• 복식문화연구
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• 제7권6호
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• pp.140-158
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• 1999

The purposes of this study are to examine the characters of the lower body shape in the middle aged women and to make slacks pattern on the base of four difference body shapes. The lower body shapes were classified into 4 types on the basis of their lateral view silhouettes. The slacks patterns were based on the lower body shape characters and resulted in followings. In “Type 1” of the right body shape with the standard protrusion of abdomen and hips, little difference from conventional patterns was seen in experiment pattern, in which the front waist girth was W/4+0.5㎝+0.5㎝+fold(2.5㎝) and the back waist girth W/4+0.5㎝-0.5㎝+dart(3.5㎝). The front hip girth was defined as H/4+2.0㎝+0.5㎝ and the back hip girth as H/4+2.0㎝-0.5㎝ due to its increased ease amount produced by abdominal fat deposition. In the experimental pattern of “Type 2” with prominent hips, the front and back differences of the waist girth and the hip girth and the hip girth were defined as 1.0㎝ and 2.0㎝ separately. Accordingly, the front waist girth was W/4+0.5㎝+1.0㎝+fold(2.0㎝), the back waist girth W/4+0.5㎝-0.1㎝+dart(6.5㎝), the front hip girth H/4+2.0㎝+1.0㎝ and the back hip girth H/4+2.0㎝-1.0㎝. In “Type 3” with the prominent abdomen and the flat hips, the front waist girth was set up as W/4+0.5㎝+0.5㎝+fold(4.5㎝) for the increased front fold amount and the back waist girth was W/4+0.5㎝+0.5㎝+dart(3.0㎝). The front hip girth was made as H/4+2.5㎝+0.5㎝ and the back hip girth H/4+2.5㎝-0.5㎝. In “Type 4” with prominent abdomen and hips, considered were ① the increased front fold amount due to the abdominal protrusion, ② the increased back dart amount and the decreased back dart length owing to the hips prominent and ③ the front and back differences of waist and hip girth for the lateral view silhouette. Therefore the front waist girth was defined as W/4+0.5㎝+2.0㎝+fold(5.0㎝), the back waist girth as W/4+0.5㎝-2.0㎝+dart(4.0㎝), the front hip girth as H/4+2.0㎝+1.0㎝ and the back hip girth as H/4+2.0㎝-1.0㎝. The sensory evaluation of appearance and comfort was appeared more suitable on the experiment pattern than on the conventional pattern.

• 한국멀티미디어학회논문지
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• 제10권8호
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• pp.981-996
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• 2007

본 논문에서는 연속적인 제스처 영상으로 부터 주 인자 분석을 통해 얻어진 동작 특징 정보를 이용하여 제스처를 인식하는 방법에 대해 기술한다. 제안된 방법은 먼저, 인간의 신체 영상이 포함된 연속적인 입력영상에서 2차원 실루엣 제스처 영역을 분할한 다음 전역특징정보와 지역특징정보를 추출한다. 여기서 전역특징정보는 요인 분석을 통하여 제스처를 효과적으로 표현하는 의미 있는 소수의 핵심 특징을 선택하여 이용한다. 추출 된 특징정보로 부터 제스처의 시간 변화를 나타내는 특징히스토리정보를 얻어 저 차원 제스처공간을 구성한다. 마지막으로 제스처 공간상에 투영된 모델 특징 값은 은닉마르코프 모델의 입력 기호로 이용되기 위해 군집화 알고리즘을 통해 특정한 상태 기호로 구성되며 임의의 입력 동작은 확률 값이 가장 높은 해당 제스처 모델로 인식된다. 주 인자 분석으로부터 제스처에 기여도가 높은 특징인자로 모델을 구성하기 때문에 외관기반방법에서 몸의 형상 정보만을 특징 값으로 이용하거나 직관적인 방법으로 특징을 추출하는 방법보다 복잡한 동작에서 비교적 우수한 인식률을 나타낸다.

