• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.147-162
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• 2007

The purpose of this study is to grasp the inconvenience and problems with caregivers' uniforms and preferred designs by examining the wearing conditions of these uniforms in medical welfare facilities for the aged. To attain this purpose, a questionnaire was completed by direct observation and by interviewing caregivers in specialized hospitals for the aged and those engaged in nursing and then a preliminary examination was carried out. The questionnaire was given to 228 caregivers. Following are the results of this research. It was found that the caregivers in medical welfare facilities for the aged were women in their 50s, wearing primarily a size 77 uniform. It was revealed that when the caregivers bathe patients, they usually get wet from the knees to the bottom part of their pants and many of them (61.2%) change both their tops and pants after giving a bath. The caregivers said that every part of the tops of existing uniforms, except the armpits, were a little large or too long. It turned out that the area of the armpits, the front buttons, crotch, hip area, and knees are mostly the areas that readily wear out in the uniforms. It was reported that the uncomfortable parts in the uniforms a.e the armpits, shoulders, and the front adjusting parts of the tops and the hips, thighs, and the crotches of the pants. The material for the uniforms have problems in ventilation, fluffing, absorption of sweat, and permeation of odor.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.108-123
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• 2007

The purpose of this study is to investigate costumes worn by high government officials which are illustrated in Tamna Sullyeokdo at the era of King Sukjong of the Joseon Dynasty. The findings of the study are as fellows: 1. Tamna Sullyeokdo showed that Moksa wore an simplified version of Jobok at a congratulatory ceremony. They wore Sibok at such events as examinations, Yeonhyang or Jinsang. Particularly at Yeonhyang, Samo was decorated with some red flowers. The officials wore Yungbok when they were participated in military training, hunting or arrow shooting competitions. They wore Pyeonbok when they go on a trip 2. Pangwan wore Sibok when they took an examination. They wore Yungbok during military training while they wore Pyeonbok during Tamseung. 3. Hyeongam wore Sangbok at a congratulatory ceremony. When they take part in military training, examinations, Yeonhyang or Jinsang, those officials wore Sibok. They also wore Yungbok during military training, Yeonhyang or Jinsang. They wore Jurip decorated with some red flowers during Yeonhyang. And they wore Pyeonbok when they were inspecting military training of Seongjeonggun. 4. Gungwan wore Yungbok at every events. They wore Jurip decorated with Hosu and Jeonrip on their head, and wore Cheolrik during military drills, arrow shooting competitions, examinations, Jinsang, or Tamseung. They wore Jeonip decored with red flowers during Yeonhyang. During regular military trainings, those officials wore Jeonrip decorated with Sangmo on their head and wore Cheolrik and Jeonbok. During Tamseung, they wore Jeonrip decorated with Sangmo on their head and wore Jeonbok with Jungchimak or a set of Jeogori and Baji.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.53-62
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• 2007

The purpose of this study was to investigate mechanical and comfort performances of the material for the improved working uniform for a volunteer fire brigade member, to get basic data for its evaluation and to help its material and design development. The results were as follows; The material of the newly developed working uniform was thinner and lighter than the material of the current used working uniform. It had better breathability, air permeability and heat transmission rate than the current one. It also had superior anti-flammability In all mechanical properties(tensile, bending, shearing, compression and surface properties), it showed better performances than the current one. It elongated and bended easier and more in both warp and weft directions. The elastic recovery and shape stability after elongation were also higher. The recovery and resistance to shearing and the resiliency and recovery after compression were also better than the current one. It was more flexible, softer and smoother in primary hand value, and was more suitable for the material for winter suit which needs softness and fullness in total hand value. The material of the improved working uniform showed lower thermal insulation value and higher evaporative resistance value compared to the material of the currently used working uniform from the sweating thermal manikin test. It was shown that the physical performances and the hand value of the textile material used in the newly developed working uniform for a volunteer fiber brigade member was improved compared to the one used in the currently used working uniform.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.42-55
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• 2013

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play's situation, the director's style and the person's character. Nevertheless the study regarding the opera's costumes is not active, especially the comparative study on the same opera's costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera's costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume's development.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.14-28
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• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.652-659
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• 2008

