• 한국의류산업학회지
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• 제17권6호
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• pp.988-995
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• 2015

Gaps between the upper edges of brassiere mold cups and the breasts are one of the most serious issues in realizing comfort wearing of commercial brassieres for small-breasted women. The surplus ease amounts causing the fit problem were measured from 3D wearing images of the small-breasted women's brassieres. The effect after the removing the surplus ease amounts from the upper edge of mold cup was approved by subjective wearing evaluation. Since the volume distribution of mold cup can also affect the wearing sensation of brassiere, the subjective wearing sensation was compared for two brassieres of different volume distributions, V_L, of which volume was concentrated at the lower cup, and V_C, which has the thickest part at the nipple. As the results, the suitable sensation for cup volume and the natural wearing silhouette could be accomplished by removing the surplus ease amounts from the upper edge of mold cup to reduce the gaps between brassieres and the breasts, which could be accomplished through an approach reducing the volume near the upper edge of mold brassiere cup and making the volume concentrated at the lower cup. These works provide a useful information on the design of the brassiere mold cups for small-breasted women. Moreover, modeling methods of 3D scan data and 3D printing technique for making more accurate mold cases used in this research can be helpful to develop and evaluate clothing products in future.

• 복식
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• 제62권8호
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• pp.55-70
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• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

• 한국의류산업학회지
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• 제11권3호
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• pp.453-459
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• 2009

The purpose of this study was to provide the basic knowledge to determine the proper seam finish according to the design of sewing products. Four seam finishes(no seam finishes, over-edged seam finishes, turned-and-stitched seam finishes, and bias-bound seam finishes) were constructed with seams in warp, weft and bias directions of the fabric. Using a drape measurement system involving two 18cm diameter supporting disks and a digital camera, the images of draped specimens were captured and processed. Drape behavior was evaluated in terms of drape coefficient, node number, and drape profile. Drape coefficients of the fabrics increased with seam formation and varied by the seam finishes, however no significant differences in drape coefficients by the seam finishes were observed on the heavier fabric. Node numbers of heavier fabric were more deeply affected by the seam finishes than those of lighter fabric. The specimens with turned-and-stitched seam finishes and bias-bound seam finishes showed significantly smaller node numbers compared to the specimens with no seam finishes and over-edged seam finishes on heavier fabric. The length of the seamed part showed positive correlation with the weight of the specimens and negative correlation with the number of nodes in each seam direction. The maximum length of all draped specimens was found in the same direction as the seam direction. In the case of the lighter fabric, the seam and the seam finish had a great influence on the shape of the draped profile.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 복식
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• 제61권6호
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• pp.86-100
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• 2011

The traditional feminity has gradually been diversified in the 21th century due to a change in the society. This diversification of women's images and styles is derived from the addition of masculinity to feminity. C. G. Jung insist that human being is bisexual in nature. Animus is the male aspect in the women's collective unconscious and it is the archetype through which we generally communicate with the collective unconscious. It is also important to get into touch with the collective unconscious for self-realization. This study analyzes subconscious desires based on the Animus archetype in the collective unconscious of women through the diversity of the gender identity shown in cosmetic advertisements. Therefore this study aims to suggest a marketing strategy for the women's beauty industry in the future. For this purpose, this study conducts an empirical analysis of women's make-up and hair style in cosmetic advertisements through the Jungian Animus theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was classified into Mother/Wife, Hetaira, Mediale and Amazon. Second, the Animus archetype stimulates masculinity in women's make-up and hair style. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. This masculinization of women's beauty style is the external expression of collective unconscious and affords human being to reach self-realization.

• Journal of Information Science Theory and Practice
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• 제6권2호
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• pp.46-61
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• 2018

The mobile social networking application Instagram is a well-known platform for sharing photos and videos. Since it is folksonomy-oriented, it provides the possibility for image indexing and knowledge representation through the assignment of hashtags to posted content. The purpose of this study is to analyze how Instagram users tag their pictures regarding different kinds of picture and hashtag categories. For such a content analysis, a distinction is made between Food, Pets, Selfies, Friends, Activity, Art, Fashion, Quotes (captioned photos), Landscape, and Architecture image categories as well as Content-relatedness (ofness, aboutness, and iconology), Emotiveness, Isness, Performativeness, Fakeness, "Insta"-Tags, and Sentences as hashtag categories. Altogether, 14,649 hashtags of 1,000 Instagram images were intellectually analyzed (100 pictures for each image category). Research questions are stated as follows: RQ1: Are there any differences in relative frequencies of hashtags in the picture categories? On average the number of hashtags per picture is 15. Lowest average values received the categories Selfie (average 10.9 tags per picture) and Friends (average 11.7 tags per picture); for highest, the categories Pet (average 18.6 tags), Fashion (average 17.6 tags), and Landscape (average 16.8 tags). RQ2: Given a picture category, what is the distribution of hashtag categories; and given a hashtag category, what is the distribution of picture categories? 60.20% of all hashtags were classified into the category Content-relatedness. Categories Emotiveness (about 4.38%) and Sentences (0.99%) were less often frequent. RQ3: Is there any association between image categories and hashtag categories? A statistically significant association between hashtag categories and image categories on Instagram exists, as a chi-square test of independence shows. This study enables a first broad overview on the tagging behavior of Instagram users and is not limited to a specific hashtag or picture motive, like previous studies.

