• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.48-59
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• 2007

The purpose of this research is to develop a basic pattern of corset look taking into consideration characteristics of human body and fit, by transforming 3 dimensional information obtained from draping of standard body type of women in their 20s, which constitute the biggest consumer group of corset look in Korea, on the basis of body shape of women best reflecting 3 dimensional characteristics. In order to develop a corset look pattern suitable for standard body type of women in their 20s, wear tests of A, B, and C types of patterns in terms of the bust in the standard body type that bust circumference 86.7cm and chest circumference 87.0cm were evaluated best. Taking into consideration above findings, fer the purpose of developing a corset look pattern having an excellent fit and reflecting characteristics of Korean women in their 20s with standard body type, a corset look pattern was designed with proper ease calculated by draping incorporated, and through alteration and complementation of such a pattern, a study pattern was produced. This study is expected to provide tips for standard body type women in their 20s with smaller bust circumference to choose clothing allowing for a better fit able to make up for weakness of their body, while presenting to clothing makers ways of designing and size-setting in terms of characteristics of body type of these consumers.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.960-967
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• 2012

The study aims to design the corset type long-line bra patterns that compensate part-somatotype of women in their 20s. The corset type long-line research bra patterns consist of 4 sections: cup, front bodice, back bodice, and shoulder strap. The full cup is made up of 2 lower part pieces and 1 upper part piece, and the shoulder strap is 16 millimeters wide. The method to design the patterns is shown in figure 4 and figure 5. The result of wearing test showed that, while the wearing testers recognized some significant differences in 19 out of 26 criteria, the examiners did in 17 out of 23. The criteria more than 1 in an average value between research bras and commercial bras were 'appropriateness of breadth of shoulder strap', 'appropriateness of pressure of armhole circumference'. 'appropriateness of pressure of waist', 'suitability of side line and body curve', 'appropriateness of positional pressure of chest circumference', 'appropriateness of positional pressure of upper part line', 'appropriateness of positional pressure of bottom part line', and 'satisfaction of whole silhouette of side and back'. The research and commercial bras were evaluated 4.23 and 3.44 respectively by the testers, and 4.25 and 3.40 by the examiners. The former ones were scored higher by both parties. They were also appreciated higher in general silhouettes of fitting and appearance.

• The Research Journal of the Costume Culture
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• v.29 no.4
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• pp.471-487
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• 2021

The purpose of this study was to analyze changes to body measurements and silhouettes after wearing an early 19th century women's corset. Two types of corsets were tested. Changes in body size and silhouette were compared based on the levels of tightening strength of the corset. The tightening strength was adjusted in 4 steps by making the length of back fastening string 10-40 cm shorter than the standard. The silhouette was compared with the front silhouette and the side silhouette. The results were as follows. After wearing the experimental 19th century corsets, the chest circumference and front interscye length increased. However, the chest circumference did not increase proportionally to the tightening strength. The underbust circumference, waist circumference, and back interscye length also decreased. The waist width was decreased to create a slim front silhouette. The change in the body silhouette differed depending on the style of the experimental corset. The experimental corset made with the six-piece torso pattern changed the posture so that the shoulders were pulled back and the chest was pushed forward. The experimental corset with the side bodice pattern resulted in the subject's shoulders reclining backward and the chest and abdomen extending forward. The results of this study show that women's body sizes and silhouettes could be changed by wearing the early 19th century corsets, but the changes in body size and silhouette vary depending on the wearer's individual body type or corset style.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.781-789
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• 2021

To enhance the design and comfort of waist-protection corsets, this study analyzed the product characteristics of five types of posture-correction corsets that are available commercially. Additionally, subjective evaluation of the corsets was conducted on women aged 20 to 60 years, in terms of design, material preference, fit, comfort, degree of correction, freedom of movement, tightness, and convenience of front fastening. Following product analysis, the five corset types were divided into: two soft, one semi-hard, and two hard types in terms of the degree of elongation. As a result of pattern analysis, the soft type was designed to improve fit by reflecting the body curvature, whereas the semi-hard and hard types were relatively flat. Through the wearing sensation assessment, the hard type manufactured by company S was the best in terms of design, material, fit, comfort, correction degree, and freedom of movement. The soft type was average in design, material, and fit while relatively poor in the correction degree and tightness. The results indicated that soft materials, flexible bones with appropriate tension, patterns designed to snugly fit the body with large curvature at the top and bottom for better inflection, and adjustable support belts that can be double-fixed are crucial elements in improving the corset design to boost the comfort of wearing. These study results are helpful in the development of waist-protection corsets with excellent wearing comfort and design appreciated by customers.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.35-50
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• 2011

