• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.661-676
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• 2007

The purpose of this study was to investigate the periodical change of Korean children's clothing from 1960 to 2000. As valuable historical data, 794 children's clothing in wedding pictures in these periods were collected for this study. Research method was content analysis and frequency, cross table analysis, and ${\chi}^2$ test were conducted for data analysis. The results of this study were as follows. The children's clothing in 1960s had very humdrum and limited design and plain pattern. And most of children in this period wore Western clothes of casual style. In 1970s, children's clothing was enriched in terms of design, pattern, color and ornament. However, clothing design for children was not developed yet, so form of children's clothing in this period was showed as duplication of adult clothing design. In 1980s, The children's clothing was developed with enhancement of the level of living. Various style and sophisticated design were appeared and design and size system for children were developed. With increasement of social interest of leisure and sports, casual style was especially popular in this period for both of children and adult in this period. In 1990, rapid decrease of birth rate resulted in parents' excessive interest and investment for their children. In this effects, children's clothing in 1990s had luxury, various, and individual characteristics.

• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.87-93
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• 2020

This study provide basic data to develop a dress form reflecting body shape characteristics by age and to produce a 3D body form in a virtual fitting program. A comparative analysis was conducted on the size, section shape, and slope of side shape of the modeling form by the sizing of the basic female avatar in CLO 3D, one of the 3D apparel CAD programs and the body form of women in their 20s-50s by body shape in the 6th Size Korea (2010). First, all the differences were formed similarly in the direct measurements between the 3D avatar and the body form were within 1 mm. Second, in a comparison of the section form of the avatar and body form in Size Korea, the avatar was formed in straight body shape and did not reflect a spinal curvature according to age. As a result of an examination of the items with a difference over 5° in the slope of side shape, there were angle differences in numerous body shapes in the angles of the side upper abdomen, side upper back, and side upper bust, and the avatar's bust shape was expressed more flatly compared to body form. It will be possible to produce an avatar that can adequately reflect body shape characteristics by adding detailed length and angle items by the region like waist back length and front length in producing the avatar reflecting body shape characteristics, instead of a standard body shape.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.75-88
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• 2007

Nowadays, geometrical form expressed on costume is recognizing as a part of modeling art, at the same time is working to develop it. Also the geometrical form is affording the coinciding lifestyle and sensitivity of customers keeping their pace. As a result, our study is researching on the geometrical form that is used in the pattern, silhouette, and detail of the costume to show the texture in sense of touch and the effect of optical illusion used in variable designs, in order to present the expansion our capability of infinite development included in the study of costume. Specially, geometrical form included in sports wear is very effective since the geometrical form includes short and simple beauty as well as practical design. Thus, this study is wishing to know if satisfying the practical and psychological urge of present human beings may be applied to the golf wear market, which is a type of sport that geometrical form is sent in the fastest way in domestic market. Also we are urged to know what type of design technique is the geometrical form nowadays used and changed to discriminate the artificial commerce and improve the identity of such unique brand. The source of this thesis is wishing to investigate the specialization and the most effective geometrical shape and preference of each type in domestic golf wear goods that applied geometrical goods in $2002{\sim}2006$ and analyze its way of expression.

• Fashion & Textile Research Journal
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• v.20 no.6
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• pp.722-732
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• 2018

This study was to develop a dress form that is highly representative of the body shapes of senior men in their 50s and 60s. And this research was compared the measurements and forms of three different dress forms available in the market, in order to analyze the body type and suitability and provide a standard for developing and utilizing the dress forms. After extracting the body shapes of the senior men's 3D shape, the body type that is curvature on the back prevalent among senior men, was chosen. The dress form was created as follows: 3D modeling and rendering, printing with a FDM-type 3D printer. The dress forms were 3D-scanned and the 3D data was analyzed - classification drop value, area deviation, compared horizontal section and vertical section. The results were as follows: This suggested that the area deviation amount at the chest and hip circumference levels was larger in the commercial products than in the dress form in this study, while that at the waist circumference level was larger in the dress form in this study. The vertical length of the lateral shoulder point-waist circumference was smaller, the side shape showed severe curvature on the back, and the waist circumference was larger in the senior men dress form than the commercial products. The dress form developed in this study reflected the body type of senior men and, therefore, were suitable for fitting when creating clothes for senior men.

• Journal of the Korean Society of Costume
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• v.30
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• pp.295-306
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• 1996

