• Title/Summary/Keyword: Dress modeling

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A Study on the Actual Conditions of and Satisfaction with the Existed Female Dress Forms Usage (국내 여성용 인대 사용 실태 및 만족도에 관한 연구)

  • Park Gin-Ah;Lee Hye-Young;Choi Jin-Hee
    • Journal of the Korean Society of Clothing and Textiles
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    • v.30 no.3 s.151
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    • pp.378-385
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    • 2006
  • To release fashion trends in an efficient way, many of the apparel business and fashion educational institutes in land adopt fashion shows employing fashion models. Modeling rather than flat pattern making realizes the majority of the complicated design works for the fashion shows. However, for the different measurements between the dress form and the real human model, problems often occur during the modeling and fitting processes. Researches on the standard dress form development representing professional fashion models' features are therefore in urgent need to enable the related apparel business and fashion institutes to make appropriate use of the dress form in their jobs. The study has been conducted as a preliminary study using a questionnaire method ultimately to develop the female dress form. A questionnaire in the research aimed at an investigation into the actual conditions of and satisfaction with the usage and the body measurements of existed dress forms. Approximately 30 fashion-related educational institutes and 10 apparel companies responded to the survey. Data derived from the survey was analyzed using SPSS version 10.1, the statistics tool. The results throughout the research were discussed in terms of largely three categories that are; (1) the general conditions of the usage of the dress form to prepare fashion shows: e.g. the frequency of holding the fashion show in an annual term, the proportion of professional and amateur models employed for the fashion show, the methods to construct garments, types and number of dress forms utilized and etc.; (2) factors considered to purchase the dress form e.g. its functionality, shapes, sizes, duration, price, A/S condition and etc.; and(3) satisfaction with the similarity between the dress form and the human body in the relation to the body measurements. Measurements in length wise, front and back waist lengths, neck to bust point on the dress forms were apparently differed from the ones of the actual body. In particular, differed torso length measurements cause the problem to have to alter the whole silhouette, consequently, the resultant patterns as well. In girth measurements, in order of bust and waist girths, the satisfaction was low.

The plastic design of dart location from the viewpoint of visual-spatial division (시각적 공간분할로 본 Dart 위치의 조형적 설계)

  • 정옥임
    • Journal of the Ergonomics Society of Korea
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    • v.6 no.1
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    • pp.33-40
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    • 1987
  • To study the body trunk basic to Clothing construction, and study the peculiarities of visual spatial division, necessary items are measured indirectly from 216 unmarried women from 19 to 24 years old by a photographic net-work method. In so doing, the problem of Fashion Design in establishing the location of Darts for Basic Dress is not considered. The following results are obtained. 1) Indirect measuring method, is obtained approximate to actual size, with an error of .+-. 2.8cm. 2) In the modeling plan of Dart location viewed from the visual-spatial division in Basic Dress, it is concluded that Darts are to be placed at the point of 1/3k+1/5k form the waist. From the aesthetic point of wiew, it is more appealling for darts to be placed at the point of 6cm .+-. 0.6cm right or left of center. 3) From direct measurement dart location can be set based on bust point width, and from indirect measurement, dart location can be set based on waist width.

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A Study on Clothing Design applying Quilt - focused on a butterfly motif - (누비를 응용한 의상디자인 연구 -나비 모티브를 중심으로 -)

  • 신혜원;김정혜
    • Journal of the Korean Society of Costume
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    • v.50 no.7
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    • pp.75-96
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    • 2000
  • Modern clothing is approached in the level of art, and it becomes the means of expressing individuality in modern society uniformed by the development of information society. In this modern society, modern men need the recovery of humanity and expectations of handcrafted skills for the succession of tradition culture. Prior to expressing individuality, we should examine our traditional culture and combine it with western culture. Quit started to be used for practical purpose such as life items, but it is expanded to the fields of art. Used in dress and its ornaments design, quilt is often applied to the addition of aesthetic factors or cubic material feelings by transforming its warming effect. Hereby, this study has a purpose to create high value added modern dross and its ornaments design by expressing the modern clothing is approached in the level of art, and it becomes the means of expressing individuality roe-dimensional characteristics of quilt, and applying the color combination and the surface of butterfly wings to dress and its ornaments design. The following are the results of this study. 1. The concept of quilt started for practical purposes, but it is expanded to decoration in modern times, and it is confirmed that quilt can be variously applied to handcrafted modern design. 2. Quilt removes the plane character of textile and it riches the three-dimensional material of dress and its ornaments. Applying these characteristics, the expression of transparent wings were possible with 3 transparent layers of textile. 3. The spledid color of butterfly wings are expressed by coloring oganza and felt, and the various colors of felt showed rich color gradation. 4. The form and pattern of butterfly wings are applied as modeling form and line, and the transformation. repetition and expansion of unit forms determined the form of quilting lines. By designing the characteristics of back wings for the composition line of clothing, the form characteristics of a motif could be emphasized. 5. By using felt, oganza, Damdam yarn and ostritch feathers in expressing butterfly wings, the warm material of Linbun is felt, and the tip hair of wings are expressed by croche techniques using Damdam yarn.

