• Journal of the Society of Naval Architects of Korea
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• v.33 no.4
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• pp.22-31
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• 1996

An efficient calculation method of pressure acting on a bluff body is developed. The method is applied to assess the containment capability of an oil fence, considering skirt deformation in current. The pressure on the frontal side of the oil fence is determined by analyzing the potential flow, substituting the wake region as a rigid body which has its boundary at the closed separation streamlines. The pressure at the downstream side of the fence, the so called base pressure, is obtained from the existing experimental results. To verify the calculation method, pressure drag of some bluff bodies in an infinite-fluid medium is calculated, which shows good agreement with the experimental results. The deformed shape of the oil fence is obtained by solving, iteratively, the coupled equations governing the flow field and the deformation of the oil fence, respectively. The deformed shape and the decrease of draft of oil fences with different ballast mass in various current conditions are investigated.

• Journal of the Korean Home Economics Association
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• v.24 no.1
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• pp.28-41
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• 1986

In the history of costume, coat can be traced up to ancient Persia but it was generalized as today's style around 14th an d15th century in Euro[pe. World wars, revolutions and rapid social changes of the last 80 years have produced more changes in the way people dress than any comparable period in history. Thewse changes enabled emergence of more modernized woman's garments and through it, dress and coat ensemble became public's main fashion. In 1920's after world war I, boyish style in woman's garment was in vogue. Woman's coat was also in the same style with length sortened up to the knee level and silhoutte was straighter and semi-fitted than previous period. Length of the coat was longer in late 1930's but shortened again in 1940's. And the most popular silhouette of both 30's and 40's was shape of the hourglass which was commonly called the "X-shape". Also double=breasted coat with fitted waistline, belt and flare skirt was in vogue. In 1950's and 60's, with the variety of lines in woman's garments, silhouette of the coat also appeared in many different forms. Along with the various shapes, color of the coat changed throughout the decades : dark colors in 20's, bright colors in 30's, mixed colors of 20's and 30's in 40's and in 50's, color had changed to archromatic. In fabric, wool was most popular in all periods. However, such gabrics as tweed, cotton, gaberdine, linen were added to give variety. It is very interesting to see collars trimmed with expensive furs were very popular in 20's and 30's but it almost disappeared in 40's and fur trimming reappeared in late 50's. In addtion to silhouette changes in design, details such as buttons, epaulettes, pockets and fur trimming of hemline were emphasizing points of varieties in design. This study has set time limits world war I which was the period coat became major fashion of woman's clothing, to 1960's.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.49-65
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• 2009

As basic materials in this research, 874 pieces of engraving that recorded the garment produced by diverse authors in the 17-18th century were collected among the collections of male and female garment in the engraving kept by National Library of France and 216 pieces of engraving were classified among them to observe justaucorps as stated in the materials. Since type of justaucorps in the 18th century can be classified by difference in shape and change through the above engraving materials in large quantity and the shape and composition can be compared and analyzed with other materials such as picture, stored garment, written materials without difficulty, the chronology can be composed by single type of justaucorps. Intending to understand the change in composition caused by type classification and pattern making as per analysis of type property of justaucorps, the men's upper garment in France in the 18th century. Checking change in design per from and materials, justaucorps of 1680-1700s was in silhouette where waist in the length above knee was adhered and slightly spread to lower part. In the type of 1710-1750s, waist adhered remarkably and many pleats were made under waist to produce volume of form that spread to lower part like skirt. In the type of 1760-1780s, straight silhouette was attached to whole body and end of front adjustment in slant line turns to rear part. The developmental aspect of construction can be checked by making pattern. Changing the cutting line of body plate to smoothly connect section and to try to adhere to the body, the development of simpler and delicate pattern production technique was confirmed.

• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.235-243
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• 2003

This study is to figure out where the current satisfaction with ready-to-wear clothes based on middle-aged women's body shapes is at and to propose basic considerations in its production for coming up with a better sizing system to maximize customer's satisfaction. The data obtained from measurement and questionnaire by 126 middle- aged (35-59) women which were located in Gwangju. Followings are summary of this research, 1)The satisfaction level with lower -wear is relatively lower-wear than that of upper-wear in most parts of body. 2) The results by way of putting score show three different groups. Group 1 has characteristics of front body silhouette in the small ratio of shoulder width/bust width, shoulder width/waist width and big ratio of shoulder width/hip width. And Group 3 has characteristics of front silhouette, small ratio of hip girth/thigh girth. Group 2 has a standard shape. 3) The satisfaction level with lower-wear based on middle-aged women's body shapes shows slight difference. In this category, Group 2 has higher satisfaction level than that of Group 1, while Group 1 has better shape than Group 3. 4) The items of clothes which should be considered current less satisfaction on their size and pattern are skirt and pants. In the meantime, specific body parts for the same criteria are hip girth, thigh girth. And the 43.7% of middle-aged women who responded to this study requires improvement on the fit of lower-wear.

• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.200-212
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• 2002

The purpose of this study is to make the internet website on the order-made fashion design so as to do meet the need of netizen in the 21st century. It made the consumer do the design which he or she wants by the combination of the compositions that do select the pattern of the skirt design to fit his or her size and body shape. For the set-up of website, the elements of composition must be considered, and also the planning and design must be done fur the order-made fashion design. With the internet website, it's possible to do reach the below points; first, it can make the consumer do the design which he or she wants by himself or herself; second, it can provide him or her the information of measuring his or her body shape to buy the design pattern which he or she wants. Third, it can be contributed to make the brand more active by improving his or her satisfaction with the design and pattern which he or she wants. Also it can bring up the effects as fellows; first, lashing power of the design can be increased by the order-made fashion design to attract his or her interest, and also it can make him or her more satisfied. Second, the competitiveness can be strengthened by the differentiation of the fashion site between the existing design and the order-made fashion design. Third, the production of design can be higher and also its expense can be reduced even for the small and medium-sized clothes maker or merchants. Finally, it is able to enlarge the applicable field into the design of small articles, home fashion, and textile which they want to sell the differentiated and order-made products.

• Journal of Ocean Engineering and Technology
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• v.35 no.4
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• pp.296-304
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• 2021

Research on the development of marine renewable energy is actively in progress. Various studies are being conducted on the development of wave energy converters. In this study, a numerical analysis of wave-energy extraction performance was performed according to the body shape and scale of the sloped oscillating water column (OWC) wave energy converter (WEC), which can be connected with the breakwater. The sloped OWC WEC was modeled in the time domain using a two-dimensional fully nonlinear numerical wave tank. The nonlinear free surface condition in the chamber was derived to represent the pneumatic pressure owing to the wave column motion and viscous energy loss at the chamber entrance. The free surface elevations in the sloped chamber were calculated at various incident wave periods. For verification, the results were compared with the 1:20 scaled model test. The maximum wave energy extraction was estimated with a pneumatic damping coefficient. To calculate the energy extraction of the actual size WEC, OWC models approximately 20 times larger than the scale model were calculated, and the viscous damping coefficient according to each size was predicted and applied. It was verified that the energy, owing to the airflow in the chamber, increased as the incident wave period increased, and the maximum efficiency of energy extraction was approximately 40% of the incident wave energy. Under the given incident wave conditions, the maximum extractable wave power at a chamber length of 5 m and a skirt draft of 2 m was approximately 4.59 kW/m.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.103-113
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• 2002

Heungdukwang'(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shills's(統一新羅) costume. But among the clothing pieces that appeared in Heundukwang'(興德王) costume ordinance, classification of Naeoe(內衣) and Danoe(短衣) is not clear. This study focuses on the categorization of Naeoe(內衣) and Danoe(短衣). Upper garments included among costume ordinance were Pyooe(表衣), Naeoe(內衣) and Danoe(短衣), Pyooe(表衣) and aeoe(內衣) were unisex, while Danoe(短衣) was worn only by women excluding the lower class. Pyooe(表衣) is applicable to Po(袍), Naeoe(內衣) is aplicable to Yu(유). Shilla'(新羅) upper garments appearing in visual records are as follows: -With the exception of Pyooe(表衣), the length of men's upper garments were between hip and knee length. These upper garments featured V-neck and round neck styles with the left side of the garments folded over the right side. -Again excluding Pyooe(表衣), women's upper garments were similar to men's upper garments having V-neck and round necklines. We know this to be true from the relics found during the excavations of Hwangsungdong and Yonggangdong, as well as from the women in the stone reliefs of Sangju. Although we know the shape of necklines. the length of upper garments remained a mystery because women of that tome tucked in their upper garments into the skirts and/or wore an over garment. However a clay doll found around Bulguksa(佛國寺) wearing a knee length garment with V-neck. The upper garment was opened in the front and was worn over another garment with same length and round neckline. At that time, The upper garments found in China and Japan. were not much different than those found in Shilla (新羅). They also included garments that were waist length, had peach-shaped necklines, or were worn over head. Shilla's(新羅) traditional upper garment was between hip and knee length, but with the introduction and influence of Chinese costume. upper garments with a length coming down to the high waist line began to appear. In addition to Chinese influence, because Shilla's(新羅) women wore the upper garment first and then the lower garment, a long upper garment was not necessary. These shorter upper garments came to be known as 'Danoe(短衣)'When we perceive clothing. we look at silhouette first and then the details. Silhouette is much determined by length and neckline or the front of the garment determines the details, So we need to attention to the basis of ancient dress classifications. These classifications were according to first length [Po(袍), Yu(유)] and then neckline [Danryoung(團領), Jingryoung(首領)]. As a result. Naeoe(內衣) and Danoe(短衣) are classified by the length. The length (內衣) was between hip and knee length while Daneoe(短衣) was waist length. Danoe(短衣) was worn by putting the bottom of it inside skirt naeoe(內衣) was worn over a skirt or plant. But both had V-neck and round neck styles, and styles with the left side of the garments folded over the right side.

• Journal of the Korean Society of Costume
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• v.1
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• pp.101-117
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• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

• Journal of Fashion Business
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• v.24 no.5
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• pp.158-176
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• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.