• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.91-100
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• 2015

The purpose of this study is to analyze the style of check dresses shown in collections from 2011 to 2014 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in silhouette of block check dresses. The results of this study are as follows: 1) 120 check dresses shown in collections were composed of 57 straight silhouette dresses, 38 fitted silhouette dresses, 23 hourglass silhouette dresses, 1 barrel silhouette dress, and 1 atypical silhouette dress. And check pattern mostly used in the current collections a square pattern of block check, tartan check that is a Scotch traditional lattice pattern, a small lattice pattern of gingham check, over check that other check patterns are arranged on check pattern, star-shaped hound tooth check, glen check mixing small pattern and big pattern. The visual image for check dress differs according to changes in the check pattern and silhouette of the dress. 2) Main expressional words of visual images for block check dresses differ greatly depending on the silhouette of dresses. The visual images are ranked in the order of 'graphic', 'simple', 'hard', 'modern' for straight silhouette of block check dresses. The words of 'lively', 'girlish', 'feminine', 'cute' are ranked for hourglass silhouette of block check dresses. And the words of 'confident', 'feminine', 'modern' are marked down for fitted silhouette of block check dresses.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.105-114
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• 2021

This study aims to evaluate the differences in visual images due to the variations in the silhouette and jacket type of men's suits. Six samples were used for this study: 3 examples had variations in the silhouette while 2 variations were in the jacket type. They were evaluated using a 7-point rating scale and a survey was conducted among 80 fashion students. The data was analyzed by Factor Analysis, ANOVA, Scheffé Test, and the MCA method. This study's results are as follows: 1) According to Factor Analysis, the components of visual evaluation by the silhouette and the jacket type of men's suit were classified into: attractiveness, masculinity, practicality, and naturalness. Among these factors, attractiveness and masculinity were evaluated to be the most important factors. 2) Men's suits with a single-breasted jacket had a simple and practical images in fitted and boxy silhouettes. Double-breasted jacket suits showed sexy, refined, and chic images in the fitted and slim silhouettes, and expressed an adult, profound, and conservative images in the boxy and fitted silhouettes. 3) The silhouette and the jacket type of men's suit interacted with masculinity and the practicality. Fitted and slim silhouette suits had different images that looked adult, profound, and conservative depending on the jacket type, but the boxy silhouette suit did not show the same effect. 4) According to the MCA on the attractiveness and the naturalness, the jacket type affected the visual image of men's suit more than the silhouette. Double-breasted jacket suits had more sexy, refined, and chic image than the single-breasted jacket suits. Men's suits with a single-breasted jacket had a more comfortable and natural image than those with a double breasted jacket.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.121-133
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• 2016

The purpose of this study is to recognize the differences of visual evaluation by variations in pattern and silhouette of the block dresses. The stimuli are 9 samples: 3 variations of the silhouette and 3 variations of the size of pattern. The data has been obtained from 55 fashion students and has been analyzed by using Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of this study are as follows; 1) The visual evaluation by pattern and silhouette of block dresses are composed of 4 factors: lovable personality, physical characteristics, boldness, and simplicity. 2) Block dresses were evaluated to display the figure more efficiently, such as looking slimmer or taller, in the order of 2nd stage, 1st stage, and 3rd stage in every silhouette. As the patterns became bigger, straight silhouette dresses were judged to have bolder, more dignified images. 3) Block dresses were evaluated to have cute and lively images in order of hourglass silhouette, straight silhouette, and fitted silhouette in every pattern. They were evaluated to appear slimmer and taller in order of hourglass silhouette, fitted silhouette, and straight silhouette in every pattern. 1st stage and 2nd stage dresses were evaluated to have a bolder, more dignified image in order of fitted silhouette, hourglass silhouette, and straight silhouette. 4) The pattern and the silhouette of the block dresses interacted with boldness. These were the boldest, most dignified image in the fitted silhouette and 1st stage, while they were not judged so in the case of the straight silhouette and 1st stage. 5) According to the MCA regarding lovable personality and physical characteristics, the silhouette affected the visual image of the block dresses more than the pattern did. According to the MCA on simplicity, the pattern affected the visual image of the block dresses more than the silhouette.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.54-68
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• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.10
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• pp.1541-1551
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• 2009