In this study, repression of the body is defined as a restriction on natural developments or movements and a modification either temporarily or permanently of the human body in shape, color, texture and odor. In addition, it involves physical and (or) mental pain. Chinese foot-binding and the Western corset are extreme examples of female body's being repressed in the history of fashion. The analysis of this type of repression will be based on historical research and theoretical concepts such as Darwin's (1809-1882) survival condition, Freud's (1856-1939) renunciation of desire, Weil's (1909-1943) privilege, and Foucault's (1926-1984) L'Usage des Plaisirs(the use of pleasure). Chinese foot-binding symbolically represents ideal beauty, the distinction of an ethnic group, and a desire for improved social status in the struggle for political power. It also represents psychology and a esthetics of eroticism and fetishism that originate from a man's desire and his individual taste. Symbolically, the Western corset represents abundance and fecundity, obedience and devotion to religion, the sanctity of God and ideal beauty as defined by political power. It also represents psychology and aesthetics of eroticism and fetishism as man's desire and a fashion icon. In conclusion, Chinese foot-binding was pursuit of power in male ideology but Western corset was a power struggle between God and mankind.

• Journal of Fashion Business
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• v.23 no.4
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.1-10
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• 2021

Harnesses are used in a variety of industries, such as rescue operations, medicine, and entertainment. However, conventional harnesses have problems as they are uncomfortable to wear and causes continuous pain. Therefore, in this study, the load and pressure applied to the body in the flying state when using a conventional harness were measured in real time and the distribution change was observed. Load and pressure were measured using a modified corset harness, a pressure sensor, and a human mannequin to measure the maximum and average pressure on the waist. As a result, it was confirmed that the load concentrated on the waist in the flying state was 104 N, and the pressure was applied to the left and right sides was 800 kPa or greater. The pressure distribution showed a pressure of 3-45 kPa in 73% in all measurable pressures. The results of the load and pressure distribution are presented as basic data for improving the wearability and reducing the discomfort of harnesses in the future, aid in the development of a harnesses that can minimize discomfort for various activities, and increase the concentration on experiential activities. In addition, using the CLO 3D program, which is a 3D virtual wearing system, a harness was put on a virtual model, and the compression level was checked and compared with the actual pressure distribution. As a result of comparing the measured pressure values in the flying state with the clothing pressure wearing the harness in the CLO 3D program, the total pressure value was found to be about 68% of the actual measured value. This helps develop a harness that can minimize discomfort during activities by predicting the load and pressure on the body by first applying new designs to a virtual wearing system during development. These new harness patterns can solve the problems of conventional harnesses.

• The Korean Journal of Food And Nutrition
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• v.11 no.2
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• pp.165-170
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• 1998

Diagnostic radiology and conservative management for S75 patient with L1 lumbar fracture by traffic accidents were discussed with references, and then the obtained results were as follows ; 1. Wedging compression fractures with 10% deformity was confirmed at anterior vertebral body of L1 lumbar spine through lateral plain X-ray film. 2. Irregular bony fractures were observed at anterior vertebral body of L1 lumbar spine by CT scans, anatomically T12-L1 sites showed highly frequency of injuries, Denis's fracture type was classified as multiple compression fracture at anterior column without abnormal middle and posterior column, also no Cobb's angle, and then Frankel's neurological classification was E grade. 3. Orthopaedic treatments were performed with conservative methods. With rest on the bed, anti-in-flammatory medication, electrolyte and nutritional solution, the pain diminished. 4. After 3 weeks, rehabilitation was worked with putting on polyethylene back corset, although pains remained slightly until after 8 weeks, thereafter the spine showed gradually stability.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.