• 복식
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• 제60권4호
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• pp.98-112
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• 2010

This study is on the 18th-century man's clothing excavated from Mr. Kim(1683-1766)'s tomb in Cheongju, Chungbuk in 2003. There are more than 100 pieces of excavated costumes from the tomb of Won-taek Kim. The excavated costumes have the value of genuine materials. Among them, 36 garments in good condition were investigated. As a result, there are several kinds of the excavated coats with different sizes, depending on the type of coats-Simui(深衣), Danryeong(團領), Sagyusam(四揆衫), Daechang, jungchimak(中赤莫), and Sochangui. These different-size coats reveal the degree of ritual; the length of the ritual costume is longer than that of the daily one. We can see two kinds (large and small) of coats, jackets, and pants. The large-size clothing is for the dead, the small size one as daily clothing was used for filling the empty space of the coffin. Among the excavated clothing from Mr. Kim's tomb, clothing for the dead(shroud) is bigger than man's daily costume. Concerning the form, color, and materials of the costumes, clothing for the dead is similar to daily clothing, while there is the difference in their size. The oversized costumes of coats, jackets, and pants are also different in size, matching the structure of clothing.

• 한국의류학회지
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• 제42권6호
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• pp.924-942
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• 2018

This study is to understand the symbolism and meaning of Yeomim in Korean traditional clothing. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, there are three types of Yeomim for Korean clothing. Various methods of Yeomim use different materials for tying clothes such as straps and buttons. Second, when we investigate how Yeomim of Korean clothing has evolved, left and right type of Yeomim had coexisted in ancient times and Dae had been used mainly to tie clothes. The Yeomim method has used various materials since the Goryeo Dynasty. During the Joseon Dynasty, right type Yeomim dominated with majority using Goreum. Third, Hanbok has consistently evolved with a unique bonding style that uses rectangular strap for Yeomim, from the ancient times. The particular Yeomim method of twisting a rectangular strap represents the circularity of space. In addition, Yeomim with a strap is characterized by the beauty of how its form can be highly flexible depending on the human body or location of Yeomim, which corresponds to an unbalanced and asymmetrical natural beauty unique to Korea.

• 한국의류학회지
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• 제11권1호
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• pp.29-42
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• 1987

This study was an attempt to survey, the relationships between women's values and preference in clothing design. For the measurement of values scale was to relect the theoretical, economic aesthetic, social. political and religious values explained by Allport-vernon- Lindzey. The preference rate in clothing design consisted of 50 items and 3 factors including color, form and texture. The questionnaire were administered to a sample of women (between college students and adult) who lined in Seoul, Korea. The date for 910 respondents were analyzed by person's carrelation coefficient, to-test and $x^2$ test. Through this study, the followings were founds; 1. Aesthetic value was the mast important of female college students values and economic value was the most important of adult's values. 2. There were significant relation between values and the preference for clothing form in line and style; 1) In line preference, adult women indicated negative correlation with religious values but positive correlation with aesthetic and political values. 2) In style preference, adult women indicated negative correlation with economic values positive correlation with social values, for female college students indicated positive correlation with aesthetic social and political values. 3. There were significant relation between values and preference for texture in touch, thickness, weight, light and luster; 1) In relationship between texture and values, adult women indicated touchness preference negative correlation with theoretical and religious values, for female college students indicated positive correlation with aesthetic and social values. 2) In thickness preference adult women indicated negative correlation with theoretical values but female college students indicated positive correlation with political values. 3) In weight preference, adult women indicated negative correlation with theoretical values. But female college students indicated positive correlation with religious values. 4) In brightness preference, only adult women indicated positive correlation with social values, negative correlation with economic values. In transparency preference, adult women indicated positive correlation with aesthetic values, negative correlation with religious values. 4. There were significant correlation among color and economic, aesthetic; political and religious values, that is, evacuation and economic political values in adult women there were positive correlation with religious values in female students. 1) In chroma only adult women indicated negative correlation with religious values. In warm and cold, positive correlation with economic values in both of them. 2) In coloration, adult women like a complement color indicated negative correlation with aesthetic values, but positive correlation with political values. 5. There were significant differences in the preference of clothing design between female college students and adult women; correlationship with color variables. Evacuation, both of them indicated negative correlation with chroma positive correlation with warm and cold and coloration. In chroma, adult women indicated negative correlation with coloration and warm and cold, for female students indicated negative correlation with coloration. 6. Comparison with clothing preference: 1) In color preference, adult women liked the most white, brown, blue and black in sequence. Female college students liked the most white, also the next is blue and pink. 2) Clothing design preference, there was significant difference in warm and cold and coloration, adult women more liked than female students. In shape of clothing, both of them indicated significant difference in line and style, female students more liked sporty style. In texture, adult women more liked soft thin light weight and bright. 3) In silhouette preference, the most is H-line, female college students more liked.

