• Transactions of the Korean Society of Mechanical Engineers
• /
• v.13 no.4
• /
• pp.697-702
• /
• 1989

This study deals with the heat cycle characteristics of sleeve connector of aluminum stranded conductors steel reinforced(ACSR). In order to investigate the effect of heat cycle on the sleeve connector of stranded conductor, experimental study has been performed for both the temperature rising and electrical resistance of sleeve connector. Also, the effect of changes in surrounding temperature on the allowable current of sleeve connector was studied in order to investigate the influence on the connector size of conductor. Under the given test conditions of heat cycle, the temperature rising s decreased with the increase of sleeve size of conductor. The deviation of resistance of sleeve connector in conductor decreased with the increase in the size of sleeve connector.

• The Research Journal of the Costume Culture
• /
• v.9 no.5
• /
• pp.700-711
• /
• 2001

The purpose of this study was to investigate the differences in the method of patternmaking, difficult in draft of patternmaking, fit in sleeve, aesthetic view, fashionableness in the five types of two-piece sleeve under the controled situation. Five types of two piece sleeve that were originated from five countries including domestic companies which called A type, B type, C type, D type, and E type were used. In order to conduct the experiment fur the study, 10 persons who were well organized about the patternmaking drafted 5 types of sleeve and were tested for the differences in the method of patternmaking, difficulty in draft of patternmaking. Another panel were tested for fit in sleeve, aesthetic view, fashionableness in the five types of two-piece sleeve in jacket under the controled situation. The results of this study were as followed 1. C type was needed height of armhole in bodice and D type was needed height of armhole and width of armhole in bodice as well as all parts of sleeve measurements to draft patternmaking. 2. There were significant differences of the items such as cap height, ease amount around sleeve cap, width of sleeve, forwardness of sleeve and the length of elbow line of the five types patternmaking drafted. 3. There were significant differences of difficulty in draft of the five types of patternmaking. C type and E type were easier to draft. 4. There were significant differences in fitness of the sleeves in jacket. C type and E type were more fit. 5. There were significant differences in aesthetic view. A type, B type and E type were more aesthetic under the situation. 6. There were significant differences in fashionableness in jackets. A type and E type were more fashionable under the situation.

• Journal of Fashion Business
• /
• v.17 no.1
• /
• pp.170-185
• /
• 2013

The suitability of the pattern manufactured with the development figure was considered by reviewing the development conditions that can be directly connected to the basic pattern in the human body surface development figure with the cast bandage method. The method to prepare the sleeve basic pattern was based on the cylindrical surface development method, and the sleeve basic pattern covering the 45 and 90 degrees momentum of the arm-movement was made by using the cast-type body surface development figure prepared with the horizontal line of the sleeve hem placed horizontally in the plan and by combining the cast-type body surface development figure in the standing position with the figure in the moving position. The test clothing was prepared with the sleeve pattern adding the bodice pattern in the standing position and the momentum and was worn on the FRP replica. The relationship theory of the body surface development figure with the pattern was derived by reviewing the suitability from the wearing state. The sleeve-cap height of the sleeve basic pattern resulted in about 80% in the standing position when the needs for a physical activity are 45 degrees and the about 50% when the needs for a physical activity are 90 degrees. The additional size of the diagonal length of the sleeve-cap could be set as "0" if the sleeve-cap height is low by 50% and as 50% of the additional size in the standing position if the sleeve-cap height is 80%.

• Journal of the Korean Society of Costume
• /
• v.64 no.3
• /
• pp.77-92
• /
• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• Fashion & Textile Research Journal
• /
• v.19 no.5
• /
• pp.608-619
• /
• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.