• 패션비즈니스
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• 제14권5호
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• pp.128-144
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• 2010

The purpose of this study is to define the origin of name 'Watteau gown' which is controversial by analyzing a Watteau gown, represented in the paintings by Jean Antoine Watteau, an artist in the Rococo era, and clarify the shape and composition of a Watteau pleats which characterizes the Watteau gown and the morphological characteristic of the silhouette of the Watteau gown. Theoretical review and empirical research was simultaneously conducted. The theoretical review considered social backgrounds from late 17th century to early 18th century when Watteau actively worked and a background of forming the style of Fete galante. The empirical research was conducted by sampling 106 pieces of costume from Watteau's 65 paintings collected and classifying according to morphological shapes and composition. Based on this result, it is suggested that the Watteau gown was very prevalent as women's costume early in the 18th century. The Watteau gown, robe volante, robe battante, sack gown and robe a la Francaise were developed and modified from one gown which started from the same source in some connection. This study has significant meaning that it defines the origin of Watteau gown and Watteau pleats found in women's costume in the Rococo era. Furthermore this study will contribute to the practical use of costume elements of 18th century which are beautiful and artistic in aesthetics as the source of contemporary fashion.

• 한국의류산업학회지
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• 제17권6호
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• pp.988-995
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• 2015

Gaps between the upper edges of brassiere mold cups and the breasts are one of the most serious issues in realizing comfort wearing of commercial brassieres for small-breasted women. The surplus ease amounts causing the fit problem were measured from 3D wearing images of the small-breasted women's brassieres. The effect after the removing the surplus ease amounts from the upper edge of mold cup was approved by subjective wearing evaluation. Since the volume distribution of mold cup can also affect the wearing sensation of brassiere, the subjective wearing sensation was compared for two brassieres of different volume distributions, V_L, of which volume was concentrated at the lower cup, and V_C, which has the thickest part at the nipple. As the results, the suitable sensation for cup volume and the natural wearing silhouette could be accomplished by removing the surplus ease amounts from the upper edge of mold cup to reduce the gaps between brassieres and the breasts, which could be accomplished through an approach reducing the volume near the upper edge of mold brassiere cup and making the volume concentrated at the lower cup. These works provide a useful information on the design of the brassiere mold cups for small-breasted women. Moreover, modeling methods of 3D scan data and 3D printing technique for making more accurate mold cases used in this research can be helpful to develop and evaluate clothing products in future.

• 한국정보과학회논문지:소프트웨어및응용
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• 제33권9호
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• pp.741-750
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• 2006

본 논문은 2차원 평면상의 그림으로부터 3차원 물체를 복원하는 방법을 제시한다. 사용자가 입력하는 2차원 평면 그림은 3차원 물체의 윤곽선을 그린 것으로, 자신의 일부분이나 다른 물체에 의해 가려진 부분이 있는 윤곽선도 허용하는 것이 특징이다. 따라서, 복원된 3차원 물체 역시 자신의 일부, 혹은 다른 물체에 의해 가려진 부분이 존재할 수 있다. 본 논문에서 제안하는 방법은 2차원 윤곽선 분석, 3차원 골격 계산, 그리고 3차원 물체 복원의 세가지 단계로 구성된다. 본 논문의 주된 기여는 기여는 자신이나 다른 물체에 의해 가려진 2차원 윤곽선으로부터 3차원 골격을 계산하는 방법이며, 이를 위하여 일련의 최적화 문제를 정의하고 해결하였다. 최적화 문제는 골격의 생성, 물체의 충돌 제한, 그리고 C1 연속성 유지를 위하여 사용된다. 결과적으로, 제안된 방법은 기존의 실루엣 기반의 스케칭 인터페이스를 사용한 3차원 물체 모델링에 대하여, 상호 폐색 (가림/가려짐) 이 존재하는 형태에서도 허용되도록 확장하였다.

