• 감성과학
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• 제14권1호
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• pp.39-48
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• 2011

3D스캔-인체 및 의복 모델링-시뮬레이션-패턴 제작 및 검증의 전체 3D 의복제작 프로세스를 원활히 활용할 수 있도록 하기 위하여 3D 그래픽과 CAD 시스템 그리고 3D-2D 직접 패턴 전개 시스템을 이용해야 하는 데 이 때 장애가 되는 것은 3D 시뮬레이션한 가상의복으로부터 정확한 패턴을 추출하는 것이 어렵고, 전반적 과정의 호환이 쉽지 않다는 것이다. 이에 본 연구에서는 인체에 정확히 밀착된 부분과 드레이프가 있는 비대칭형 드레스를 대상으로 전체 프로세스를 원활하게 구동할 수 있는 방법을 모색하였다. 연구 방법으로는 3D 스캔 데이터를 이용하여 Maya로 범용성 3D 인체 모델을 만들고 이 3D 바디 모델에 맞는 3D 드레스를 디자인하고 모델링한 후, Rapidform, 2C-AN 프로그램과 YukaCAD를 이용하여 정확한 2D 패턴을 제작하는 과정의 호환성을 해결하며 진행하였다. 이 과정에서 도출한 패턴을 실제 의상으로 제작하여 착의 시킨 후 3D 의복 모델과의 여유분 분포를 3차원 측정 기술로 검증하였고 실물 드레스의 드레이프의 모양과 시뮬레이트된 드레스의 모양을 검토하였다. 그 결과 제시한 방법을 활용하면 전반적으로 만족스럽게 정량적인 3D 의복 제작 프로세스를 운영할 수 있음을 확인하였다.

• 한국의류산업학회지
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• 제4권2호
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• pp.128-136
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• 2002

This research was designed to study the Korean dress design trends and different kinds of ancient patterns applied to the Korean dresses in 2001. The trend sources were collected by the HANBOK monthly journal and the symbolism of patterns associated with these patterns being used the prevalent Korean dress collection in markets. The results of the research can be summarized as following; The most of Korean dress image was elegant of ancient mode. Main colors of the traditional Korean jacket were white, yellowish white and green. However, main color of the traditional Korean skirt was represented as red. A plant pattern was the most popular pattern in a practical purpose. It looks beautiful and it is also easily manufactured with open space. Copying other patterns definitely damage the elegance of the Korean dress. It is time for us to not only keep our own traditions but also study and develop new patterns. Designers must study to develop the image and patterns which are agreed with consumer's taste.

• 한국의상디자인학회지
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• 제12권2호
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• 복식
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• 제29권
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• pp.117-126
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on the past costume is getting more importance and as the methodolgy of the study the accu-rately approached study through the rehabili-tation of the past cosume is more needed than the simple rearrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The general silhouette is the style to emphasize the waist and to widen skirt at the lower part of the body. The front shows hourglass silhouette but the side shows S-line silhouette. The dress is two-piece composed of bodice and skirt. 2) Color and Fabric: The main color is dull powder blue end the sub color is ivory. The dress is made of wool crepe and cotton and partly silk crepe satin and taffeta. 3) Pattern and sewing: The dress is combined with lining and fabrics, The patterns. or overbodice. The skirt is gored skirt. The skirt is gored skirt. The dress has various effect not only to decorate but also to conceal seams support hemlines nd affect the depth and length of front panel. 4) Datail: The braid black velvet ribbon frill and tucks in bodice skirt sleeves front panel collar cuffs are repeatedly used to dec-orate the dress. Finally the 1902-3 day dress has the characteristics of transitional stag in which the chatacteristics of the costume of 1900s and the remnants of the characteristics of the pre-vious costume style and shows the charac-teristics of day dress well in terms of the style color and fabric pattern and sewing and detail.

• The International Journal of Costume Culture
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• 제8권2호
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• pp.97-104
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• 2005

In this research, the fit of basic dresses was examined, by analyzing and comparing the satisfaction of fitness of basic dresses made by the draping method on a custom-made replica body form and that of a basic dress made by the flat pattern method. Basis dresses were produced by the draping method for each 52 subjects using custom-made body forms, and another kind basic dresses for each subjects were produced by the flat pattern method using measurements of body sizes. Both basic dresses received high scores for the satisfaction of fit, but the basic dresses produced by draping method received higher scores. Thus it is expected to produce a more successful fit by draping a basic dress on a custom-made body form. Future research using more subjects might confirm these results. A more concrete analysis through using additional satisfaction tests could be conducted. For example, each subject might also serve as an evaluator to rate her satisfaction of fit wearing each of the two custom-made dresses. Finally, examining various body forms is suggested.

