• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.512-522
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• 2015

The aim of this study was to investigate the change in women's somatotype with aging. The subjects were 1,123 women aged 40~69. Their anthropometric data were from the 6th Size Korea. The data were analyzed by factor analysis and cluster analysis. Seven factors were extracted: body mass, body length, back shoulder, arm length factor, front interscye factor, body rise factor, and shoulder angle. The upper body types of middle-aged and elderly women were classified into five types: skinny, short stout body type with forward posture, composite, tall & full body type, and short & skinny. The skinny and composite body type appeared more often than the short stout body type in the early 40s of Korean women. Starting in the mid-50s, composite body type was less often found. However, the number of women with short stout body type increased. In the 60s, the number of women with short stout and tall & full body types decreased. These results reveal that the body types of middle-aged and elderly women changed with some pattern with aging. And women in their early 40s, mid-50s, and 60s women had different body shapes and postures.

• Journal of the Korea Society of Computer and Information
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• v.26 no.4
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• pp.39-46
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• 2021

In this paper, we propose a method for the motion recognition method required in the industrial field in mixed reality. In industrial sites, movements (grasping, lifting, and carrying) are required throughout the upper full-body, from trunk movements to arm movements. In this paper, we use a method composed of sensors and wearable devices that are not vision-based such as Kinect without using heavy motion capture equipment. We used two IMU sensors for the trunk and shoulder movement, and used Myo arm band for the arm movements. Real-time data coming from a total of 4 are fused to enable motion recognition for the entire upper body area. As an experimental method, a sensor was attached to the actual clothes, and objects were manipulated through synchronization. As a result, the method using the synchronization method has no errors in large and small operations. Finally, through the performance evaluation, the average result was 50 frames for single-handed operation on the HoloLens and 60 frames for both-handed operation.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.6
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• pp.1031-1040
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• 1997

This study was done to analyze the body surface developments of armhole area. The major conclusions of this study are: 1. The body surface developments showed the characteristics of expansion and contraction of body at armhole area. By arm movements, front armhole lines on the body surface developments of upper arm were slow going, but back armhole lines were full and round. As a whole, armhole line of the back torso was swollen outside especially at backarmpit point area, it seemed like a line of raglan sleeve. 2. Regression Analysis was carried out to adapt armhole line on the upper arm and upper body to bodice and sleeve pattern, following the axillary circumference line and chest breadth line changed to the basic pattern form. As the result, armhole lines of 90$^{\circ}$ and 135-180$^{\circ}$ movements deviated from those of standard posture. U-type, clear armhole curve of standard posture turned to V-type, slanting line by arm movements.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• Journal of Fashion Business
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• v.11 no.4
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• pp.135-151
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• 2007

This study is human body measurement of 200 adult males in their 20s by both direct and indirect methods in order to reveal the representative male upper body types. Composition factors of body types were classified while the combination of direct-indirect measurement values was chosen. The following are the findings: 1) The analysis of direct-indirect measurement statistics showed the following results: 173.80cm (height), 69.87kg (weight), 95.58cm (chest girth), $24.67^{\circ}$ (right shoulder angle), and $9.34^{\circ}$ (shoulder width angle). 2) The factor analysis of the body types by direct measurement produced 5 factors: 1 (front length of upper body), 2 (front length of upper body), 3 (back length of upper body), 4 (circumference of upper body), and 5 (shoulders length). These factors accounted for 90.08%. Also, the cluster analysis of factor scores led to 3 types: 1 (33%, short, comparatively wide shoulders and full in the hips), 2 (25.1%, well-developed upper body in tall, inversed triangle), 3 (41%, average height, short upper body). 3) The body-type factor analysis by indirect measurement resulted in 6 factors with the explanation of 83.24%: 1 (rear upper bady thickness), 2 (front upper body width), 3 (front chest thickness), 4 (left-right shoulder angle), 5 (front width of protrusion distance in chest and shoulders), and 6 (neck's front-rear side angle).In addition, the cluster analysis of factor scores brought about 4 types: 1 (15%, well-developed front chest, beardless waist), 2 (23.5%, flat chest, with shoulder, drooping shoulders, strait neck), 3 (39%, with shoulder, curved back), and 4 (22.5%, narrow and thin, curved waist). 4) Among the 118 subjects (75%), 58 subjects commonly appearing in indirect measurement values group and direct measurement values group were chosen the representative body type group according to asterisk indexes. They had the highest frequency in direct type 3 and indirect type 3, whose combination represented the physical characteristics of the representative body types.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.719-730
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• 2001

