• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Science of Emotion and Sensibility
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• v.22 no.3
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• pp.91-102
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• 2019

Tibet has a long history and many traditions that feature colorful costumes. This study analyzes the similarities and differences in the use of multicolored stripes in the Korean Saekdong (색동: stripes of many colors) and Tibetan folk costumes. The analyses were done within the framework of Tibet's cultural and religious background and the characteristics of the region's traditional costumes. For this study, literature and photographs from books and the Internet that record the history of Tibet's traditional costumes were analyzed. The results show that the use of various colorful stripes was common in the Bangjeon (帮典) apron, one of the greatest costumes in Tibetan history. A Bangjeon is made of wool of multiple colors and has horizontal lines as compared with the silk Saekdong's vertical lines. In addition, they have a multicolored striped band on the sleeves which reminds one of the traditional Korean jacket with its Saekdong sleeves. However, these multicolored stripes appear in more parts of the Saekdong (such as the hemline and front collar) when compared with contemporary Korean costumes. Moreover, the multicolored bands are noticeable in several ornaments from the time, which suggests that Tibetans and Koreans were very fond of using multicolored stripes. Costumes from the Goguryeo (高句麗) dynasty indicate that Tibetans, like the Mongols and Manchus, were very similar to Koreans as they had multicolored garments and Paji pants in common.

• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.650-656
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• 2010

To present a 6-piece baseball cap pattern with good wearing sensation and with good reflection of head shape, this study conducted direct measurement using martin's anthropometer and indirect measurement using surgical tape among women of 20 to 24 years old. For a crown, correlation analysis was carried out between direct measurements and surface shell measurements of each section on the head to set main items for prototype design, along with regression analysis to complete design formula; for a cap pattern, draping design was used on the finished crown to compete cap pattern design formula. The results showed that main measurement items to design a baseball cap included head circumstance and bitragion arc for a crown and the cephalic index for a cap. For the crown pattern reflecting the shape of the head, 6 pieces were designed with different sizes and types of front (F), side (S), and back (B) patterns; hemline was also designed diagonally and completed by reflecting the curve of the head.

• Human Ecology Research
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• v.56 no.2
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• pp.195-203
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• 2018

Online game digital hanbok has an aesthetic value in a digital culture and is useful for developing a digital hanbok design for online games as well as other industries. This thesis analyzes its attire and design composition elements to design a 3D digital hanbok by utilizing its formative characteristics. The literature review defines them as transmutability, virtuality, fictionality, reality and playfulness based on the characteristics of digital media, late digital generation and online games. We analyzed 471 images from 50 online games. Sonmaep was used for making 3D digital hanboks. Its attire was grouped into jogori pants, jogori chima, po and armor. Its design composition elements were classified as pleat, layering mu or hemline, mu sub gyeopmagi mitbadae, vent, git dongjung and decoration elements. The results feature 8 digital hanbok designs. Reality designs are replicas of jogori daegugo for men and po for women in the period of the Three States. Virtuality designs are slightly changed shapes of yoseoncheolrik for men and white jogori yellow chima for women in the Koryo Dynasty. Fictionality designs are casual fusion armors for men and women as a hyperbolic form. Playfulness designs are doll costumes for men and jogori chima for women as a kitsch and childish style. The concept of online game digital hanbok escapes from conceptual limitations of traditional hanboks. This result can be used for designing digital hanbok contents in various industrial parts.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• Journal of Fashion Business
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• v.11 no.3
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• pp.87-96
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• 2007

The purpose of this study is to analyse the characteristics of style, color and items of street fashion in Harbin. This kind of study will contribute to the understanding the preference of fashion in northeastern area, thereby, affording a fundamental resources for the strategic establishments of design and marketing in Korean brand launching into China. The results of this study are as follows. The preferred fashion style is casual one, rather than formal one. The order of preference in casual wear is character, jean and sports casual. In the view of color, preference in top color is, white, black, brown and pink. In the bottom, it is blue, white, black and brown. In one-piece, it is white, blue and brown. Throughout all items, the most frequently founded color is white, which might be ascribed to the seasonal influence of summer. The Chinese specific preference of color could not be observed. In aspect of items, the one-piece takes the proportions of more than half of the all the items. The typical details of one-piece dress are irregular hemline and asymmetrical line. While knee length takes proportion of 70%, in item of skirt, the full length is 46.8% in frequency for pants. In one-piece, knee length is 80% amounted as first rank, followed by midi and mini.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.35-46
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• 2007

The purpose of this study was to modify a Flared Skirt for women according to the somatotype of lower body. The subjects for the wear test were 3 students, who were in mean${\pm}1{\sigma}$ each somatotype. As seen in the study, it was found out that there was a difference in three dimensional shape of the lower part of the body even in the group of whom the body heights, measured by Martin's system, are alike. Due to such a difference in the three dimensional shape of the lower part of the body, it was found out to be a difference in drapability of the flare skirts. In order to have better fitness of the lower part of the body and to raise the visual effect, therefore, it is suggested that there need to develop a new model of the flare skirts considering three dimensional shape of the lower part of the body for the wearer or to take complementary measures for each body shape in case of applying traditional model.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.1
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• pp.35-51
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• 2023

This study used text mining to extract 2,842 keywords from 7,397 product names and organized them into categories in order to analyze the characteristics of keywords appearing in the product names of jeans after 2020. The item category included denim and Chungbaji [청바지], and Ilja [일자], while the silhouette category included wide and bootcut. In addition, high-waist and banding comprised the making sector, and the materials category consisted of napping, spandex, and soft blue. Denim surpassed the others in frequency, co-occurrence frequency, and centrality, and co-appeared with various other keywords. Also, the co-appearance of item and silhouette was prominent, and there were many keyword combinations that showed characteristics related to (a) high waist; (b) hemline detail; (c) rubber band; and (d) partial tearing. Furthermore, idiom expressions such as 'slim fit' and 'back tearing', which were not highlighted in the co-occurrence frequency, were additionally confirmed through correlation. Therefore, the product name analysis effectively identified the detailed characteristics of the silhouette and the making of jeans preferred by consumers.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• Journal of Fashion Business
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• v.14 no.2
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.