• 패션비즈니스
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• 제12권2호
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• pp.134-152
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• 2008

Functional, aesthetic and symbolic working uniforms in the industrial complex are demanded by employees and employers. The purpose of this research was to find out the actual wearing condition and preference of the working uniform design in the industrial complex. The research selected 7 enterprise subjects located in the Changwon National Industrial Complex and adopted a questionnaire method. 912 workers categorized into 4 work groups according to their work posts replied in total. The data and the degrees of satisfaction/preference of the working uniforms were analysed into descriptive statistics and F-tests by using the SPSS S/W package. The results were as follows: First, the style of the working uniform was the standard two-piece style. Second, the degree of the satisfaction with the entrepreneurial image implied to the working uniform was 2.83 throughout the 5-scale evaluation. In addition, the degree of the satisfaction with the working uniform colors was in between 2.94 and 2.96. Third, unsatisfied parts of the upper and lower uniform garments were: sleeve > pocket > collar; and waist belt loop > hip pocket > hem line respectively. Fourth, beige was the most preferred color for the working uniform top and bottom both. The most preferred color images were the calm and safety and the bright and light in order. Especially, the demand on the safety factors and soil proof colors of the outside field workers was much higher than the clerical workers. Fifth, the blouson type jacket with shirts collar or soutien roll collar was more preferred to than the casual style; and the straight formal pants were more preferred to than the casual/sweat sports pants styles. Sixth, inner pockets to keep the mobile phone and pens were required for upper garment details specially by manufacture workers. Increase of the waist belt loop numbers was required by all work groups.

• 한국의류산업학회지
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• 제19권1호
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• pp.1-10
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• 2017

The purpose of this research is to industrialize and to localize traditional culture resources of Andong by developing festival costumes related to 'Andong Mask Dance Festival'. We tried several methods to deliver meanings and images of festival costumes, as followings. Frist, from April, 2009 to October, 2012, we created the new design of the festival costumes after consulting with 7 festival experts about the conditions and characteristics of 'Andong Mask Dance Festival'. The festival costume design is characterized by the detachable parts of clothing based on Han-bok style, the front and back of bodice, right and left side of both sleeves, and pockets, which can be tied up with strings. Therefore the consumers can choose and attach the part they want. Secondly, the newly created festival costumes were evaluated appropriately to the consumer's satisfaction, implementation, practicality, and long-term development possibility according to the survey of 85 participants who were, in fact, wearing the festival costumes in the festival. The results are as follows: Frist, festival costumes are based on Korean traditional costumes, and it appears wearing object as festival costumes. Secondly, traditional beauty and modern beauty are well matched up, so men and women of all ages are possible to wear. Thirdly, size of costume can be controlled, so it's easy to wear. Finally, construction method is very simple. The possibility of long-term development by various material development is needed.

• 한국의류학회지
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• 제44권1호
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• pp.84-95
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• 2020

Wearing ease is a critical factor when designing special uniforms such as flight pilot's garment and should reflect occupational properties for better performance. This study measured skin surface on 31 areas in seven postures that refer to the pilot's occupational postures as well as made six prediction models including linear mixed model (LMM) for each body part to find the best fit model. Skin surface measured from 3D body scanned images of 11 male pilot participants. There were significantly positive and negative changes in various areas from standing posture (P1) to dynamic postures (P2-P7). Six models were designed in various compositions using stature and chest circumference as fixed effects and subject and posture as random effects. The best models were linear mixed models with one fixed effect (chest circumference or stature, varies with body parts) and two random effects (subject and posture). The results of this study provide reference data to set wearing ease for pilot's garment and suggests a new methodology in this research area, but verifying the effect of diverse independent variables is left for future studies.

• 복식문화연구
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• 제21권2호
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• pp.195-205
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• 2013

Eco T-shirts have become a part of environmental campaigns following social trends toward eco-friendly designs. With the demand for such designs expected to grow, there has arisen a need for higher product variety. In the past, eco T-shirts were designed to convey messages about the protection of nature through the use of environmentally friendly text or images. However, in order to respond to the preferences and emotional needs of Koreans, designs should cater to their characteristics and tastes. To this end, this study used a Whan-ki Kim-inspired motif to develop an eco-friendly design tailored to Korean perspectives. It is believed that this process can not only result in a distinctive eco T-shirt design, but also make it globally competitive. With regard to research methodology, a total of 41 paintings of Whan-ki Kim were analyzed and classified into four major themes or key values expressed in modern eco-friendly fashion designs: naturalness, indigenousness, harmony between nature and man, and harmony between natural and artificial beauty. Employing a wide range of CAD techniques and varying forms, the themes were developed into 28 T-shirt designs after their forms, tones, and textures were fully explored. This study demonstrates the possibility of designing creative, aesthetic, and high value-added eco T-shirts through motif development. In addition, it successfully integrates Korean paintings in the development of T-shirt designs aimed at communicating environmentally friendly messages.