• Journal of the Korean Home Economics Association
• /
• v.6 no.1
• /
• pp.938-952
• /
• 1968

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.7
• /
• pp.993-1004
• /
• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• Journal of Fashion Business
• /
• v.8 no.6
• /
• pp.25-38
• /
• 2004

The purpose of this study is to develop a dress form for elderly women according to their somatotype to be used for improving the fit of garments and patterns. Analyzing each somatotype, there was a significant difference among the 4 somatotypes in most of measure items. Bend-forward Group had shorter front length items. Abdomen-fat Group had lower upper-body values than Average Group and similar lower-body values to Fat Group. In most items except height, Fat Group had the biggest values. Analyzing the mean cross-section according to the section measurement parts, no difference existed in shoulder part and under bust part. However, in upper bust, bust, waist, abdomen, high hip, and hip parts, a significant difference existed. Also, according to the results of the mean cross-section as well as the average cross overlap section for each somatotype, there was a significant difference among the four somatotypes. Thus, Abdomen-fat Group and Fat Group were similar, while Bend-forward Group and Average Group were alike. According to the increase of age, lower body tended to have more conspicuous changes. Analyzing the profile of somatotypes, there existed a obvious significant difference among the 4 somatotypes, implying that the characteristics of somatotype need to be reflected when to develop dress forms for elderly women. Therefore, these differences must be an essential factor in pattern design. Comparing the current dress form with the dress form developed with simulation, we could find that a dress form developed for elderly women which reflects the characteristics of body shape is much better than a dress form developed by simple size variation such as small, medium and large size divisions to improve the fit of garments and pattern designs.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.29 no.7 s.144
• /
• pp.1008-1017
• /
• 2005

When we develop 2D pattern from replica of human body with small pieces, it is inevitable to have some replica pieces overlapped or departed. In this study, the optimized method of 2D pattern development from the 3D replica pieces was investigated using dress-form. Among six arrangement methods, anchoring two vertexes of a replica to neighboring vertexes of a next replica induces the optimized 2D pattern by evenly distributing stress across the 3D replica pieces. Anchoring neighboring vertexes resulted in automatic widening k overlapping (W & O) the interspaces among replicas of dress-form, thereby stress was distributed more evenly than any other method. W&O arrangement method was verified to be the best by examining the 3D space distribution images between body surface and twelve experimental garments.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.4
• /
• pp.107-122
• /
• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Journal of Fashion Business
• /
• v.18 no.2
• /
• pp.166-182
• /
• 2014

The purpose of this study is to develop a wedding dress design using digital clothing program to produce an actual dress. The level of actualization of the wedding dress design through digital clothing was evaluated by comparing the shape, ornament details, material, and tone. Also, the direction of improvement was sought by apprehending the limitations for the future of wedding dress design created by digital clothing. In order to evaluate the level of actualization on major design techniques of wedding dress, design planning of 4 dresses was performed based on the major images of wedding dresses. Virtual dress was created using DC Suite program and an actual wedding dress was produced using the pattern created in the process of virtual dress designing. The wedding dress designed by digital clothing was superior in silhouette or expression of pleats, but they rather lacked in expressing corsage, 3-dimensional objects, sheen material or double material. However, by supplementing a few functions, digital clothing can be effectively utilized in wedding dress design with the convenience and speed of digital operation. The digital clothing performs rapid production in the design development stage, modifies simply and confirms in real time and is highly effective, Therefore, if a program designed for wedding dress is developed, its effectiveness will be improved to maximize the customer satisfaction, and it will significantly reduce the time and cost which will make a great contribution to the wedding industry.

• Journal of Fashion Business
• /
• v.19 no.2
• /
• pp.85-102
• /
• 2015

This study aimed to develop dress torso patterns with both aesthetic and functional qualities that fit for women in their 20s. In order to develop dress torso patterns, wearing tests were done. By collecting drafting methods of the patterns through literature study and the survey of wedding dress manufacturers, four kinds of dress torso patterns were selected. The existing dress torso patterns have no or very small ease in chest, waist, and hip circumferences. As a result of wearing tests of these four existing dress torso patterns, drafting methods of dress torso patterns that have the best satisfied values close to optimum zero were selected; the first and second research dress torso patterns were developed by modifying and supplementing items that had noticeable difference through the Wilcoxon rank sum test with a selected measured value and a best satisfied value of zero; and deduced a drafting method for the final developed dress torso patterns by a wearing test of the second developed dress torso patterns. Distinctive aspects of drafting methods of the final developed dress torso patterns were that ease for each area was given differently by considering a functional quality and a chest circumference instead of a bust circumference was applied to reduce influence by the size of breast in neck and armhole areas, and a back bust level. Back neck breadth was made wider and front neck breadth was made less narrow due to a recent change of age 20s female adults' shoulder and back shape.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.2 no.1
• /
• pp.133-143
• /
• 1978

This study is a latter series of 'A Study on the Changes of Court Dresses in the Yi Dynasty' (see Journal of the Korean Society of Clothing and Textiles Vol. 1. No. 2. 1977), and tries to discuss the additional clothing style--- Hapee(하피), Mal(말), Sang(상), Daedae(대대), Pesle(폐슬) and Seock(석) as well as how to obtain the textile fabric used in queens' wedding ceremony and Noeyoe(노의) and Jangsam(장삼). Through Karedogam(가예도감), it can be found that as queen's casual dress gold-round-pattern Noeyoe(금원문노의) was used, and the royal princesses wore Dan Noeyoe(단노의). Noeyoe was long in back and short in front and it was very luxurious with the two-phoenix pattern. Jangsam was queens' casual dress, and the royal princesses wore simple and double Jangsam. In public, the wives of the officials above the 5th-Class in status wore Jangsam; Noeyoe is a higher-class dress than Jangsam.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.24 no.2
• /
• pp.131-146
• /
• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.

• Fashion & Textile Research Journal
• /
• v.7 no.4
• /
• pp.407-412
• /
• 2005

This study is to establish the pattern for one piece dress which fits well to the women somatotype with different drop value and is functional and has high body fitness. Selected 2 testers from classified 4 types who were close to the average value and took twice dressing test. After successive correction and revision, patterns of one piece dress for each somatotype were established. M type ; Bust line is established to B/4+1.7 cm. Waist line is W/4+1.5+2.5 cm(dart amount) for front pattern and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+0.8 cm for front and H/4+0.8 cm for back and the bust dart amount is 2.5 cm. A type ; Bust line is established to B/4+1.7 cm. Waist line is W/4+1.5+2.5 cm (dart amount) for front pattern and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+1.5 cm for front and H/4+1 cm for back and the bust dart amount is 2.2 cm. X type ; Bust line is established to B/4+1.5 cm for front pattern and B/4+2 cm for back. Waist line is W/4+2+2.5 cm (dart amount) for front and W/4+1+2+1.4 cm(for two darts amount) for back. Hip line is H/4+1 cm for front and H/4+1.3cm for back and the bust dart amount is 2.8 cm. H type; Bust line is established to B/4+1.5 cm for front pattern and B/4+2cm for back. Waist line is W/4+1.7+2.5 cm (dart amount) for front and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+2 cm for front and H/4+1.5 cm for back and the bust dart amount is 2.8 cm. In order to achieve the objective evaluation on a new pattern in this study, the sensory evaluation for both Imwonja pattern and a new pattern in this study was completed. As a result of sensory evaluation, a new pattern of this study could accomplished a good appearance in reflecting characteristics of each types and could achieved the functional superiority than comparison pattern.