• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.89-103
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• 2011

The purpose of this study is to analyze the formative characteristics of accordion pleats shown in 10/11 S/S London, Paris, New York collection and evaluate the differences of visual image by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test. The results of the study are as follows: Accordion pleats was first introduced by Marriano Fortuny. He published delphos dress by creating silk pleats manufacturing technique and it was recognized as the best pleats work. Since then, pleats with synthetic fiber characteristics were used by many fashion designers. Accordion pleats were used in various items including one-peice, skirt and pants in collection of 2010 and 2011. The design of accordion pleats skirt used different width of pleats, length of the skirt and materials. The visual image by the width of pleats and the length of skirt are composed of 3 factors : dearness, attractiveness and elegance. In these factors, dearness factor is estimated by the most important factor. The accordion p1eats skirt is most attractive and dear when the width of pleats is the shortest, 1/8", and the width of 4/8" and 5/8" follows. The accordion pleats skirt is most attractive and dear when the length of skirt is similar to that of mini-skirt, and the skirt was estimated to be elegant as the skirt gets longer. When the length of skirt is in between, the skirts were estimated to be ambiguous in all visual images. The interaction effect of visual image according to the changes in width of pleats and skirt length of accordion pleats skirt was seemed to have significant differences by factors, and the main effect had great differences in all factors.

• Journal of Fashion Business
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• v.13 no.6
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• pp.76-88
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• 2009

This study has the purposes to search the most visually effective and appropriate number of pleats and skirt length, when it's worn, with the changes in the number of pleats and skirt length that could be influential in analyzing the visual evaluation of pleats skirt and to analyze the changes when those factors are applied in real pattern. The stimuli were 18 samples: 6 variations of the number of pleats and 3 variations of the length of skirt. The data were obtained from 54 fashion design majors. The data were analyzed by Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of the study were as follows: The visual image by the number of pleats and the length of skirt were composed of 4 factors : activity, attraction, neatness and commonness. In these factors, activity factor was estimated by the most important factor. The visual image according to the changes in the number of pleats and skirt length had significant differences, and the pleats skirts with 12 and 16 number of pleats and 38cm of skirt length were evaluated to be the most effective. The activity factor had interaction influence effect according to the number of pleats and the skirt length. The skirt length had more influence than the number of pleats in attraction and neatness factors, and the other way around for commonness factor.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.77-88
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• 2010

The purpose of this study is to evaluate the differences of visual effects by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of the study are as follows: The visual effects by the number of pleats and the length of skirt are composed of 2 factors: verticality and thickness of lower body, shape of abdomen. In these factors, verticality and thickness of lower body factor is estimated by the most important factor. The accordion pleats skirt makes the lower body look longer when the width of the pleats is wider, and helps the calf and leg look thinner. Also, the waist looks more slender and thin. As the skirt gets longer, one looks taller, and legs look longer and thinner. The shape of abdomen is no difference according to the width of pleats. As the skirt gets longer, the waist looks more slender and thinner. The interaction of visual effect according to the changes in width of pleats and skirt length of accordion pleats skirt is not shown, and the skirt length has more effect than the width of pleats does in verticality and width of lower body factor. The width of pleats has more effect than the skirt length does in shape of abdomen factor.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.163-171
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• 2008

This article aims to evaluate the visual effects and images according to the changes in the width of pleats of accordion pleats skirt. I altered the width of the pleats to seven categories in changes of 0.5cm, 0.7cm, l.0cm, 1.3cm, 2.0cm, 2.5cm and 3.0cm. For the visual evaluation, seven stimuli had been placed in mannequins, and had been estimated by experts in fashion design. For the visual evaluation according to changes in the width of pleats of according pleats skirt. I used 11 pairs of items to find their visual effects, and 17 pairs of adjectives to measure the visual images. Those stimuli and adjectives had been randomly given to evaluators and had been evaluated by the seven-point Likert type scale. The data have been analyzed by frequency, factor analysis, ANOVA, Scheffes test and correlation analysis. According to factor analysis of the visual effects of the accordion pleats skirt, the result was classified into three factors: the verticality of the lower body, flexuosity of the lower body, and shape of the abdomen. According to factor analysis of the visual image of the accordion pleats skirt, the result was classified into the following three factors: activity, attraction and neatness. In visual effects, the verticality of the lower body had been assessed as the most important factor of all. The visual effect was positive when the width of pleats had been narrowed. In visual image, activity had been assessed as the most important factor. In the case of accordion pleats skirt, as the width of pleats became wider, it had a stronger image in being active and casual.