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Rest Costume Design with Traditional Image of Korea for Tourist Industry - Centering on Hotel Supply -

  • Chae, Keum-Seok
    • International Journal of Costume and Fashion
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    • v.3
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    • pp.1-11
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    • 2003
  • This study aims to recognize the value of traditional culture and to create 'Korean style rest costume' i.e. in-door clothes for comfort's purpose designed for hotel or other tourist accommodations with its own image. In so doing, national pride and identity will be exalted for Koreans, while an opportunity of cultural expose will be provided for foreigners through the symbols of Korea, which will contribute to the international introduction and representation of Korea. First, this study investigates the external characteristics in forms and structures of Korean style rest costume. Second, questionnaires regarding consciousness of Korean style rest costume and preference in design are distributed to the hotel guest and staff-both domestic and international- to be fir out. Lastly, designed rest costume representing Korean image, based on the results of the survey. Upon investigation, users and employers both preferred two piece style which is separated to upper garment and lower garment. While employers preferred short sleeve, users preferred long sleeves. In colors, employers preferred blue while users preferred white. In garments, both of. the employers and users preferred cotton, towel and cotton flannel. In addition, when introducing rest costume, it will be efficient to distinct the strategy between natives and foreigners, and also distinguish where the rest costume will be used.

Rusty Images Applied Fashion Design - For Digital Textile Printing Method - (녹 이미지를 응용한 의상디자인 - 디지털 텍스타일 프린팅 기법을 중심으로 -)

  • Yoon, Ji-Ill;Lee, Youn-Hee
    • The Research Journal of the Costume Culture
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    • v.18 no.5
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    • pp.1003-1016
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    • 2010
  • The purpose of this study is to reorganize any rusty image including natural modeling characteristic presented from the natural phenomenon to certain patterns in order to create the fashion design that are valued in the expansion of independently expressional area and modeling art. As a method for research, the author analyzed the concept and characteristic for rust with a base of theoretical background by the documental research and realistic consideration, analyzed its modeling characteristic through domestic and overseas pictures, and e-documents as data, inspected the modeling activities of various categories that various images were adapted related to rust, looked into the concept of Digital Textile Printing and its producing procedure as an expressional method, and analyzed the examples of modern dress and its ornament making use of Digital Textile Printing. The conclusions of this study are as below. First, the rust occurred due to the natural phenomenon is the bond with different material like metal, each unique modeling characteristic occurs and harmony of various patterns has abundant aesthetic value. Second, the author could endowed sensible characteristic and speciality with works and could produce creative fashion design that painting, abstractive pattern and harmony of unique sense of colors are significant by using the image of rust, Third, to emphasize natural feeling of rust, the author could develop creative design that simple silhouette and impressive pattern look significant by reorganizing and applying rust according to repetition, increment, rhythm, contract, emphasis and harmony. Fourth, Digital Textile Printing method is used to induce visual effect by the expression of feels of rust, and the author could express the natural patterns, delicate expression for the feels of a material and unique design of emotion.

A Study about Bisexuality in Current Fashion-Basis on a Representative Designers and their Characteristics in the each period- (현대패션에 나타난 양성적 복식에 관한 연구-시대별 대표적 디자이너와 그 특성을 중심으로-)

  • 채금석
    • Journal of the Korean Society of Costume
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    • v.44
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    • pp.37-56
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    • 1999
  • In clothing, a tendency of Bisexuality is in case of wearing clothing of the opposite sex, the mixing of modeling principle and characteristic of man and woman, the exclusion characteristic of sexuality that present sexlessness-the third sex. They-Designer Gabrielle Chanel, YSL, Giorgio Armani-give characteristic of man's fashion to women's fashion. However, the consciousness in design is different. Chanel apply principle of man's suit to woman's wear to express authority and power about gender image, hereby she express women liberation and equality of man and woman based on social ideology through fashion especially, she express women's sexual independency and self assurance to her clothing. YSL express liberal and bold women that pursuit reasonal and liberal life in 1970. As he apply tailoed suit's rigidity to women's wear, he made 'pants look' universal in women's wear through“Dress for success”in modern life. Armani apply successful modern image to women's wear, so he express women's image of confident intellegent as well as feminine image. He focus women's new image as man living liberal and indivisual life excluding social category rather than will of equality of man and women. Gernreich break sexual prejudice and release women freely, furthermore, as he express concern of sexuality pursuit liberty of mankind surpassing sex distinction with women liberty. Gianni Versace pursuit mix and extinguishment of sexual image many-sided, and break fixed idea of sex, and reprovide feminine and masculine image. So his design tend homosexuality because he regard women's glamor and ostensible sexuality as standard of beauty, he apply this to man's wear as well as women's wear. With this, he expresses sensitive and liberal man's that break characteristic of Gender that symbolize power and authority in man's wear through 'Without ties'.