The purpose of this study is to develop the basic patterns of adult womens brassiere therewith, provide for some basic data useful to the brassiere manufacturing which are both functional and fitting. For this purpose, 220 adults women(aged between 20 and 59) were sampled to be measured for their body sizes and tested for their brassiere wearing. The collected data were statistically processed using the SAS 6.12 for Means, Standard Deviation, etc. The results of this study can be summarized as follows; 1. In order to develop the basic patterns of adult womens brassieres, 75A size was selected out of 12 size combination(3 women per 75A size) and then, their brassiere fitting was tested. As a result, the fronts of the basic patterns were found to have such problems as undone front center, poor levelling of upper cups bottom line or lower cups top line, poor shape of upper cups outside top line and shoulder strip position. On the other hand, n the rear side of the basic patterns, the central part of the wing was slightly lifted, while the wing width and straps interval did not befit the full-cup brassiere. The result of this first brassiere fitting test showed that the functionality and aesthetics of the basic pattern brassieres were more or less satisfactory, and thus, the problems were address for the second test. In the second test, the aesthetics, breast-shaping effect and functionality of the basic pattern brassieres were much improved. 2. The basic patterns of adult womens brassieres were characterized by a round cup wired as well as a full cup embracing the entire breasts. Each basic pattern which consisted of upper and lower cups was shaped \"straight(-)\". The basic sizes adopted at the first design stage (see fig. 1-2) was 75A of which was designed as upper foundation basic pattern. At the second stage, the upper body foundation pattern were used to design lower cup, upper cup, front panel and wing in their order.(see fig. 3-5, fig. 8)5, fig. 8)

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.77-85
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• 2001

The purpose of this study was to classify the somatotype around a upper body of 30's men. The subjects were 202 working men aged from 30 to 39 and the data of 33 items including computed items were analysed by factor analysis and cluster analysis. Re results were as follows: As a factor of somatotype in evaluating males in 30's, the horizontal area represented the chest circumference at scye and the breadth items, the vortical region indicated hit length posterior, front length, back length, the breadth difference and the length difference. The somatotype by cluster analysis was classified with 3 type. Type I as the Roher's index 1.21 indicating the smallest in the circumference and weight item was classified as the thin and long featuring bending somatotype. Type 2 with the Rohrer's index 1.35 showing the mid-group between type 1 and 3 had the highest distribution rate as the balanced featuring the standard somatotype. Type 3 as the rohrer's index 1.40 was the largest physical condition group in the obesity featuring the turning over somatotype.

• Korean Journal of Applied Biomechanics
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• v.15 no.2
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• pp.119-127
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• 2005

The purpose of this research helps to make full use for perfect performance by grasping the defects of Ropez motion performed by athlete CSM who was under the training for the 28th 2004 Athene Olympic Garnes, and by presenting complementary methods. For the better Ropez motion which had been performed by CSM for the 1st dispatch selection test and the final for the 28th Athene Olympic Game was analyzed with 3-dimensional cinematographic method. Here are the conclusions: 1. During the board contact phase, powerful kicking and rapid forward flexion motion of upper body make increasing vertical velocity of C. O. G and enlarging body angle. 2. It was indicated that rapid forward flexion motion of upper body during the board contact phase get a large body angle in horse take-off. 3. rapid forward flexion motion of upper body during the board contact phase makes a longer time at horse contacting phase. It showed that this result increased velocity of horse take-off causing by powerful blocking motion. 4. Increasing of air-borne height during pre- flight phase, makes a higher C. O. G; and larger angle of hip, angle of knee and body angle in the landing phase. And it revealed that these results have a stable landing.

• The International Journal of Costume Culture
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• v.8 no.1
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• pp.43-50
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• 2005

This research analyzed the anthropometric data for Filipino plus-size women. The study aims to identify key dimensions used for the sizing system that can improve on fit and style concerns/issues for the plus-sizes. This study also develop a reference of body measurements for Filipino plus-size women from the data collected. The data was collected from subjects residing or working in the University of the Philippines and within Metro Manila. The full figure body shapes have been derived from the raw anthropometric data. The pear and the barrel shapes were derived figure types based on the anthropometric data collected. These body types show that weight distribution is on the lower torso for the pear and the upper torso for the barrel.

• Journal of the Korean Society of Costume
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• v.32
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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'.