• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.81-95
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• 2023

The purpose of this study is to analyze the newtro fashion style and extract key descriptive terms for visual image evaluation based on the style. To achieve this, a literature review, case study, and survey were conducted. The results are as follows: 1) Newtro fashion exhibited a variety of styles depending on the items being considered. In particular, the windbreaker style is composed of windbreakers, sweatshirts, and training pants, the blazer style consists of blazers, sweatshirts, and denim pants, and the padding style is characterized by short padding, sweatshirts, and jogger pants. 2) A total of 28 terms were identified as vocabulary to represent the visual images of newtro fashion. Among these, 17 terms appeared with a frequency of 30 or more times across the three styles. Commonly used terms included 'emotional', 'desirable', 'empathetic', 'unique', 'moody', 'retro', 'sophisticated', 'stylish', 'vintage', 'confident', 'youthful', 'trendy', and 'modern'. 3) By examining terms with a frequency of 50 times or more, the visual images associated with each style were compared. For the windbreaker style, the newtro fashion image was predominantly described as 'desirable', 'youthful', 'modern', 'stylish', and 'emotional'. The blazer style was associated with 'retro', 'unconventional', 'stylish', 'trendy', 'empathetic', 'modern', 'intricate', and 'unique'. In the padding style, the newtro fashion image was characterized as 'youthful', 'intricate', 'cute', 'stylish', 'modern', 'unique', and 'confident'.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.56-72
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• 1998

Vest is a general term for a sleeveless upper garment and it derives from a kolobus of a sleeveless tunic style that was started to be worn as a substitution of a chiton by the peasantry in Greek period. The kolobus started to be called a colobium or a tunica from Roman period and the former was named for a vest style tunica which was worn by the people of the lower classes in early Roman period. Similarly, a German colobium of North Europe which was worn during the same period was the same kind of clothe as the Roman colobium. The colobium came to be worn over a dalmatica as an outer garment by early Christians when it was the Middle Ages, who succeeded the tradition of colobium as they went through ancient Rome, Creek and Byzantine days. North Germans also succeeded the colobium tradition of ancient Germans as it was and so continued to wear it in tight style. The simple vest style of colobium was getting vanished from the mid of the Middle Agnes and a new style of vest named jupon was started to be worn by soldiers. The jupon was to protect soldiers' bodies from either were cold weather or enemies wearing under armors as it was made with double cotton pad by quilt. From 14th century, the jupon began to be worn by not only soldiers but also the humble of lower classes. All the jupon which were made in quilting and padding of that time began to be named a pourpoint by the humble. When Renaissance in 16th century came, the pourpoint began to be developed to an exaggerating body-line style. The neckline of pourpoint was getting highly influenced by Spain and a peacecod-belly of it emphasized the exaggerated masculine beauty of Renaissance by padding in round. The sleeves were puffed out and the whole purpoint was made to expose an inner chemise by slashing vertically or obliquely. But in 17th century, the pourpoint has been changed into more simple style without padding, puffing out and slashing influenced by the citizens' clothes of Netherlands. The pourpoint came to be more comfortable bulky style with short sleeves or sleeveless and straight side lines. The pourpoint in mid 17th century turned to be a bolero jacket style by gradually being tightened. It had been then changed into a vest style with sleeves and worn under an overcoat with the name of vest in the end of 17th century. The early vest was 2∼3 inches les in length than the overcoat and had long sleeves and many ornamental buttons on front. It was also made as a home wear to be worn it alone at home. In 18th century, the length of the vest became shorter compared with that of 17th century and the most important decorative item in clothes. It again came to have complete sleeveless vest style and had very short length reaching waist in the end of 18th century. When it was in 19th century, the vest had developed into more various style and colors and style had been applied to be worn by individuals with their tastes. Around the end of 19th century, the increasing tendency to be casual by industrialization influenced on clothes in all aspects of life and so the male vest has been gradually changed into more casual style. Nowadays, it has been developing into various uses in modern male clothes to show their characters.

• Journal of the Korean Society of Costume
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• v.42
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• pp.69-90
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• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.