• 복식문화연구
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• 제24권3호
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• pp.358-366
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• 2016

This study was performed to measure the posture correction effect of wearing ergonomic experimental clothing. Two types of experimental clothing (A, B) were developed. Both of them reinforced the muscles surrounding the spine. Experimental clothing A was developed by reflecting the shape and position of the pectoralis major muscle, abdominal muscle, and latissimus dorsi muscle. Experiment clothing B was developed by reflecting the integrated form of those muscles. Subjects were males in their 20s~30s (n=32). They were divided into two groups based on their acromion distance (AD): the turtle neck syndrome group (n=16, AD=3.81cm) and the normal group (n=16, AD=1.27cm). The correction of body posture was detected by three index values: change of the cervical curvature angle, horizontal distance between the seventh cervical vertebra and tragion, and AD. The comfort and tightness of the clothing were also measured. The results showed that both types of experimental clothing corrected body posture and that turtle neck syndrome can be prevented by wearing these types of posture correcting clothing. Two index values were decreased: cervical curvature angle ($0.31{\sim}1.32^{\circ}$) and horizontal distance between seventh cervical vertebra and tragion (0.22~0.31cm). The chest was also stretched. The comfort was rated as good for both types of experimental clothing. These results indicate that the experimental clothing had a posture correction effect without any discomfort for daily living.

• 감성과학
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• 제11권3호
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• pp.419-426
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• 2008

In order to develop "textile electrode - sensing clothing" which is a sort of smart clothing to measure electric activities of heart, we propose possible ways to develop textile electrode and design of sensing clothing, ultimately aiming to develop "ECG sensing clothing for lifestyle monitoring". Conventional sensors for measuring typical electric activities of heart keep certain distance between measuring electrodes to measure signals for electric activities of heart, but these sensors often cause inappropriate factors (e.g. motional artifacts, inconvenience of use, etc) for monitoring natural cardiac activities in our daily life. In addition, most of textile electrodes have made it difficult to collect data due to high impedance and unstable contact between skin and electrodes. To overcome these questions, we minimized distance between electrodes and skin to maximize convenience of use. And in order to complement contact between skin electrodes, we modified textile electrode's form and developed ways to design clothing. As a result, we could find out clinical significance by investigating possible associations of clinical electrocardiogram (ECG) with variation of distance between electrodes, and could also demonstrate clinically significant associations between textile electrode developed herein and clothing.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 한국의류학회지
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• 제32권2호
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• pp.340-347
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• 2008

A prototype of 3D clothing design system with a direct pattern development function was suggested, reflecting intuitive design functions and design modifications while considering the fit of clothing patterns with the 3D human body in the virtual 3D space. The research method was as follows. Clothing models were created using a 3D design tool, 3ds max on the surface of 3D human body model made by scanning an actual human body. 3D illustrations were completed by revising the fit and sizing of the human body and clothing models. 2D T-shirt pattern was produced 3D illustrations using from a 3D scanning data modeling solution RapidForm 2004, a 2D conversion program for 3D data called 2C-AN, and Yuka CAD. As a result, the following conclusions were made. The fit of the clothing and human body can be adjusted by reflecting individual body figure characteristics and 3D illustrations over the actual 3D body model. Furthermore, intuitive design support functions were intensified overcoming the weak point of existing 3D clothing design system by developing the direct clothing design in the virtual 3D space. 3D illustration design modifications can be directly reflected on clothing patterns from 3D illustrations by 3D clothing design system developed in this study.

• 한국의류학회지
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• 제35권8호
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.

• 한국의류학회지
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• 제35권9호
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 한국의류학회지
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• 제32권5호
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.