• 한국의류학회지
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• 제13권2호
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• pp.146-154
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• 1989

The purpose of this study was to develop a computer program for pattern making of man's Korean traditional trousers (Hanbok Baji). The IBM-PC/AT Computer was used in this study. The procedures of the study were as follows. 1. Basic pattern of Hanbok Baji was selected. 2. Co-ordinate points were instituted for indicate of relative location of all necessary points in drafting. 3. A program for drafting was developed. 4. The pattern of Baji for man's Hanbok was automatically design by inputting individual body measurement (trouser length and hip girth). 5. Grading of standard size was accomplished by using same method.

• 복식
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• 제52권7호
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• pp.45-55
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• 2002

This study aimed at proving the fact that Men also wear SOKGOT similar to women's pants in early Chosun era unlike the general opinion that the men's pants is SAPOK-BAJI. From what SAPOK-BAJI didn't show up in the contemporary remains and the fact that men also wear GAE-DANG-GO (the pants opened low parts). which is one of SOKGOT types in ancient time of China, the assumption above can be guessed. Since the clothes style in Chosun era centered on PO. and the pants were designed not to show out. it can be considered there are any troubles for men to wear the SOKGOT style pants. But through Japanese invasion of Korea in 1592 and Chinese invasion of Korea in 1636. changes happened. Due to reflection and awaking about wide and burdensome clothes. the change seemed to be happened from wide SOKGOT style to narrow SAPOK style. The SOKGOT style pants seemed to settle down for women's only as men's pants become SAPOK-BAJI.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 수산해양교육연구
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• 제9권1호
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• pp.71-82
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• 1997

최근 오징어는 주요 대상어종이 되고 있으므로, 동중국해와 우리 나라 남해에서 어획되는 Short-finned squid와 Long-finned squid에 대해 분석하였다. 조업시험은 실습선 새바다호를 이용하여 다이아몬드형 망목에 의한 조업시험은 망목의 크기가 A(51.2mm), B(70.2mm), C(77.6mm), D(88.0mm), E(111.3mm)인 5종의 끝자루를 제작하여 1991년 6월부터 1992년 12월 중에 행하였으며, 정방형망목에 의한 조업시험은 망목의 크기가 A(51.2mm), B(70.2mm), C(77.6mm), D(88.0mm)인 4종의 끝자루를 제작하여 1992년 7월부터 1994년 6월 중에 행하였다. 다이아몬드형 망목과 정방형 망목의 끝자루에 Cover net를 부착하고 Trouser방식으로 실시하였다. 분석한 결과를 요약하면 다음과 같다. 1. 동장이 201mm 이상 되는 도피율은 D Type가 A type 보다 Short-finned squid는 55%, Long finned squid는 46% 컸다. 2. Short-finned squid의 어획량은 한국남해가 동중국해 보다 2.5배 많았으며, Long-finned squid는 동중국해가 한국남해 보다 14.3배 많았다. 3. 다이아몬드형 망목의 선택성곡선에서 Short-finned squid의 평균 선택동장 49mm, 평균 50% 선택동장 141mm 이었으며, Long-finned squid의 평균 선택동장 48mm, 평균 50% 선택동장 122mm 이었다. 정방형 망목의 선택성곡선에서 Short-finned squid의 평균 선택동장 67mm, 평균 50% 선택동장 156mm 이었으며, Long-finned squid의 평균선택 동장 60mm, 평균 50% 선택동장 137mm 이었다. 4. Short-finned squid에 대한 Master curve 선택성곡선 에서 다이아몬드형 망목은 기울기 3.01, 선택계수 2.10 이었으며, 정방형 망목은 기울기 1.82, 선택계수 2.37 이었다. Long-finned squid에 대한 Master curve 선택성곡선에서 다이아몬드형 망목은 기울기 3.11, 선택계수 1.81 이었으며, 정방형 망목은 기울기 2.35, 선택계수 2.08 이었다.

• 수산해양기술연구
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• 제28권4호
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• pp.360-370
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• 1992

In order to analyse the mesh selectivity for the trawl net, the fishing experiment was carried out by the training ship Saebada belonging to the National Fisheries University, in the Southern Korea Sea and the East China Sea from June 1991 to August 1992. The trawl net used in the experiment has the trouser type of cod-end with cover net and the mesh selectivity in the cod-end part. In this report, the species of fishes caught and the catch rate for them in accordance with different mesh sizes were analysed, and the result obtained are summarized as follows: 1) 145 species of aquatic animals were caught in totally 138 times of trawl operations. 2) The number of species mostly not to escape are 28, 22, 19, 16 and 11 respectively, in each opening mesh size, 51.2mm, 70.2mm, 77.6mm, 88.0mm and 111.3mm of cod-end. 3) In view that the use of the opening mesh size above 54mm in cod-end of trawl net in Korea, it is necessary to device a counterplan against the overfishing, for the 22 species of aquatic animals mostly not to escape in the cod-end of the large mesh sizes more than 70.2mm.

