• 한국의상디자인학회지
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• 제13권3호
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• pp.89-103
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• 2011

The purpose of this study is to analyze the formative characteristics of accordion pleats shown in 10/11 S/S London, Paris, New York collection and evaluate the differences of visual image by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test. The results of the study are as follows: Accordion pleats was first introduced by Marriano Fortuny. He published delphos dress by creating silk pleats manufacturing technique and it was recognized as the best pleats work. Since then, pleats with synthetic fiber characteristics were used by many fashion designers. Accordion pleats were used in various items including one-peice, skirt and pants in collection of 2010 and 2011. The design of accordion pleats skirt used different width of pleats, length of the skirt and materials. The visual image by the width of pleats and the length of skirt are composed of 3 factors : dearness, attractiveness and elegance. In these factors, dearness factor is estimated by the most important factor. The accordion p1eats skirt is most attractive and dear when the width of pleats is the shortest, 1/8", and the width of 4/8" and 5/8" follows. The accordion pleats skirt is most attractive and dear when the length of skirt is similar to that of mini-skirt, and the skirt was estimated to be elegant as the skirt gets longer. When the length of skirt is in between, the skirts were estimated to be ambiguous in all visual images. The interaction effect of visual image according to the changes in width of pleats and skirt length of accordion pleats skirt was seemed to have significant differences by factors, and the main effect had great differences in all factors.

• 한국의상디자인학회지
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• 제12권1호
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• pp.77-88
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• 2010

The purpose of this study is to evaluate the differences of visual effects by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of the study are as follows: The visual effects by the number of pleats and the length of skirt are composed of 2 factors: verticality and thickness of lower body, shape of abdomen. In these factors, verticality and thickness of lower body factor is estimated by the most important factor. The accordion pleats skirt makes the lower body look longer when the width of the pleats is wider, and helps the calf and leg look thinner. Also, the waist looks more slender and thin. As the skirt gets longer, one looks taller, and legs look longer and thinner. The shape of abdomen is no difference according to the width of pleats. As the skirt gets longer, the waist looks more slender and thinner. The interaction of visual effect according to the changes in width of pleats and skirt length of accordion pleats skirt is not shown, and the skirt length has more effect than the width of pleats does in verticality and width of lower body factor. The width of pleats has more effect than the skirt length does in shape of abdomen factor.

• 한국의상디자인학회지
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• 제10권3호
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• pp.163-171
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• 2008

This article aims to evaluate the visual effects and images according to the changes in the width of pleats of accordion pleats skirt. I altered the width of the pleats to seven categories in changes of 0.5cm, 0.7cm, l.0cm, 1.3cm, 2.0cm, 2.5cm and 3.0cm. For the visual evaluation, seven stimuli had been placed in mannequins, and had been estimated by experts in fashion design. For the visual evaluation according to changes in the width of pleats of according pleats skirt. I used 11 pairs of items to find their visual effects, and 17 pairs of adjectives to measure the visual images. Those stimuli and adjectives had been randomly given to evaluators and had been evaluated by the seven-point Likert type scale. The data have been analyzed by frequency, factor analysis, ANOVA, Scheffes test and correlation analysis. According to factor analysis of the visual effects of the accordion pleats skirt, the result was classified into three factors: the verticality of the lower body, flexuosity of the lower body, and shape of the abdomen. According to factor analysis of the visual image of the accordion pleats skirt, the result was classified into the following three factors: activity, attraction and neatness. In visual effects, the verticality of the lower body had been assessed as the most important factor of all. The visual effect was positive when the width of pleats had been narrowed. In visual image, activity had been assessed as the most important factor. In the case of accordion pleats skirt, as the width of pleats became wider, it had a stronger image in being active and casual.

• 패션비즈니스
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• 제16권5호
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• pp.57-73
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• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• 복식
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• 제59권1호
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• pp.159-167
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• 2009

Based on instructions in the textbook "How to Construct Korean Costumes" which I authored, my university students were required to make Pungcha-Baji(Korean traditional pants for children) for one-year-old boys. While examining the students' construction, I found that the side seams of the vest and pants did not line up but were improperly twisted. It was found that the pants did not cover the child's backside because the width of the back was smaller than the width of the front when one of the side panels and the large center panel in the front was half the size of the hip and one of the side panels and the small panel in the back was four fifths of half the size of the hip. Although there were differences between the waist size of the pants and the bottom hem of the vest, the textbooks instruct that the amount of material and the number of pleats(i.e. 4 pleats) on the pants and the vest should be the same. Finding this mistake led me to investigate Pungcha-Baji construction in related textbooks. Thus with the textbook instruction, the side seams of the pants and the vest do not match and are improperly twisted. Hence, as a solution, the pleats should be made and adjusted after matching the side seams of the pants and the vest. The purpose of this study is to examine currently available Pungcha-Baji related textbooks and determine the correctness of their instructions and to ultimately provide correct construction methods for Pungcha-Baji pattern for academic purposes.

