• 패션비즈니스
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• 제21권1호
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• pp.74-87
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• 2017

The aim of this study was to analyze the features of bodice patterns modeled using a dress form that represents Korean female fashion models' body features. A controlled experiment was carried out using an existing dress form that has been frequently used in South Korea. The purpose of the study was to suggest notable findings derived from understanding the development of bodice patterns for Korean female fashion models. The comparison of features of bodice patterns from the developed and existing dress forms was carried out with consideration of the upper body features of the developed dress form, such as body angles and body cross-sectional shapes. The following results were derived from the investigations. (1) The angles of the upper and lower breast cups of the developed dress form differed to those of the existing dress form, showing a 5.0cm smaller front shoulder dart and a 3.5 larger ㎝ ㎝ front waist dart within the bodice patterns. (2) The body angle features of the developed dress form included a straighter neck and shoulder blade and more concave center back than the existing dress form, with a 2.0 reduced back neck height and a 4.8 larger back waist dart for ㎝ ㎝ the bodice back panel. The more realistic body angles of the developed dress form anticipate the improvement of garment pattern-making. (3) The altered shoulder angles resulted in an increased size of the back shoulder dart and a decreased size of the front shoulder height within the bodice patterns. (4) The increased rate of curvature of cross-sectional shapes on the bust and waist circumferences of the developed dress form resulted in an increase in the sizes of the front and back waist darts.

• 한국의류학회지
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• 제22권4호
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• pp.482-492
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• 1998

With the purpose of developing a objective fitness evaluation system for knits, the basic bodice pattern for knit was drafted and the suitability of the altered pattern was evaluated. For each of nine different knits, six sleeveless shirts were made with patterns that were altered by different pattern alteration rate: 0%, 30%, 40%, 50%, 60%, or 70% of the stretch rate of the knit. The panel that was composed of 25 clothing specialists evaluated the fitness of the garments. The distance from the dress form landmark to the garment landmark was measured from each experimental garment. And the results of garment fitness evaluation and the measurement of distance from the dress form landmark to garment landmark were compared. The results of this study are as follows: There was high correlation(r$\geq$0.9) between the evaluation of the panel about the garment fit and the landmarks distance. The stretch rate of knits affected the evaluation of the garment fit. The stretch rate in course of knits affected on the garment fit at crosswise direction. The suitable pattern alteration rate was lower than 30% for the knits with high stretch rate in course. It was concluded that in order to get the appropriate knit bodice pattern length, the front bodice pattern must be less shorten than the back bodice pattern. The alteration rate at hip line must be lower than for waist or bust line.

• 한국의류산업학회지
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• 제8권6호
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• pp.687-696
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• 2006

This study aims at analyzing the silhouette, dress patterns and detail of Empire Era(1789-1825), and making use of this results for the modern stage costume construction. The dresses of Empire era were divided into X and H style. The results revealed that the bust girth of X style group was bigger than that of H style group. Such patterns as high waistline, puff sleeve, train, etc. which appeared during the peak time of Empire style period were more remarkable for H style group. This obviously indicated that more epical characteristics were observed for H style group than for X style group. Similarly to silhouette analysis, based on the results from cluster analysis conducted to put similar groups together, two groups were formed - a visually differentiated and complex group and a simple group in the absence of detail. Most dress details from Empire period had simple embellishments. Comparison of the average size of the patterns between two groups indicated that waist front length of H style was shorter than that of X style. Front interscye was even greater than back width for both groups. Such trend was quite different from today's pattern in which back width is larger than front width based on body measurements. Preference for big breast during the period was reflected on dress patterns and the side length of front side goes across the back much further for bodice patterns. Two representatives were selected and reproduced using materials similar to those of real dresses of Empire style, following two times fit test.

• 패션비즈니스
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• 제10권5호
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• pp.159-179
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• 2006

This research checked about the necessity for the development of men's dress forms in the first investigation for the educational circle and the men's wear industry. Somatotype characteristics were analyzed in the second investigation of body measurement with the subjects of 200 male adults in their twenties residing in Busan. The following are the results of the present research to develop male dress forms for patternmaking: 1. In the group analysis for the characterization of front body types, three somatotypes were found and named H, Semi X, and Y. In the cluster analysis of side body types, four types were identified: D, I, d, and q. In the combination of front and lateral body types, four kinds were chosen: semi X-I, semi X-q, semi Y-I, and Y-q. 2. Through the comparison of plane figures by the plaster method as well as horizontal and vertical cross sections by the sliding gauge method, semi X-I was finally chosen as the standard somatotype for male dress form development. 3. Compared with the sliding gauge method of the present dress forms, the research dress form reflected better the shapes of the parts of the back and hips and the position of the waist, especially for males in their 20's. In addition, the dress form in the current research had superior points in all the items of clothing evaluation. Based on the above results, the sizes and models of the men's dress forms for patternmaking were developed.