This study was designed to testify the possibility and devise the method to manipulate the 3D body scan data to produce rounded-belt pattern adaptable to hip-type variation of women in their 20's. The results of this research were as follows : Firstly, based on drop-value distribution of hip and waist girth, 151 subjects were classified into three hip-types; Type 1 (15.23%) was 'cylinder type', showing lowest drop-value, Type 2 (69.54%) was 'average type' and Type3 (15.23%) was 'hourglass type' showing highest drop-value. Secondly, using CAD program, design lines for round shape belt were set on the surface of 3D scan data of representative subject of each type. And divided 3D surfaces were flattened onto the plane by the internal tools of CAD program. The measure, 'lifting value of round belt pattern', implying the level of curve ratio of pattern was higher in back than front. This result might be linked to the fact that the hip part is more protruded than the abdomen part. And the measures also showed highest values in Type 3(hourglass type) and lowest in Type 1(cylinder type), meaning that the pattern of Type 3 showed more rounded shape than that of Type 1. This finding implied that round belt for body type having high drop-value should be shaped more curved. Thirdly, difference ratios of outline length and area between 3D curves(body surface) and 2D plane(pattern) were 4.5% and 1.3%, respectively. This result demonstrated and solidified the feasibility of designing digital garment pattern from 3D body scan data.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.447-461
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• 2015

The purpose of this study is to develop a torso pattern that is highly representative for the proper body shape of women in their thirties. Size data of the women with age of 30 through 39 from the database of Size Korea 2004 were used for the study. In order to develop a master pattern which will be used as the benchmark for grading of research group, 4 existing torso block drafting methods were compared based on the data gathered and the block with the highest evaluation score was utilized as a reference point. For the analysis, data was divided into four types, only the data of 138 subjects which were evaluated at least by four or more experts as valid were used for the study. The major results can be summarized as follow. The women of bust girth of 91cm and height of 160cm which was turned out to be representative type of research group were used as standard measurement for the purpose of reflecting not only curve length of the 3D analysis measurement but also the difference between front and back thickness to the pattern. Dart locations were set based on front and back torso ease, shoulder area revisions, front sagging length 1.5cm and cross section crevice length analysis. According to the experts' appearance evaluation of the pattern was found to be better than the control pattern which was regarded as the best among 4 patterns created based on existing torso block drafting methods.

• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.549-561
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• 2000

The purpose of this study was to survey and analyze the age classification of women customers as a target market and sizes on a label that were actually produced by each brand in Korean national brands ; they were classified into size for bodice and bottom, and compared with the distribution of national data of women's body measurement. They were analyzed and classified by brand groups of 'miss', 'missy', 'Mrs.'and 'madam', The results were ; 1) It was found that recent products for ready-made for women's clothes tend to be designed with target to the measured ages classified by the range of five or ten years. The main practice was that for 'miss'brand group the age range was of five years, and for 'missy'brand group, ten years. And for 'Mrs'and 'madam'brand groups, it was of 15 or 20 years. So that, it is necessary to design their clothes based on their features of body considering the intervals of age. 2) 'Mrs'and 'madam'groups were most remarkable for their distribution into a vast range of sizes for three control dimensions and waist girth size when compared to 'miss'and 'missy'groups. The distribution of brand size had no relation with that of body measurement, and in particular, none was produced for short height size between 145 and 150 ㎝. For tall height size between 175 and 180 ㎝, many brand sizes were distributed while body measurement was few. It means that distribution of brand size was different from real distribution of body measurement was few. It means that distribution of brand size was different from real distribution of body measurement as a result that the larger the bust girth in such cases over 160 ㎝, the larger the size of hip girth. Even as for the height 155 and 160 ㎝ in which body measurement is concentrated, there were many problems because while sizes of 'large'bust girth and 'small'hip girth had a large distribution, their clothes were not produced.

• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.271-285
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• 2006

The purpose of this study was to develop a new basic skirt pattern for 4 lower body types of Plus-sized women. To reduce a time and economic loss about putting it on, This study applied a 3D sample module in the course to develop a basic skirt pattern which is fit, functional and beautiful. A data analysis used the SPSS 11.0 statistics program. To verify the difference, This study used the variance analysis and Duncan's test for the postmortem verification. The result was as follows. To reflect a feature according to an abdomen projection and hip projection, we added the maximum hip circumference to the waist circumference and hip circumference for necessary for a skirt draft item. The front hip circumference sets to the H/4+1cm(ease)+D/4. The back hip circumference set to the H/4+0.5cm(ease)+D/4. The D is the hip circumference in the maximum hip circumference to subtract. The front waist circumference sets to the W/4+0.5cm(ease)+0.5cm(A front and back's difference)+D/4. The back waist circumference sets to the W/4+0.5cm(ease)-0.5cm(A front and back's difference)-D/4. Compare with 4 lower body types of Plus-sized Women, A type 2 and type 4 abdomen projections are bigger. We raised a front waistline of skirt pattern to a 0.3cm upside, and take about 1.3cm down the skirt length from a developed skirt pattern. Consequently, the appearance of a front skirt length was improved with a side skirt length.