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Mobile Commerce Brand Identity Strategy by SNS Text mining

  • Yeo, Hyun-Jin
    • Journal of the Korea Society of Computer and Information
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    • v.25 no.10
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    • pp.255-260
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    • 2020
  • In this paper, I propose an efficient brand identity strategy by topic modeling the Instagram posts, one of SNS(Social Network Service) having more than 1billion world-wide and 500 million daily users. Since the 92% age groups of the Instagram is 18~50 years old (59% 18~29y and 33% 30~49), I set research analysis target three mobile commerce sites to dress and cosmetics sales sites that sale apparels cosmetics and gadgets that recently opened and have operated marketing on diverse channel including SNS. By topic modeling SNS posts for 6 months after launching the site that tagged each m-commerce site brand name or company name, I validate companies' brand identity strategy works effectively and suggest moderation of strategy for brand image. As a result, I found one of three mobile commerce site has different brand image by users and need different identity set up.

The Modeling Nature of Op ART Expressed in Contempotary Dresses (현대의상에 표현된 OP ART의 조형성)

  • 임영자;이현숙
    • Journal of the Korean Society of Costume
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    • v.24
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    • pp.143-155
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    • 1995
  • Unlike pure art such as painting and sculpture, dressmaking , a field of special plastic art, is characterized by its physical and functional nature. Having an inseparable relation with form, it is a field of art expressiion the human innersense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order to study the forms of art from the past in order to study the correlations and mutual influencies between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analze how the form and characteristics of OP ART , which represents the trends of the 1960's is embodied in modern dresses. The results are as follows : Fist , the expression of OP ART in dresses have visual effects harmonizing with bodily movements and , also, expanded the range and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythimicity of a body in a limited space in a two-dimensional plane way of expression . When a dress is worn, however, it expands such mobility and rhythmicity in a cubic , three-dimensional way, maximizing the effects of , and boldly expression, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self , due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third , by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body's weak points, and create a desired three -dimensional sense by highlighting the beauty of the body's curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is a infinite possibility in OP ART, there should be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.

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A Comparative of the Different between Virtual Fashion 3D Avatar and Size Korea of Adult Women's Body Shapes (성인여성 버추얼 패션 3D 아바타와 Size Korea 인체형상의 형태 차이 비교)

  • Lee, Ye-Ri;Jang, Jeong-Ah
    • Fashion & Textile Research Journal
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    • v.22 no.1
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    • pp.87-93
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    • 2020
  • This study provide basic data to develop a dress form reflecting body shape characteristics by age and to produce a 3D body form in a virtual fitting program. A comparative analysis was conducted on the size, section shape, and slope of side shape of the modeling form by the sizing of the basic female avatar in CLO 3D, one of the 3D apparel CAD programs and the body form of women in their 20s-50s by body shape in the 6th Size Korea (2010). First, all the differences were formed similarly in the direct measurements between the 3D avatar and the body form were within 1 mm. Second, in a comparison of the section form of the avatar and body form in Size Korea, the avatar was formed in straight body shape and did not reflect a spinal curvature according to age. As a result of an examination of the items with a difference over 5° in the slope of side shape, there were angle differences in numerous body shapes in the angles of the side upper abdomen, side upper back, and side upper bust, and the avatar's bust shape was expressed more flatly compared to body form. It will be possible to produce an avatar that can adequately reflect body shape characteristics by adding detailed length and angle items by the region like waist back length and front length in producing the avatar reflecting body shape characteristics, instead of a standard body shape.

Aesthetic Characteristics of Hanae Mori's Apparel (하나에 모리(Hanae Mori) 의상에 나타난 미적 특성)

  • Choi, Young-Ok
    • Fashion & Textile Research Journal
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    • v.9 no.6
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    • pp.613-625
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    • 2007
  • Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.