• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.454-467
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• 2015

Reflecting the consumer's desire to look young, the "down-aging" trend, which blurs the distinctions between age groups, is the latest craze in the fashion market. The popularity of this trend made brand identities similar, resulting in customers becoming more interested in segmented notions of fashion (in terms of the story, design, high-quality material, etc.) regarding the product, and in particular, focus has become oriented to the fitness to the human body. In this sense, the researcher aimed to develop the prototype of a slim-fit tailored jacket that fits the standard somatotypes of women in their 30s well. For the purpose of this research, slim-fit tailored jackets from existing brands were collected and analyzed, and a subsequent wearability test was conducted based on the standard somatotype of women in their 30s. The research patterns were prototype of the developed slim fit tailored jacket are bust size of 3.8 cm, waist of 7 cm, and hip size of 3.8 cm. Then the research patterns were selected to develop the prototype of a properly fitting slim-fit tailored jacket. As outlined above, the development of a slim-fit tailored jacket prototype for the standard somatotypes of women in their 30s was conducted by solving the fitness issues of existing brands in order to produce properly fitting jackets that satisfy consumers.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.608-619
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• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.75-84
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• 2009

The following research analyzed the sewing teaching of the tailored jacket shown in fashion textbooks, which are currently used in universities and educational organizations in the fashion industry. To analyze the sewing teaching of tailored jackets, we analyzed 35 textbooks in the market. Among them we used 14 textbooks which dealt with the patter formation method of tailored jackets, and cutting and sewing methods. First, the stitching direction and the location of attachment varied. The type of sticking tape and its position also differed, emphasizing the need to make an institutionalized education material which is based on the characteristic of the fabric and its silhouette. Second, controlling the ease length of the right side sewing princess line, or information about the shoulder line and sleeve line of the notch as not specifically shown in the textbooks. Furthermore, not many textbooks showed how to pull the lower part of the texture out of sight, nor did they explain why this needed to be done. Third, the lining is usually slightly larger than the outer texture of the clothing, as the lining is usually tugged in the sewing process, and this method makes the clothes more comfortable. The method of sewing the princessline $0.2{\sim}0.3cm$ outside the outer pattern was the most recommended. The center-back side was usually 2cm in activity measurements, but it turned out that a textbook which required ease treatment on the shoulder line did not do so on the lining material. The textbooks used in this research dealt only with how to manufacture a tailored jacket without full explanation about textures which could influence the manufacturing. The production method and process differed between different textbooks, showing the need to make a institutionalized education material. In a quickly-changing era where there is rapid change in the dressmaking procedure, we need to help students understand the process more easily through a formalized education process.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.159-165
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• 1997

The purpose of this study was to develop Semantic Differential Scales with Tailored Jacket. Sixteen slides were made from selected Jacket which were representatives of four types of Jackets. The slides were shown to college students and graduate school students. The students were asked to describe their responses to each slide in Korean adjectives. In order to extract the representative and the frequency each adjective was calculated. As a results, 35 adjectives-elegant, graceful, neat, mature, slim, formal, natural, brisk, comfortable, etc-were selected. Therefore the Semantic Differential Scales composed of 35 pairs adjectives were developed.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.569-580
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• 2015

The recent fashion market failed to satisfy the needs of female customers in their 30s who are demanding a slim jacket that makes the wearer look young and slim. Accordingly, the slim-fit jackets of domestic brands targeting the women in their 30s were collected to conduct look and movement fitting evaluations based on the standard somatotype, and a slim-fit tailored jacket prototype was developed based on the present findings. This research aims to increase the satisfaction level of the slim-fit jacket customers reflecting a variety of somatotypes of women in their 30s. The research process was developing jacket patterns fully reflecting the properties in terms of extra space and design lines for different somatotypes of women in their 30s based on the jacket pattern formulated through the advanced research, and then suggesting pattern design methods for the different somatotypes. In this sense, this research attempted to identify the problems concerning the slim-fit tailored jacket fitting for different somatotypes of women in their 30s. The main aim was to suggest ways to improve the customers' satisfaction level regarding the fit, and enable the manufacturers to produce a well-fitting jacket reflecting the peculiarities of each somatotype.