• 복식
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• 제32권
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• 복식
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• 제66권5호
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• pp.99-112
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• 2016

The purpose of this study is to examine the higher value-added characteristics of tailored jacket designs, which are major items of French luxury brands, in an effort to raise the competitiveness of domestic fashion designs. The characteristics of the jacket designs from the 1940s to the 1970s, the golden age of Haute Couture, were examined. Based on this, the characteristics of the higher value-added expressions of the luxury brands were established by analyzing the tailored jacket designs that appeared in the Paris collection after 2010. The results are as follows: the characteristics were categorized into 'traditional value expression,' 'conceptual value expression,' 'retro value expression,' and 'creative value expression.' Traditional value was expressed as the representation of the styles inherent to the golden age of the Haute Couture houses, and the status of the luxury brands with history was represented by equally arranging the size and characteristics of the elements of the designs related to jacket silhouette. Conceptual value was reestablished as contemporary identity into which the traditional ideology of the houses and the present designers' sentiments were grafted by developing the designs with the theme containing the identity of the past Haute Couture houses. Retro value was utilized as the strategy to differentiate the luxury brands with long history from contemporary products. Creative value was expressed as tailored jackets with new concepts of shape variation and usage conversion by combining creative sentiments with the high quality techniques of Haute Couture and appears to be able to create a new consumption market of luxury brands in the global fashion market.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 2005년도 ICCAS
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• pp.1202-1205
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• 2005

This paper describes a method for vision-based person identification that can detect, track, and recognize person from video using multiple cues: height and dressing colors. The method does not require constrained target's pose or fully frontal face image to identify the person. First, the system, which is connected to a pan-tilt-zoom camera, detects target using motion detection and human cardboard model. The system keeps tracking the moving target while it is trying to identify whether it is a human and identify who it is among the registered persons in the database. To segment the moving target from the background scene, we employ a version of background subtraction technique and some spatial filtering. Once the target is segmented, we then align the target with the generic human cardboard model to verify whether the detected target is a human. If the target is identified as a human, the card board model is also used to segment the body parts to obtain some salient features such as head, torso, and legs. The whole body silhouette is also analyzed to obtain the target's shape information such as height and slimness. We then use these multiple cues (at present, we uses shirt color, trousers color, and body height) to recognize the target using a supervised self-organization process. We preliminary tested the system on a set of 5 subjects with multiple clothes. The recognition rate is 100% if the person is wearing the clothes that were learned before. In case a person wears new dresses the system fail to identify. This means height is not enough to classify persons. We plan to extend the work by adding more cues such as skin color, and face recognition by utilizing the zoom capability of the camera to obtain high resolution view of face; then, evaluate the system with more subjects.

• 한국의상디자인학회지
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• 제10권1호
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• pp.55-68
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• 2008

This study is aiming to set a characteristic design and a fashion trend by analyzing hat style trends and fashion images shown in fashion collections in recent seven years. Also, based on the result of the analysis on the five world's major collections, the influence and the interrelation of hat and fashion image were analyzed. The study was performed by the context analysis method and the image evaluation method. In the context analysis method, the 1,391 pictures for hat-styles which were believed to be the standard of fashion style from the S/S season of 1998 to the F/W season of 2004 were analyzed. The research is summarized as follows. Based on the result of the fashion collections, the kinds of hats came Bowler, Beret, Cloche, Capeline, Cap and Hood in order, and Casual, Feminine, Natural, Formal, Romantic, and Mannish came in order for the case of the fashion images for putting on a hat. The result of the analysis on the characteristic of fashion design according to the kinds of hats, the casual image, with highest frequency, was found from all of the kinds except Capeline. Bowler and Cloche were conspicuous in jackets/slacks, Capeline was conspicuous in one-piece shape, and cloth silhouette showed the highest frequency in H type. As for Bowler, the color of cloth and hat was mostly black, and as for Beret and Cloche, achromatic color showed the highest frequency. But as for Capeline, the cloth color, including chromatic color, was various. As for Beret, pattern and material image were various comparatively, but as for other kinds of hats, there were the materials with no pattern and with hard material image.

• 복식문화연구
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• 제24권6호
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.