• Journal of Fashion Business
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• v.13 no.5
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• pp.81-92
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• 2009

The purpose of this study is to evaluate the differences of visual effects by variations in the number of pleats and the length of the pleats skirt. The stimuli are 18 samples: 6 variations of the number of pleats and 3 variations of the length of skirt. The data has been obtained from 54 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of the study are as follows: The visual effects by the number of pleats and the length of skirt are composed of 3 factors : vertical of lower body, curves of lower body and shape abdomen. In these factors, vertical factor is estimated by the most important factor. The visual effect is positive when the number of pleats is added and the length of skirt is getting shorter. The short length of skirt and more pleats make legs and calves looked long and slim. The interaction effects between the number of pleats and the length of skirt do not appear. In the vertical of low body factor, the length of skirt is more effective than the number of pleats, and in the curve of low body factor, the number of pleats has more effects than the length of the skirt. In the shape of abdomen, the number of pleats and length of skirt have similar influences.

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.43-55
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• 1996

The purpose of this study was to investigate the slacks pattern making on the movement-fitness of the knee region. The experimental items were divided into the lower limb movement (M1~M5) and slacks pattern designs (4 : basic pattern, in-pleats, side-pleats, seam-line increase). This study was done by clothing pressure test, sensory evaluation test and the difference shape-transformation of wearing-slacks. The summarized finding resulted from experiments and investigation are suggested as follows ; First, the clothing pressure test showed that the order of clothing pressure in the movement was the rabbit leap movement (M3), the sit on knees (M4), the nobleman sitting (M5), the sit on chair (M2) from the highest to the lowest. In the comparison of clothing pressure tested by blocks of lower-limb, center front knee region shows the highest of 300g/cm2. In it by constructional methods, the clothing pressure of in-pleats, side-pleats methods shows lower than basic pattern, hem-line increase methods. Also in comparison of the two methods, in-pleats method shows lower than side-pleats method. Second, by the sensory evaluation test based on the lower-limb movements and constructional methods of slacks, it was found that the functional factor score of the rabbit leap movement was also the waist, hip, knee region was the lowest in all blocks. And in the comparison of constructional methods, in-pleats method was the highest in all methods. Third, in consideration of the difference in the shape-transformation of wearing-slacks on the movement-fitness, pleats pattern design methods showed that the ratio of shape-transformation was lower than basic on seam-line increase methods. But the difference of the side-pleats and in-pleats methods was litle. According to these investigation, the slacks pattern making caused by movement-fitness on the knee region, in-pleats design method was the functional slacks pattern.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.787-800
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• 2020

This study aims to derive the criteria of folding techniques and their characteristics through analysis of literature and previous studies. This will be realized by performing a case study on male fashion design and folding. It will propose diverse directions and data for male fashion design, by making men's jackets using a folding technique. The concept and terms of folding were clarified through examination of existing literature and previous studies. Specifically, four pieces were created with motifs of the four seasons. Among the types of pleats expressed in the works, composition pleats include double ruffles, gathers, and draperies, while processed ones include box pleats, knife pleats, and accordion pleats. This study expresses continuity, fluidity, scalability, and ambiguity through the use of such pleats. The results of the production are as follows. First, in terms of the continuous use of regular and repetitive pleats, a possibility of rich pleats was confirmed because they varied depending on the gap between the pleat and target material. Second, in liquid but irregular pleats, diverse moods were created by the pleat movement. The overlapping of repeated pleats expresses diverse spaces and shapes in a 3D extended silhouette. Third, in pleat classification, ambiguity was confirmed with the use of continuous accordion pleats in the printed gradation fabric. It is anticipated that more diverse and creative designs could be created using more extended techniques in future studies.

• Journal of Fashion Business
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• v.16 no.5
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• pp.57-73
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• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.130-146
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• 2007

Thought of postmodernism accepted between variety and differentiation is characterized by variability and indeterminacy aimed at continuous change. For that reason, modern fashion has been grouping a lot of manners for creation of the various different form and structure. This paper studies the characteristics of the folding system, which expands efficiency of the spatial utility and shows various forms. Folding system expressed in modern fashion could be divided the pleats, which were made of the folding, and the dreaperies, which were made of bending. This selects the pleats as a enlarged concept of the folding system that contains between the former and the letter. Pleats did not mean two dimensional folding surfaces, but three dimensional spatial structures. For understanding of the folding system as a three dimensional spatial structure, this is utilized with the thought of the 'le pli' of G.W.Leifniz and G.Deleuze. The pleats expressed in modern fashion can subdivided into 4 sets; crinkle system, origami system, fractal pleats by folding system, and drapery system. And Formative characteristics of the pleats are analyzed with enlargement, fluidity, deconstruction, irregularity.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.