• Journal of the Korean Society of Costume
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• v.50
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• Journal of the Korea Computer Graphics Society
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• v.7 no.3
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• pp.1-7
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• 2001

We present an efficient and robust algorithm to parametrize a perspective silhouette curve of a canal surface. We also detect each connected component of the silhouette. A canal surface is an envelope surface of a moving sphere with varying radii, which is defined by the center trajectory C(t) and radius function r(t) of the moving sphere. A canal surface can be decomposed to a set of characteristic circles. We derive the equations for the silhouette points on each characteristic circle, then parameterize the silhouette curve by using the equation. The sphere $S(t_*)$ with center point $C(t_*)$ and radius $r(t_*)$ intersects with the canal surface at a characteristic circle $K(t_*)$. The perspective silhouette of the sphere $S(t_*)$ from given view point consists of a circle $Q(t_*)$. By finding the values of t at which K(t) and Q(t) tangentially intersect, we detect each connected component of the silhouette curve.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• Human Ecology Research
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• v.52 no.1
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• pp.55-62
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• 2014

The purpose of this study is to identify changes in the sleeve patterns of women's jackets from the end of the 19th century to the early 20th century. To meet this purpose, we analyzed nine sets of historic sleeve patterns. The experimental sleeve patterns were selected from the English costume source books that provided women's costume patterns from the 1890s and 1900s. These experimental sleeve patterns were drafted on the basis of the directions given in the source books. The sleeve lengths, widths, and angles of each sleeve pattern were measured. The results of this study showed that the silhouette of the two-piece sleeves of women's jackets in the 1890s had a tight fit; further, they had a sharper elbow curve than that of 1900s' sleeves. The sleeves of the 1890s' women's jackets were 6-11 cm shorter or narrower than the sleeves of the 1900s' jackets. The under-sleeve inseam angle of the 1890s' sleeve was greater than that of the 1900s' sleeve. The outseam angle of the upper sleeve was greater than the under-sleeve angle of the 1900s' sleeve pattern. The elbow curve of the women's jacket sleeve pattern appeared to be a sluggish silhouette. This change happened as the outseam angle of the under sleeve was reduced. This shows that the elbow curve silhouette of the women's jacket sleeves of the 1890s and 1900s has controlled the change in the under-sleeve outseam angle.

• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.113-127
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• 2021

This study aims to analyze the style of men's suits and extract expressional words for the development of semantic differential scales of visual images according to the change in silhouette. Research methods are literature studies, case studies, and questionnaires. The stimuli were created using CLO 3D, a virtual sewing CAD. This study's results are as follows: 1) The British suit jacket has an angled shoulder line using thin pads, and a slightly higher waistline. The pants of the suit have a high waistline and two pleats, so the thighs of the pants are wide. The American suit jacket has a natural shoulder line, and the waistline is not emphasized. The width of the jacket is relaxed, and the length is long. The pants of the suit have a higher waistline, and the pants are wide as well. The Italian suit jacket has wide shoulders, and the waistline is connected lower with a soft curve, and the length is relatively short. The trousers of the suit are tapered and get narrower as it goes down to the hem. 2) Because it originated in the practices of true bespoke tailoring, traditional British suits have a far more 'fitted' silhouette than the mass-produced styles that became emblematic of the American style. By the late 1950s, a sack-style suit was standard American business attire. This technique gives the sack suit its characteristically 'boxy' silhouette. The "Continental" presented a highly tailored silhouette, with padded shoulders, a slim, tight-fitting chest, and a closely tapered waist. The story was that Italian culture valued aesthetics over all else and thus sought the 'slim' suit style as much as possible. 3) The main expressional words of visual images for men's suits differ greatly depending on the silhouette of suit. The visual images are ranked in the order of 'neat', 'classic', 'educated', 'hard', 'mature', for fitted silhouettes. The words of 'masculine', 'basic', 'comfortable', 'simple', 'mature', 'conservative', 'modern', are ranked for boxy silhouettes. And the words of 'slim', 'young', 'neat', are noted for slim silhouettes.

• Journal of the Korean Society of Costume
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• v.44
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.11
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• pp.1426-1437
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• 2004

The study has an objective of providing the basic data for the bodice basic pattern that is highly appropriate after classifying the torso shapes of women in 60s. In order to classify the torso shape, 200 women in 60s that reside in Seoul were investigated for 52 tests. The factor analysis produced total of 6 factors. Factor 1 tended to be posture of upper part of torso and shape of shoulder. Factor 2 was an element of silhouette and Factor 3 was vertical size of lower part of torso and side silhouette. Factor 4 showed to be width and thickness of torso, Factor 5 was shape of neck, and Factor 6 appeared to be sagging of belly and buttocks. Therefore, it can be known that posture, silhouette, shape of neck and shoulder, sagging of belly and buttocks, and etc. are important factors for classification of the torso shape of women in 60s. Through a cluster analysis, each torso shape was classified into 4 types and each type showed information on size, shape, and posture clearly. Type 1 showed percentage of 24.2%, and values of height and weight showed to be average. Also, the body shape hardly had any curve with high shoulder at the Posture of upper body, and they had saggy stomach and buttocks. 43.5% of them were involved in Type 2 and they were short and overweighted. They were comparatively large in width compared to the height with no curves. Type 2 had the largest percentage and this can be said to be the special shape of women in 60s. People of Type 3 were short and overweighted just like Type 2 and all the sizes were similar to those of Type 2 or bigger. The posture is right posture and 21.7％ fall into this type and there is no body curve. This type is the shortest and most overweighted type, and it is a torso shape with right posture just like Type 4. Type 4 is a torso shape with tallest height and least weight. The percentage was the smallest(10.6％) and the width was smaller than any other type but the height was the tallest. The body curve is very clear and they have thin body but big buttocks so it can be said that the people of this type have the best silhouette. Type 2 that had the highest percentile is short and overweighted so it can be said that Type 2 is the representative torso shape of women in 60s.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.701-715
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• 2016

This research compared 3 types of jacket pattern design methods for men's wear (age range 25-35) in textbooks. We are to develop research pattern with problem solving based on an analysis of three jacket patterns. The comparative analysis revealed that loose-silhouette slopers A and B scored high in functional evaluation and low in appearance evaluation. However, the tight-silhouette slim-line sloper C received high points in appearance evaluation, but low scores in functional evaluation. All three slopers were evaluated low in the back appearance. The design characteristics of the development jacket sloper were: front width, ($1/10chest{\times}2$)+0.8cm; side width, 1/10 chest+5.5cm; back width, ($1/10chest{\times}2$)+1.5cm; armscye depth, 1/8 chest+11cm; waist back length, 1/2 jacket length+5cm; and hip length, 1/2 (jacket length-waist length)+1cm. The proportions against jacket length were applied to waist length, hip length, and the position of chest/waist pockets. In addition, the back part with low appearance estimation was adjusted as comfortable with the back curve line. Appearance evaluation and 3D clothes modeling system (CLO) showed an overall improvement in the developed jacket sloper when compared to the original jacket slopers.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.