• 한국의류학회지
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• 제34권5호
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• pp.715-725
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• 2010

This study suggests through an examination of maternity wear sold in domestic markets a design for maternity wear trousers that integrate functionality, aesthetics, and marketability. This study targeted women who had maternity wear experience to obtain basic information for the design of maternity wear trousers. This study conducted questionnaire research on maternity wear and surveyed the growing on-line maternity market. The results are as follows. First, in the questionnaire research on wearers of maternity wear, women 26-35 years old were the main consumers and emphasized comfortableness as the significant reason for buying and using maternity wear. Second, the centering on pants were evaluated to be the most uncomfortable item among maternity wear and confirms the necessity for a maternity wear design whose bodily fitness is high according to the trouser panel. Third, a standard for the specific design was established to solve maternity wear problems based on the analyzed information. This was established by having a concept as a minimal motive in 'new naturalism' that is the aesthetics of slackness for the $21^{st}$ century. A specific design was developed with 6 kinds for skirts and 9 kinds for pants.

• 대한가정학회지
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• 제29권1호
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• 패션비즈니스
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• 제17권6호
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• pp.141-157
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• 2013

In this study, we analyzed the figure type and lower-body size of Shanghai and Hong Kong adult women in their early twenties using the data obtained from 3D whole body scanners. We also provided concrete information related to women's lower bodies, in terms of crotch width, crotch length, inseam, outseam, slope of waist, etc., among women in Shanghai and Hong Kong. The result may be useful to the Chinese apparel industry when designing trouser pants for adult women. According to the results of the factor analysis for categorizing the body shape of the lower half, 5 factors were obtained: obesity of the lower half factor, height of the lower half factor, length from waist to the crotch factor, factor related to legs, and shape of the abdomen factor. After performing a cluster analysis according to the factor analysis, three clusters were set: Cluster 1 was represented as the lower half growth type, which has a high value in height of the lower half factor and grows in the abdomen part. Cluster 2 was represented as thin legs type, which has a low value in most part compared to the length of leg bones and factors about legs that have high value. Cluster 3 was represented as the obesity type having a high value in the obesity of the lower half factor. Overall, thin legs type achieved a high rate in Shanghai adult women and obesity type received a high rate in adult women living in Hong Kong.

• 패션비즈니스
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• 제26권2호
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• pp.83-94
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• 2022

The purpose of this study was to analyze the reality of clothes-wearing among physically disabled women and propose trouser designs. As a research method, an in-depth interview method was adopted for 10 women in their 30s and 50s with lower limb disabilities who could wear trousers and use wheelchairs. The study results identified the following factors that should be considered in the design of trousers. First, a semi-casual design that could hide physical deficiencies, was not different from ready-made clothes and enabled various looks was desirable. Second, the proper material would have little transformation in the form, have remarkable durability and laundry fastness, two-directional stretch, and hide deficiencies with a sense of thickness and density. Third, an "L-frame" pattern in a sitting position, and a straight fit were desirable. Finally, pockets can impose pressure according to their form, size, position, and sewing method, highlighted the need for a sewing approach to minimize seams in the fabric. For adjustment, an elastic band would be a good choice in terms of type, length, position, and material as it could satisfy both the convenience of putting on and taking off and comfort in wearing at the same time. Decorative design details can also impose pressure according to a sense of thickness, which means that they should be avoided in parts that are close to the body or can impose pressure according to posture.

• 복식문화연구
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• 제11권3호
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• pp.367-374
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• 2003

When analyzing forms in the human body and clothes, we conceptualize each part into a cone, sphere, and cylinder, and the esthetic characteristics of our fashion culture and esthetic fashion characteristics of Koreans are composed by expressing with universal images such as circle, square, and triangle when forms are expressed in a plane. To determine how the structural principle of shapes that are the shapes of all things and basic to geometry, i.e., circle, square, and triangle, applies to clothes that cloth our body called the small cosmos, we discussed the symbolic meaning hidden inside the structure of Korean clothes based on the basic pattern drafting method of Korean men’s traditional trousers. We drew the conclusion that Korean men's trousers composed of circles, triangles, and squares express the five elements diagram through their plane structure, are designed in circles with cones and pyramids, and are made to well express the principle of the small cosmos of our body. Moreover, when the basic pattern of Korean men’s trousers explained with the antipathy diagram is viewed to create all things while maintaining opposite and complementary relationship with Sangsang (mutually benefitting factor), it would be correct to say that the principle of the top verse the bottom is viewed as conflicting. From the structural point of view, since the philosophy of the Samsu principle (the principle of 1, 2 and 3 in which 1 represents the heaven, 2 represents the earth, and 3 represents the people) is hidden in Korean men's trousers in which Hurimalgi (the part of trousers corresponding to the waist band of Western pants) is the circle representing the heaven, Marupok is the square representing the earth, and Sapok is the triangle representing the people, we could look at deep meaning of our ancestors expressed in our clothes.