based on weight per unit area. Porous knits show light weight whilst milano, pintuck, rib stitches belong to the heaviest group. A positive correlation between weight and thickness was found and the same result was obtained for wale density and weight. Dimensional shrinkage of knitted fabrics was increased during repetitive wet cleaning and drying regardless of knit stitches. Especially, fabrics knitted with float, tuck, cable, and links & links stitches samples were contracted more than 15% in the first treatment whereas 2x1 rib stitch showed 1% shrinkage rate. Fisherman and milano stitches contracted in both course and wale direction with similar shrinkage rates. However, porous knits with float and tuck stitches shrank in course direction by 20% as well as cable samples contracted from 5% to 20% after repeated washing and drying. On the other hand, 30% and 15% contraction of wale direction occurred in orderly float and links & links stitches, respectively. Machine dried knits have a higher shrinkage rate than air-dried knits, but the drying method did not affect to the direction of contraction. In conclusion, variations of knit, tuck, and float stitches affect knit construction and dimensional stability from shrinkage in wet cleaning and drying of wool knitted fabrics.