• Journal of the Korean Society of Costume
• /
• v.57 no.7
• /
• pp.45-52
• /
• 2007

This study is based on the observation of women's Jangui in 17th centuries. As we observed, Jangui in seventeenth century was shown the same style. They were not headdress but coat. The characteristics of shape are Mokpankit, double-seop, straight sleeve, triangle moo, sam-su(which is attached to the end of sleeves) and a little coat string etc. There is no specific mode difference with the change of times. However, the straight sleeve is shown straight line in the early Chosun dynasty. Jangui in seventeen century are all oblique line sleeve except Jangui of Jin-ju Ha's family. Jangui put on coat do not seem clear-cut difference with the change of times. From Jangui of Yang-chun Hu's family in 14th centuries till An-dong Kim's family, the special features of Jangui are the same style. In addition, The double-seop in 17th centuries was not completely symmetry. However, after 19th centuries, Jangui for headdress was shown perfectly symmetry.

• The Research Journal of the Costume Culture
• /
• v.8 no.6
• /
• pp.915-929
• /
• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• Fashion & Textile Research Journal
• /
• v.5 no.5
• /
• pp.465-469
• /
• 2003

The present study revealed; that (1) The students majoring in a piano course were the preference type of the performance dress - best line was designed of upper form chest. It was 1.5cm shorter than armhole line, the princess line was preferred Top one piece without sleeves which was designed with slim by bottom line through west dart form best line. The expression method was showing embroidery and bidding, colors were in order to white, ivory, black and blue style. The material was in order to silk with glorious shinning, silk satin and race style. (2) The students majoring in a vocal music were the preference type of the performance dress - the princess line was designed shorter, the west line of back and forth was preferred the one piece of bulk style divided with three partitions. Neck line was 5cm shorter than the middle of back, 9cm shorter than the side neck position, 9cm shorter than the middle of forth, sweet heart neck line with circular sleeve designed 7cm shorter than the side neck position. Colors were in order to ivory, red and yellow style. The material was in order to silk with glorious shinning silk satin and race style.

• The Research Journal of the Costume Culture
• /
• v.14 no.3 s.62
• /
• pp.404-417
• /
• 2006

The purpose of this thesis, therefore, is to examine the shaping methods and the knitting drafts of sleeve cap in the knitwears which are currently used by the manufacturers; to study the curve forms of sleeves in knitwears by analyzing synthetically the results of investigating the problems of knit wear sleeves; to present the most suitable sleeve cap for the knitwears. As the studying methods, I collected the basic data from the working-level persons of knit wear manufacturers, examined the knitting draft in the knitwears, and from that, made three kinds of comparative experimental garments and one kind of research experimental one as 10G and 16G. In doing so, I showed the sleeve cap suitable for the knitwears with plain stitch after operating sensual evaluation with Liker's 5-point rating measure. The analysis of data was handled with statistics by using SPSS Ver. 12.0; the method of statistics was executed by Frequency Analysis, Trust Analysis, one-way ANOVA, and Duncan test according to each topic of the research. As the result of the sensual evaluation of the experimental garments produced from the study, the research experimental garment looks better than the comparative experimental one in both 10G and l6G; has less extra folds around the front part of sleeve cap; looks more natural in sleeve caps of the body part and of a sleeve. From this, I am able to figure out that the research experimental garment looks better than the comparative experimental one produced by knit wear manufacturers. In addition, I can come to know that the different knitting of the front line and the back one of armhole in the knitwears has a favorable impact on improving the appearance of a sleeve.

• Fashion & Textile Research Journal
• /
• v.12 no.5
• /
• pp.619-625
• /
• 2010

The purpose of this research is to analyze the shapes of blouse with above-elbow sleeves according to arm movements. The shapes include five types of the arm movement(basic posture, reach forward 45, 90, and reach lateral 45, 90) in the stand-posture, which were made by different adaptability of clothes. Experiments were conducted to figure out the dressed shape through 3-D measurement Vivid 910, and also to investigate the area of the shape of sleeves on the section map and the diagonal length of the block made by the basic section line in lateral part of sleeve with Rapid Form 2004, a software for 3-D shape analysis. The Data were analyzed by factor analysis, Anova, Duncan test, t-test. The results of this study were as follows: First, the area of sleeve was briefed 3 factor; front, center, back in sleeve. Second, there were different effect of arm movement, section level and part of shapes in the area of sleeve. Third, the diagonal length was briefed 4 factor; back, back-center, front-center, front. Forth, after t-test, there were statistically significant between the reach forward and lateral and between the angles of arm reach.