• 복식
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• 제57권9호
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• 한국콘텐츠학회논문지
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• 제12권9호
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• pp.136-145
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• 2012

다양한 체형을 지니고 있는 소비자들에게 만족스러운 착용감을 주는 기성복 생산을 위해서는 체형 특성이 반영된 원형 제작이 필요하다. 인체는 체형에 따라 곡면의 형태가 달라지므로, 인체의 곡면 형태를 세분화하여 그 특성을 원형 설계에 반영할 필요가 있다. 그러나 기성복에서는 개인의 체형별 특징을 일일이 반영하기 힘드므로, 기성복 원형 제작에 활용 가능한 체형별 인대 모형이 요구되고 있다. 따라서 본 연구에서는 삼차원 인체스캔 데이터를 활용하여 체형을 분석하고 각 체형에 따른 인대모형 개발 방법을 제시하였다. 30대 성인 여성의 상반신 삼차원 인체 형상 자료를 분석한 결과, 체형 특성은 보통체형, 비만체형, 마른체형으로 분류되었다. 상반신을 기준선을 두어 나누어 계측한 결과, 체형에 따라 유의적인 차이가 나타났다. 계측된 각 부위별 삼차원 인체 치수를 기본 원형 설계 시 허리다트 위치 및 분량 설정에 반영하여 체형별 상반신 기본 원형을 제작하였으며, 이를 바탕으로 입체모형을 제작하여 스캔, 모델링 작업을 거쳐 체형에 맞는 원형 인대 모형을 제시하였다. 인대 모형은 인체의 입체 형상을 만들기 위한 다트선을 포함하고 있어 기본 원형 제작 및 원형 활용에 도움이 될 것으로 사료된다.

• 복식문화연구
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• 제4권2호
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• 한국의류산업학회지
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• 제7권6호
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• pp.601-608
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• 2005

This research investigated the present state of the dress forms used by clothing manufacturers and proposed procedure to bring out the standardized body type and figure for women in twenties. The result of questionnaire showed chief pattern maker's thoughts that dress form should be differently made for each age group and should be more reflected the standard body than the idea body. The standardized body type was made from the standardized posture and size which were analyzed from the interquartile range(IQR) of 314 subjects. The standardized size could be verified as for the balanced body shape of twenties through making the standard dress form. The standardized form(S form) was compared with three kinds of forms(A, K and P) for investigating the suitability of forms. K form was very similar to S form, Educational P form and manufacturer's A form had quite big differences from S form at the important areas for making clothing. The side shapes of A, K and P forms showed differences at back bending, neck angle and hip shape from S form. A form was comparatively smooth and flat. This results could be used as the practical standard to improve the suitability of size and shape in the dress forms of manufacturers and educators.

• Tuberculosis and Respiratory Diseases
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• 제78권1호
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• pp.27-30
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• 2015

The drug reaction with eosinophilia and systemic symptom (DRESS) syndrome is a severe adverse drug-induced reaction which includes a severe skin eruption, fever, hematologic abnormalities (eosinophilia or atypical lymphocytes) and internal organ involvement. The most frequently reported drug was anticonvulsants. The diagnosis of DRESS syndrome is challenging because the pattern of cutaneous eruption and the types of organs involved are various. The treatments for DRESS syndrome are culprit drug withdrawal and corticosteroids. Here we report a 71-year-old man with skin eruption with eosinophilia and hepatic and renal involvement that appeared 4 weeks after he had taken anti-tuberculosis drugs (isoniazid, ethambutol, rifampicin, and pyrazinamide), and resolved after stopping anti-tuberculosis drugs and the administration of systemic corticosteroids. DRESS recurred after re-challenging isoniazid, we identified isoniazid was causative drug.

• 복식
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• 제63권1호
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• pp.135-146
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• 2013

The purpose of this study is to investigate the meaning and possible shape of Goryeo-Achungunsura-jisun(高麗鴉靑雲袖羅質孫) through the details regarding its color, fabric, and pattern in the $13-14^{th}$ century writings and costume relics. Goryeo-Achungunsura-jisun was the summer dress coat that government officials wore during the Jisun feast of Yuan, and it was symbolic of the political strategy of Yuan as well as the excellent Goryeo fabric material, but no relics remain. During this period, Achung (dark blue)was the color that was used to dye silk, dress coats of upper class men, and background fabric of the embroidered official patch. And, the term, Yunsu (cloud sleeves), was probably sleeves with cloud pattern. The most typical cloud pattern in the 13 and the $14^{th}$ century was the 'flowing, gathering-headed cloud'. The Ra(silk gauze) weaving technique of Goryeo was developed rapidly in the $12^{th}$ century, and the quality of the Ra in the late Goryeo was good enough to be used for making the official's dress coat in the golden age of Yuan. According to the characteristic of jisun and man's formal-suit style in the Mongolian-Yuan, the possible styles for Goryeo-Achungunsura-jisun can be summarized as follows: a basic Mongolian gown with narrow sleeves and deep crossed diagonal opening, a Mongolian gown with waist pleats, the combination of half sleeved gown and long sleeved Mongolian gown. These styles would be made of delicate Goryeo Ra, cloud patterned sleeves, fabrics dyed in dark blue color, and shawl or embroidered patch ornaments for officials of Yuan, which was more simple than materials for Khan's Jisun to avoid rebellions.