• 한국의류산업학회지
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• 제1권1호
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• pp.34-42
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• 1999

The purpose of this study was to change practical korean costume in 20C. In the early 20C, inflow of western civilization started to change korean costume. Since then gradually changes to be simple in Korean costume. Results of this study can be summarized as follows: Traditional jacket (jeo-go-li) gradually began to be long to waist line. This jacket length was to be long and it sleeve is to be short in early 2OC. Traditional skirt (Chi-rna) length was short to the calf of the leg. Traditional wide skirt was gradually to be narrow and pleats shape look as if it in go-gu-Ryeo Dynasty. The width of pleats was about 3~5 cm, be one-sided, look as if it western style in today. But pleats skirt already existed on a women's of the upper classes in go-gu-Ryeo Dynasty. Women's long Coat (do-lu-ma-gi) length was short to under hip line in late 20c. In this way, the practical idea, the factor of design was because of western idea in civilization ages, early 20C. Since then gradually reformed to be simple in Korean costume. Assuming that the trend of simplification in Korean costume is related to the idea of practical. Therefore Korean costume of living or a reformed Korean costume to be design of practical, functional, convenient, economically. And it must have to traditional idea, it is only beauty of shape, pattern, line, fabric in Korean costume.

• 대한가정학회지
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• 제48권2호
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• pp.75-83
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• 2010

Hanbok Chima, a Korean skirt, with large-volume should have an archetypal drawing model for appropriate cultural and historical accuracy. In order to develop new Hanbok Chima archetypal drawings we drew a skirt by connecting height with a design structure adopted from Jeogori, a Korean jacket. As a result, an archetypal drawing was developed from which circumference of lower width of Chima, size of pleats in waist circumference, and length of Chima as well as a scheme of layering Chima and Jeogori can be obtained. In this drawing, width of Chima can increase or decrease naturally according to height. However, in case of same heights and different chest circumferences if 2.5cm of additional value is provided for every 5cm increase in chest circumference, Chima of any size can be made based on this drawing. In conclusion, given the demonstrated practicality of designing a Hanbok Chima with large-volume based on archetypal drawings, it is expected that the results of this study will provide useful scientific data for Korean costume designs.

• 복식
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• 제57권7호
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• pp.153-161
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• 2007

In 2004, Mal-gun(抹裙) was excavated from a plastered tomb in Seok-nam-dong, In-cheon. This tomb is assumed to be from an upper-class woman. The excavated Mal-gun was used to fill in the empty spaces in coffin, and it was seriously damaged and foxed dark. The Mal-gun is made with thin, loose Sook-cho(숙초), and the width of the fabric is 70cm. Both sides of the crotches are overlapped in front, and the back is opened. The waist straps are detached, leaving a little part to show the width of the straps. The hems of the Mal-gun are sewed straight, without any pleats, except some spaces for the feet to go through. This study compared the Mal-gun of Joseon Dynasty from the documentary records and picture records with the excavated Mal-gun from Seok-nam-dong, In-chceon. Also, actual Mal-gun was manufactured according to the excavated Mal-gun to study the process of manufacturing and the formation. As a result, the excavated Mal-gun has the same form of that shown in Ak-hak-gwae-bum, a documentary record from the early period of Joseon Dynasty.

• 복식
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• 제66권6호
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• pp.32-45
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• 2016

The purpose of this study is to propose changes that can be made to improve nurse uniforms in terms of outfit and functionality based on actual wearing conditions and nurse's preference. The proposed nurse uniform was composed of a blouse and pants. The design was as follows: the blouse had short set-in sleeve with China collar, a princess line, and it came down to middle hip. Armhole action pleats and back inverted pleats were embedded for convenient arm movements. The pants waist had a rubber band at the back waist, and the crotch length and the knee width were increased for activity. To make the pocket more accommodative, separate pocket slots treated with silicone were added to prevent belongings from coming out of the pocket. The pink tone of the uniforms, as well as the stripes on the blouses and spandex incorporated pants were based on nurses' preference. the nurse uniforms were produced after measuring the size of women in the age of 25 to 29, and the uniform patterns were corrected after two wearing experiments. Wearing test was examined in terms of appearance and functionality. For appearance, experts gave the uniforms a mean rating of 4.30, and nurses gave a mean rating of 4.00. Functionality was evaluated in terms of ease of activity and storage aspects. The total mean of ease of activity in nursing service was 4.30, whereas the evaluation of storage in terms of pocket position and convenience was 3.80.

• 한국의류산업학회지
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• 제8권1호
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• pp.80-88
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• 2006

This study attempted to undertake comparative analysis of woman's jacket pattern and details based on the Crinoline and Bustle style of the 19th century, comprehend the relation and differences between the two styles. And it also presented the resultant characteristics and attempted reproducing the original dress of the past for the development of modern woman's jacket design. Larger portion was occupied for the breast front width than the back width for both Crinoline and Bustle style, which indicated the remarkable difference between these styles and modern jackets in terms of pattern size. Circumferences also showed that both styles had larger size for the front region than for the back. Divided by two types of pattern shape. The Crinoline style has a waist line and flare. On the other hand, the Bustle style does not have a waist line and has pleats. These two styles shows distinct differences of patterns even if they seem similar. It was essential to undertake the designing of models by giving a consideration to the characteristics of patterns of the two styles. With respect to how to sketch the study models which will be applied for the reproduction to modern body sizes were as follows: the front bust circumference; B/4 +1+1 cm, the back bust circumference; B/4 +1-1 cm, front waist circumference; W/4 +1+1 cm, back waist circumference; W/4 +1-1 cm, the height of sleeve crown; AH/3, armhole line; B/4, the back width /2; 17.5 cm, the breast front width /2; 16.5cm. And for the rest parts, sizes reflecting the characteristics of the patterns of two styles have been applied.