• Fashion & Textile Research Journal
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• v.6 no.3
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• pp.347-356
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• 2004

The purpose of this study is to analyze the sizing system and size designation of ready-made jackets for women. We survey the sizing system and size labeling that have been used and presently practiced by the domestic garment industry of ready-made woman's jacket. In addition, 264 tailored jackets are measured for the sake of this study. The jackets are classified into 3 groups(young, missy, and madame) according to the target age of the brand. The result shows that size labeling involves body measurements(85-94-160), size code(55, 66) or simplified letter(S, M, L). However, the correspondence of size information and ease tolerances of jackets is not consistent and each company has its own sizing system. There are significant differences among young, missy, and madame group on the bust girth of apparel in 66size code. The average apparel size piteh measurement distributions(bust girth and hip girth respectively) of young group are 9cm and 13cm in 55 size code, those of missy group are 7 em and 3 cm in 66 size code, and those of madame group are 6cm and 4cm in 77 size code. The ease of bust girth and hip girth in missy group are much more than other groups.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1479-1490
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• 2010

This study provides basic data for the development of jacket patterns which reflect designs corresponding to the body shape features and preferences of obese women in their 20s and 30s by understanding problems they may encounter in wearing a ready-made jacket by researching the reality of ready-made tailored jacket wearing and their design preferences. A survey was conducted by sampling 82 obese women (over $25kg/m^2$ BMI) between the ages of 20 to 39. The details of the survey consists of general information, interest rate and importance rate on clothes, reality of wearing and purchasing jackets, measurement fits per each part, and preferred designs. SPSS 14.0 was used to analyze the data. The results showed that 76.8% of obese women wore their jackets less than 5 times a month. Those in the 20s wore the jackets more frequently than those in the 30s. The reasons for not wearing jackets frequently included uncomfortableness in activities and unavailability of the correct size. A total of 55% of the total preferred the fitting to be relatively smaller than the body size or tightly fitting. Although in the past, there was a tendency to wear a loose fit to cover the body shape, currently even obese body shapes avoided the loose fit as the tight fit is the trend. In terms of the satisfaction rate for the measurements per each part of jackets, there was a low satisfaction rate for most of the items. For the circumference items such as waist length and chest size, people responded that they were too small and for the length of items such as the length of jacket and sleeve length, people responded that they were too long. This was because the readymade clothes brands increase the length of items and circumference items in uniform in the same intervals when producing large sizes. Both those in the 20s and the 30s preferred a tight fit. In terms of preferred fabric, a wool/spandex mix was most popular and then cotton/spandex. This shows that they prefer those fabrics which allow an excellent activity while maintaining the exterior well. In addition, they preferred black color with no patterns because they wanted their body size to look reduced and did not want to receive any attention.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.726-740
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• 2000

The purpose of this study is to evaluate the combination of suit details through visual evaluation which helps compensating the classic style suits-middle aged women's body construct for their more attractive fashion styles. The styles of the evaluated suits are formal and classical. The designs of evaluated suits are manipulated in 40 different kinds by the essential elements such as collars, necklines(tailored collars, soutien collars, stand collars, round necklines, V-necklines, etc.), bottoms(slacks, skirts), pocket (flap pocket, none) and opening(opened, closed). The data evaluated by a multiple ranking test were analyzed by paired t-test, ANOVA and Duncan's multiple raged test. The results are summarized as follows : 1. A middle aged woman on skirts suits look more graceful, more elegant, and a bit more refined than that on slacks suits. 2. A middle aged woman wearing a jacket with flap pockets on looks more balanced, and graceful than when wearing with no pockets. 3. Wearing closed jackets looks more balanced and graceful than on opened jackets. 4. The types of collar·necklines can be called the details which put much influence on Image effects. Putting on tailored collar suits is the most graceful, refined, balanced and harmonious case than any others.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.