• Journal of Fashion Business
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• v.6 no.3
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• pp.41-51
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• 2002

The author of the paper investigated the changes of hairstyle along the developments in hairdressing industry in the 20th century. The development process of hairdressing industry was divided into four periods of introduction, origination, growth, and establishment. The corresponding changes of hairstyle were analyzed and the findings are as follows. 1. Hairstyle could be classified into such typical ones as traditional style, cut, bob, wave, permanent wave, up style, and hair coloring. 2. Fashion leaders affected the changes of hairstyle. 3. Whenever hairdressing appliances were introduced, new hairstyle was practiced as follows with the use of the appliances. (1) Introduction Period - Traditional Style : Chignon, pigtail ribbon $\rightarrow$ Variations were designed in hair length or split due to the limited availability of appliances. - Up Style : Pompadour, thick and up hair, encircling hair $\rightarrow$ Padding was used for sweep-up. (2) Origination Period - Bob Style : Women's first bob style. - Wave style : Wave with bob, close-cropped hair, up style $\rightarrow$ Iron, set, permanent devices were used. (3) Development Period - Wave Style : Wind wave, easily manageable wave $\rightarrow$ Blow dry, body permanent were used. (4) Establishment Period - Straight Style : Use of straight permanent. - Thick Wave Style : Development of various kinds of rod. - Hair Coloring : Advent of diverse fashion hair coloring, apart from the coloring of white hair, with the introduction of color TV. - Bob Style : Romantic bob style $^{\circ}\hat{E}$ Use of clippers and thinning scissors. Thus, the changes of hairstyle according to the development in hairdressing industry had close relationship with the improvement in hairdressing appliances.

• Korean Journal of Human Ecology
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• v.18 no.5
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• pp.1093-1101
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• 2009

To provide basic data to manufacture superior brassieres, we performed a survey on the wearing and buying habits, and preference of functions and materials of brassieres for 189 women subjects in their twenties. The results of this research are as follows; Style and size are the most important in purchasing brassieres. Flat breasted and sagging breasted subjects were dissatisfied in the fit of the upper cup. 70% of the subjects were ignorant of their brassiere size. Sagging breasted subjects were less satisfied with smoothness, softness, and weight when wearing their bras in comparison with the other types. Conical type breasts were common amongst women in their 20s. They are more likely to wear size 75A and 80A where the full bust girth is 10cm larger than the under-bust. They preferred demi cup brassieres with thin or moderate padding to full cup brassieres with thick padding. On the other hand, 56.8% of subjects wore brassieres all day. The subjects were dissatisfied with the slipping down of the shoulder straps. Large-breasted subjects were concerned more with dampness and the fit on the center front of the brassiere, and brassieres with too thick padding had a poor fit on the center front. Sports-brassieres which fit close to the skin and used stretchable fabric caused more itching and dampness and dissatisfaction in removal of the brassiere.

• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.81-92
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• 2013

Many women feel pain in their breasts while running due to an excessively large degree of breast movement. Therefore, most sports bras pursue a reduction in breast movement. The purpose of this study is to investigate the breast movement reduction effect of a selection of sports bra designs according to the intensity of the sport and the breast size of the wearer. The study measured differences in the vertical movement of the nipple with 4 types of sports bras and 3 exercise speeds(4km/h, 7km/h, and 10km/h). Subjects included women in their 20s with bra sizes of either B cup(n=3) or C cup(n=3). The results of the study are as follows. Breast movement differed according to running speed and breast size; breast movement significantly increased starting with jogging speed(7km/h), and the C-cup group had a larger degree of vertical movement than the B-cup group. A superior effect on breast movement during jogging(7km/h) and sprinting(10km/h) was observed differently by bra cup sizes. To C-cup group, encapsulation-style sports bra, which provides horizontal support across the upper breast and padding inside the shoulder strap and bra cup to ease impact was most effective and next effective style was the compression-style bra with a princess line to cover the breasts solidly. Most style sports bra were effective in the B-cup group. Besides aforementioned encapsulation-style sports bra, the compression-style bra with a band, which presses the breasts against the chest wall, reduced breast movement effectively.