A large quantity of exhumed clothing found for recent 20 years has becom-e the material for making a concrete clarification of the structure of clothing in the Chosun dynasty. Exhumed clothing means the clothing found in the coffin when the grave of the ancestor buried several hundred several hundred years ago is removed to another pla-ce and it is almost comprised of ordinary clothes of the grave-owner not mourning clothes as well as clothing and ornaments in the period between the 15th cen-tury and th 19th century. This research is intended to inquire into the kind of chimas in the 16th century before the Imjin Japancese Invasion of Korea during 1592-1598. The after effect of the Imjin Japanese In-vasion was generally reflected in clothing them and the structure of clothing in the Chosun dynasty began to overshadew its di-chotomy with the Imjin Japanese I vasion of Korea as the point. Accordingly this research is concerned with the study of the chima system of the early Chosun dynasty which shows that there is a common point of the identical form though clothing was exhumed in different graves. Therefore it was possible to grasp women's clothing that was fashionable at that time The object for research is the women in the upper class of the 16th century whose representative characteristics are depicted as follows: 1. Women in the upper class wore the splendid clothing similar to the ordinary clothing of court ladies. 2. The division of ordinary chima and ceremonial chima appeared in the concrete. 3. Ceremonial chima had its extra width and length and exhibited its exaggerated silhouette. in particular it had a various forms of over-pleats made at its center front which play a role in supplementing discomfort in walking. This associate bustle and crinolin styles through which the modern design of clothing can be glimpsed. 4. The opposite phenomenon was shown that has been perceived up to now such as folding at the right plain seam the treatment of the edge-and the like. 5. The elaboration of manual needlework shows the culmination of women's workmanship.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.588-594
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• 2016

The outer clothing of shaman that are put on while performing current gutgeori is lacking in form and composition, diversified with kinds. Above all, name of shaman clothing is not unified, accordingly, there's a big difference from traditional Gutgeori, which was definitely divided in the role of outer clothing of shaman in respect of function and role of Gutgeori. Here, this research attended a site that performed Gutgeori based on the advanced literature research data research and analyzed the state and name of outer clothing by conducting a survey and interview investigation. Survey was conducted during 2 years from 2014 to 2015 classifying Gutgeori of Seoul, Gyeongsang, Honam, Jeju, Chungcheon. Research results are as follows. First, lots of outer clothes were put on along with shamanism type in Seoul, accordingly, names were diversified. Name of outer clothing was not unified by focusing on level of divinity or behavior of Gutgeori, with no consistency being mixed. Second, name was not consistent even the outer clothing of the same type shaman along with the region, sometimes put on in different meaning, accordingly, called in different name. Combination of such name of shaman is determined to be a big reason of lack of accurate information on shaman clothing and genealogy of name of shaman clothing in shamans, as the initial research on shamanism was conducted by folklorists in advance.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.2 s.27
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• pp.237-248
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• 1988

To access the appropriate height of sleeve cap which is required for the basic sleeve pattern according to arm movements, plaster gypsum experiment was performed. Arm movements were 5types ($0^{\circ},\;45^{\circ},\;90^{\circ},\;135^{\circ},\;180^{\circ}$) to the vertical directions in the front. The appropriateness of the pattern was analyzed by measuring clothing pressure. The results obtained were as follows: 1. Increasing the movement angle, sleeve width increased but height of sleeve cap and armhole girth decreased. 2. Increasing the movement angle, the acromion moved to the front part of bodice. 3. On the basis of the result of the height of sleeve cap, the $\frac{AH}{4} +2.5cm$ sleeve basic 4 pattern is suitable for the direction $M_1(0^{\circ}),\;M_2(45^{\circ})$, and the $\frac{AH}{5}$sleeve basic pattern is suitable for the direction $M_3(90^{\circ}),\;M_4(135^{\circ})$, and $M_5(180^{\circ})$. 4. As the movement angle and height of sleevecap increased, the part which receive high pressure increased and the difference between the hightest and the lowest clothing pressure increased. 5. By the variation of movement angle and height of sleevecap, clothing pressure of upperarm was affected more than that of shoulder blade. 6. The clothing pressure of upperarm and shoulder blades were more affected by the height of sleeve cap than the ease of breast area. 7. Considering the clothing pressure of various arm movement, the most appropriate height of sleeve cap for $M_1(0^{\circ}),\;M_2(45^{\circ})$ positions was to use the $\frac{AH}{4}$+2.5cm, and for $M_3(90^{\circ}),\;M_4(135^{\circ})$, and $M_5(180^{\circ})$, was $\frac{AH}{5}$.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.75-86
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• 2004

This study aims at considering and analyzing the stature of denim clothing as an ornament as well ai how aesthetic meaning and human being's mental side indwell in the development of denims. which will be proceeded in the future, from the view of contemporary culture of dressing. It is found that the stylishness expressed through denim clothing is formed on the basis of the cultures of party, drawing and disorganization, and the result of the study was as follows. Firstly, the culture of party became the source of for decoration of denim clothing, and denim clothing more glamorize women as a party-look which makes the most use of its advantage to be comfortable and able to display in various ways with splendid artificial jewelry, patchwork, dyed pattern which is elaborately embroidered. Secondly, Such culture of drawing is applied to denim clothing so that denims are expressed to make people feel more human being's warmth as being free from the existing stereotype and formality. Thirdly, the most outstanding feature of denim clothing showed in the culture of disorganization is to make the most use of vintage style as it is. This reflects an image of the culture of disorganization under postmodernism, which is free from the traditional conception of the existing dressing by destroying the original form, in the way of slashing, making a hole and tearing. That is, people can sufficiently express not only free sense of release based on postmodernism by wearing denim clothing, but also human being's intrinsic desire for restoration of humanism or human warmth with splendid decoration or various techniques such as handicraft. It can be recognized these features as the reasons, that make denim clothing place themselves as an original fashion item, by giving denim clothing technical decoration in recent years.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.398-418
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• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.