This study gives guidelines to pattern designing by supplying various images of the transformed shape of jeans with the location of the waistline and the pants silhouette. For this study, 9 kinds of sample cloths (100% cotton denim) were designed considering the laying measurement of the jeans with the location of the waistline and the pants silhouette. The images of each sample were evaluated after the measurement of the completed samples. Clothing and textiles specialists used a semantic differential scale as the evaluation method of the images. For the statistical analysis of the data, one way Anova and Duncan test were adopted using the SPSS 12.0 program. The results of this study are as follows: 1. The visual image by the location of waistline and the change of the pants silhouette is composed of 3 factors (attraction, fashion and comfort factors) of which the attraction factor is the most important factor. 2. The visual image is positive when the location of the waistline is in the low waist position. It is attractive, fashionable, and comfortable. The visual image is negative when the location of the waistline is in the position of the natural waist. 3. The visual image is attractive when the pants silhouette is a boot-cut and fashionable when the pants silhouette are skinny. The straight-cut is comfortable but the visual image is negative. 4. There is no correlation between visual image by the location of the waistline and the change of the pants silhouette.

• 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 Clothing and Textiles
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• v.38 no.2
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• pp.231-250
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• 2014

This study considers types of design expression and examines aesthetic characteristics by analyzing images shown on clothes worn by Korean First Ladies. This study is to accumulate a fundamental database for the effective style coordination for images of First Ladies and future directions of clothing design. The types of design expression on the clothes of Korean First Ladies are as follows. First, in terms of silhouette, H line and A line is generally represented on the silhouette of clothes; in addition, the H line is highly expressed on the silhouette. The keyword of images by design types are generally feminine, elegant on the silhouette of First Ladies' clothing, and represented a progressively more modernized image on the silhouette. Second, in terms of color, it is expressed diverse images on the color of First Ladies' clothing, and exceptionally the tendency of elegant image is highly charged on the color of clothes. This sort of tendency is influenced by the preferences of First Ladies; subsequently, most First Ladies wear their clothes with a high brightness and chroma. Third, in terms of materials, the image of elegant and simple is highly expressed through First Ladies' clothes and it is caused by choosing the clothes of a plain texture rather than a visible and fancy one. The aesthetic characteristics based on an analysis of the types of design expression on the clothes of Korean First Ladies are as follows. First, 'femininity' on First Ladies' clothes is expressed by A line silhouette of a feminine curve and decorative effects. Second, 'simplicity' on First Ladies' clothes is expressed on the H line silhouette of a straight figure or through the solid colors of high chroma. Third, 'elegance' on First Ladies' clothes is represented on the silhouette of a restrained curve, long skirt hemlines, and woolen fabric with a neat, warm and soft coordination of colors. Forth, 'traditionality' on First Ladies' clothes is expressed through the application of materials and colors that influence culture, traditions, and detailed decorativeness.

• Journal of the Korean Institute of Intelligent Systems
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• v.17 no.7
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• pp.913-918
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• 2007

Human motion analysis is an important research subject in human-robot interaction (HRI). However, before analyzing the human motion, silhouette of human body should be extracted from sequential images obtained by CCD camera. The intelligent robot system requires more robust silhouette extraction method because it has internal vibration and low resolution. In this paper, we discuss the hybrid silhouette extraction method for detecting and tracking the human motion. The proposed method is to combine and optimize the temporal and spatial gradient information. Also, we propose some compensation methods so as not to miss silhouette information due to poor images. Finally, we have shown the effectiveness and feasibility of the proposed method through some experiments.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.59 no.8
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• pp.1471-1476
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• 2010

This paper proposes the robust matching algorithm of the optical images. To do this, we propose two algorithms, that is, matching algorithms when the silhouette of images is detected and when it is not detected. Also, we propose the method for detecting the matching template and non-matching template from each optical image. And then, optical images are matched according to the coefficient of correlation represented by the similar degree between optical images. Finally, we show the effectiveness and feasibility of the proposed method through some experiments.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.14-28
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• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.