• Journal of Broadcast Engineering
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• v.27 no.1
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• pp.104-123
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• 2022

Style transfer based on neural network provides very high quality results by reflecting the high level structural characteristics of images, and thereby has recently attracted great attention. This paper deals with the problem of resolution limitation due to GPU memory in performing such neural style transfer. We can expect that the gradient operation for style transfer based on partial image, with the aid of the fixed size of receptive field, can produce the same result as the gradient operation using the entire image. Based on this idea, each component of the style transfer loss function is analyzed in this paper to obtain the necessary conditions for partitioning and padding, and to identify, among the information required for gradient calculation, the one that depends on the entire input. By structuring such information for using it as auxiliary constant input for partition-based gradient calculation, this paper develops a recursive algorithm for super high-resolution image style transfer. Since the proposed method performs style transfer by partitioning input image into the size that a GPU can handle, it can perform style transfer without the limit of the input image resolution accompanied by the GPU memory size. With the aid of such super high-resolution support, the proposed method can provide a unique style characteristics of detailed area which can only be appreciated in super high-resolution style transfer.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.15-29
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• 2007

H. $W\"{o}lfflin's$ methodology created viewpoint of art history which is an essential factor of art, and proposed formal analysis as an academic methodology specific to art history. H. $W\"{o}lfflin's$ expressed the see-form a as the five pair concepts which are summarized by 'linear-painterly' 'the plane-the deep'. 'closed form-open form', 'multiplicity-unity', 'absolute clarity-relative clarity'. His methodology is not only in the field of art and architecture but also clothing because during the same period have a relative tendency of thought, culture, politics and economics each other. As the result of this study were as follows. Renaissance of 16 century, the style of dress was enormous and dignified by body support outfit, hard puffs, slashes, padding and expansive jewels. It make appearance of man and woman absolute clarity because Classicism styles of aesthetic consciousness is geometrically perfect form and symmetry and restrained harmony, magnificent. Baroque of 17 century, the style of dress was vigorous mobility and subtle balance by abundant and free silhouette, soft collar, magnificent ribbon loop and tassel without body support outfit. It make appearance of man and woman comfortable and natural because Baroque styles of aesthetic consciousness is extraordinary degree of originality and creativity that was evident in the devising of new styled.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.712-722
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• 2011

The purpose of this study is to examine the types and characteristics of decorative techniques applied to the Korean traditional skirt of contemporary style. For the purpose, this researcher selected 167 pieces of Korean traditional skirts which were shown in relevant monthly magazines published between 2001 and 2010. Then, the researcher classified the types of decorative techniques found in those selected pieces and analyzed the characteristics of decoration technique for each area of the pieces and the characteristics of patterns used in relation to those techniques. The Korean traditional skirt, otherwise called 'Hanbok chima', was classified into two types, single and composite, in accordance with which technique of decoration was used to it. The single type was characterized by so many embroideries, while the composite type, a combination of two decorative techniques, seonchigi and jatmulim. In the Korean traditional skirt, decorative techniques were applied to the knotting and entire of the skirt. Patterns used to decorate the Korean traditional skirt were usually in form of embroidery, gold or silver foil or painting. Out of the patterns, those which were embroidered or painted were shaped flowers, while those which were plated with gold or silver are shaped bosangdangchomun and flowers. There were other decorative techniques than mentioned above, for example, applying two or more different colors to the hem of the skirt, attaching pads to the knotting of the skirt and padding a decorative cloth on the front center of the skirt.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.339-353
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• 2004

Purposes of this study were to analyzed coat types and characteristics of coat of young persons, and search whether fashion trend is reflected on coat. Data collected pictures that they are wearing dress in street of Daejeon city 3 places that there are much the rising generations at November, 1999. This study target was from teens latter half to 20 opening part, 154 women. Data analyzed content analysis, frequency analysis, crossing and the result is as following. First, classification standard of coat was textile fabric, form of detail and ornament. Second, coat could classify in three types, type 1 was traditional duffle coat style that is distinguished by form of detail and ornament(hood and button). Type 2 was classified property of textile fabric that used leather, padding, fur etc., and type 3 was classified by collar detail of woolen fabric coat. Specially, ornamental fur of woolen coat perceived visually strong. And design detail of coat showed significant difference in coat type. That is, duffle coat type was designed patch pocket and toggle, woolen fabric coat type was hidden button and seam pocket. Third, fashion tendency of coat was proved that is reflecting part of predicted fashion trend.