• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.1-13
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• 2014

This study investigated body type among women in their 20s and the development of prototypes for tailored jackets by body type in order to design clothes in consideration of an imbalance in body type caused by the popularity of portable devices such as smartphones and Netbooks. This study aims to create a design of jacket patterns by body type through both actual and virtual wear testing among women in their 20s, who are the major consumer of ready-made clothes and are very sensitive to size fit. This study will provide pattern information for the manufacture of jackets with a goal of securing the latest scientific body type information and establish the grounds for a research method in the manufacture of clothes. According to actual and virtual wear tests of four different body types, a significant difference was found in armhole circumference in most types because it was scanned with the arms slightly apart to prevent the armhole area from being missed during the 3D scanning. This has resulted in a slight distortion in measurements. To correct this problem, it is necessary to verify the precision of the body scanner and its program. In categories in which a large significant difference was found, it is necessary to test them against many subjects. In addition, it would be required to perform a further study on the 3D virtual wear system, which could be useful in the clothing industry.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.640-650
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• 2023

This study aimed to suggest a suitable collar pattern by visually evaluating the appearance of the amount of collar drape by the starting position of the lapel line of a double-breasted tailored jacket using a 3d virtual fitting program. It created an avatar based on the mean size of women in their 20s (the 8th Size Korea) using clo network (double fastening: 10cm, collar width: 4.5cm, collar stand: 3cm, and lapel width: 8.5cm). The starting of the lapel twist line was waistline level, the 1/2 level of bustline and waistline, or bustline level, and collar laying amount was 4.5, 5.5, 6.5, or 7.5cm. It was evaluated by garment construction experts using 5, 6, and 4 items on the front, sides, and back, respectively. Descriptive statistics, F-test, Duncan-test, and reliability analysis were conducted using SPSS 22. When collar laying amount was 6.5cm, it was best rated regardless of the starting point. Under waist line, when collar laying amount was 6.5cm, it was best rated regardless of the starting point. When collar laying amount was large, the collar's outline length increased, resulting in unnecessary wrinkles from the neckline to the lapel, affecting the overall collar appearance. When collar laying amount was the smallest, the collar was lifted and the width was narrowed, exposing the seam connecting the collar and neckline. The length of the collar's outline varied depending on collar laying amount, which was important to make the outline sit comfortably on the body.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.586-606
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• 2023

This study initiated research aligned with the body positivity movement, aiming to explore size diversity for groups facing relative size discrimination due to their deviation from average body types. Using KS adult women's apparel dimensions as a reference, jackets were developed for women in their 20s to 30s who belong to the small petite-size (S[P]) category, which is characterized by a height under 155cm (petite) and a bust-circumference from 72cm to less than 82cm (small). Using 3D virtual-fitting, we conducted experiment-pattern production and refinement and subsequent real-fitting evaluations by participants to objectively validate aesthetics and comfort. The study's findings are as follows: First, utilizing a 3D virtual-fitting program by identifying 'creases' and 'garment pressure points' in the jacket appearance, experiment patterns were refined and real jackets were produced. This approach addressed challenges in recruiting participants with specific body types and allowed for efficient research in terms of cost and time. Second, through real-fitting evaluations, basic-fit and slim-fit jackets labeled as <79-88-150> were developed for the S(P) size. we presented 'size spec' and 'ease allowance' for jackets by waist fit. Both fits received positive evaluations with approximately 53.5cm sleeve length, and 11.7cm shoulder length. The ease allowances for the basic-fit jacket were approximately 9.2cm at the bust circumference, 12.8cm at the waist circumference, and 6cm at the hip circumference. Similarly, the slim-fit jacket exhibited ease allowances of about 4.8cm at the bust circumference, 4cm at the waist circumference, and 4cm at the hip circumference, receiving positive evaluations for aesthetics and comfort.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.720-737
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• 2023

This study aims to merge Picasso's expressive elements and deconstructive fashion's formative traits, proposing an upcycle fashion design that fuses artistic and philoso-phical aspects. The analysis of Picasso's Cubism identified qualities like liberating revolution, fluidity of vision, geometric reducibility, complex symbolism, and creative imitation. The analysis of Derrida's deconstructionism revealed expressive traits: uncertainty, intertextuality, différance, and dis-de phenomenon. An upscale fashion design was developed based on six Picasso works featuring women. The design was created using the fashion design software CLO 3D and integrated clothing waste and scrap fabrics as materials.The results are as follows. First, upcycle fashion was viewed from a new perspective based on Picasso and Derrida's values. This perspective suggested creating better ethical values by upholding environmental protection in novel ways that overcome limitations rather than destroy existing values indiscriminately. Second, upcycle fashion design methodologies were derived from various perspectives utilizing formative features of Picasso's works and specific expressive features of deconstructed fashion. Third, the direction of mitigating waste and pollution from clothing production and transportation was revealed by making clothes in a virtual space using the CLO 3D program. This study contributed to obtaining various methods for developing upcycle fashion designs using own methods of Picasso and Derrida to diversify the approaches of upcycling, which is relatively stagnant in disassembling.

• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.727-743
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• 2018

In this study, we used the 3D simulation program to create bodice patterns for adolescents boy students and analyze the fitting and air gap through 3D simulation. The purpose of this study was to select the bodice pattern method that best suited the body shapes of the adolescents male students. The subjects of this study were the French E pattern, Japanese N pattern, and Korean industrial L and J patterns. The applied size was the sixth Korean human body size survey data of 2010 Korea. The age range of the subjects was 13-18 years. DC Suite Program Ver. 5.1 was used, and SPSS 23.0 program was used for data analysis. As a result of comparing the shapes of the bodice patterns in the 3D simulation program, the E pattern had two waist darts on the front and one shoulder dart and one waist dart on the back, and the J and L patterns only had one dart on the back. The N pattern had no darts on either the front or back. As a result of examining the appearance evaluation of the pattern, air gap, color distribution, and clothing cross-section, the E pattern was evaluated as the closest to the body, and the N pattern was evaluated as the pattern with the largest allowance. The J pattern was evaluated as the best fit for body shape of the male adolescents. However, it is necessary to develop a pattern system by adding extra ease in setting the center front length.

• The KIPS Transactions:PartB
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• v.11B no.6
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• pp.683-690
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• 2004

Garment modeling and simulation is now one of the important elements in broad range of digital contents. Though there have been recent products on garment simulation, general users do not know well enough how to design a virtual costume that meets some requirements about its specific clothing pattern. In particular, Hanbok - the Korean traditional costume - has many different characteristics against western ones in the aspect of its pattern design and of draping. This paper presents a knowledge-driven approach for virtual Hanbok modeling without knowing how to make real Hanbok. First, parameterized knowledge for several fabric types art solicited using visual similarity assessment from simulated and real cloth. Secondly, based on the analysis of designer's knowledge, we defined multi-level adjustment processes of Hanbok measurements with regard to body shape features for different virtual actors. An experimental system is developed as the form of a Maya plug-in and the result shows the applicability of the proposed method.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.1-10
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• 2021

Harnesses are used in a variety of industries, such as rescue operations, medicine, and entertainment. However, conventional harnesses have problems as they are uncomfortable to wear and causes continuous pain. Therefore, in this study, the load and pressure applied to the body in the flying state when using a conventional harness were measured in real time and the distribution change was observed. Load and pressure were measured using a modified corset harness, a pressure sensor, and a human mannequin to measure the maximum and average pressure on the waist. As a result, it was confirmed that the load concentrated on the waist in the flying state was 104 N, and the pressure was applied to the left and right sides was 800 kPa or greater. The pressure distribution showed a pressure of 3-45 kPa in 73% in all measurable pressures. The results of the load and pressure distribution are presented as basic data for improving the wearability and reducing the discomfort of harnesses in the future, aid in the development of a harnesses that can minimize discomfort for various activities, and increase the concentration on experiential activities. In addition, using the CLO 3D program, which is a 3D virtual wearing system, a harness was put on a virtual model, and the compression level was checked and compared with the actual pressure distribution. As a result of comparing the measured pressure values in the flying state with the clothing pressure wearing the harness in the CLO 3D program, the total pressure value was found to be about 68% of the actual measured value. This helps develop a harness that can minimize discomfort during activities by predicting the load and pressure on the body by first applying new designs to a virtual wearing system during development. These new harness patterns can solve the problems of conventional harnesses.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.448-457
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• 2017

This study aims to analyze the changes in the mechanical properties of interlock fabrics knitted with three types of fibers (i.e., cotton, wool, and polyester) by bonding fusible interlinings with varying deniers (i.e., 10D, 20D, and 30D) for a 3D virtual try-on system. We experimented with four properties and thicknesses of twelve specimens of interlining bonded knitted fabrics including face fabrics and interlinings. The results showed that the tensile property changed values (i.e., LT increased, and WT and RT decreased) according to the denier of interlinings; however, the change was slight. On the other hand, the bending property increased significantly as the denier of the interlining increased on both the wale and the course. Among shearing properties, the value of G increased as the denier of the interlining increased on both the wale and the weft; however, 2HG decreased. Additionally, changes in the compression property varied according to the fibers and the denier of the interlinings. The thickness of the knitted fabrics increased or decreased slightly by bonding the interlining. based on these results, we conclude that the 3D virtual system users need to reflect these numerical changes of interlock fabrics by bonding interlinings when they perform fitting tasks on the screen to accurately express the to accurately express the manufacturing conditions of the real garment.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.412-419
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• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.