• 한국의류학회지
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• 제27권1호
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• pp.48-59
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• 2003

The purposes of this research lie in developing dress shirts pattern targeting adult males between 25-34 years of age and presenting the rules of grading according to the real circumstances of dress shirts industry. The findings of this research are as follows: 1. The surveyed companies kept different size systems ranged from 5 to 18. They kept different size systems each other, and the pattern making was conducted by modification of the collar size, chest size, etc of the pattern developed through each company's know-how. All the surveyed companies were using point method of grading. 2. The method of the research pattern was to adopt N/6+1(cm) for the width of the back of the neck. N/6 for the front neck, N/6+2 for the depth of the front neck, B/6+7 for the shoulder width, B/6+5.5 for the breast width, B/4+5 for the whole width (back), B/4+4 for the whole width (front), B/4+3.5 for the depth, AH/2+0.5 for the back arm hole, AH2+1 for the front arm hole. 3. The grading rule was made after classifying the sizes into 14 centered on the standard size 40. Through the wearing test of research grading rule, 1 found the suitability of grading size 36 and 43 satisfiable.

• 복식
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• 제50권2호
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• pp.141-149
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• 2000

The origin and developing process of Highland Dress as a Scottish national dress has been discussed in this study. Parameters affecting transformation process of Highland Dress from regional to national dress over the modernization period during 19 C was analyzed and compared by sociological aspect. Anthony Giddenss social change was applied and divided into three main factors such as political , economic and cultural analysis. The basic requirement of the theory of social change is visual recognization of any cultural changes. Highland Dress as a Scottish national dress has established during modernization in Europe within short period(18C -early 20C) and the Highland tartan as a military dress was transformed to be a civilian dress during 19-20 C. It shows social changes affecting on costume pattern and eventually costume in particular time could be an indicator of social changed. Throughout the study of the functional role of costume in Scotland is able to clarify the understanding of acculturation phenomenon through cultural, political and economic changes.

• 패션비즈니스
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• 제13권5호
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• 복식문화연구
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• 제19권3호
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• pp.597-611
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• 2011

The purpose of this study is to propose a design method for one-piece dress patterns with high body fitness through an appearance evaluation of one-piece dress patterns with the application of the 3D Virtual Clothing System known as i-designer. Measures consisted of an optical illusion effect in visual imagery and mutual influence according to a change in the length and princess line, in a silhouette of a one-piece dress. The data was assessed by a t-test and a multi-way ANOVA and factor analysis using SPSS 17.0. The results were as follows; The design of the study pattern was done by modifying the ease of the bust circumference, ease of the abdominal circumference, ease of the hip circumference, the position of the side seam line, and the appearance of horizontality in the hem line, which received a low evaluation in appearance evaluations of a one-piece dress pattern. As a result of analyzing the visual image according to a change in the length and princess line, in the form of a silhouette of a one-piece dress, four factors were selected; the whole-body optical illusion factor, the upper-body optical illusion factor, the bust optical illusion factor, and the lower-body optical illusion factor. As a result of analyzing the effect of the interaction in the visual image according to the design variables, the influence of the main effect was found to be great in each factor. In the upper-body optical illusion factor, a significant difference was not noted in the two-way interaction between the length and the princess line. However, the influence on three-way interaction among the length, princess line, and silhouette was significant.

• 한국생활과학회지
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• 제16권2호
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• pp.407-419
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• 2007

The purpose of this study was to identify the effect of four clothing cues dot pattern size and ground field of color area ratio on dress's wearer image. The experimental materials developed for this study are a set of stimuli and response scales(The 7-point semantic). The stimuli were 30 color pictures manipulated with the combination of dot pattern size, dot pattern on background of color area ratio and neutral dress's using computer simulation. The subjects were 180 female undergraduates living students in Gyeong-nam. The result of this study are as follows: Image factor of the stimulus was composed of 5 different components (visibility, gracefulness, attractiveness, cuteness, womanly). Especially, Neutral color combination independently influenced the every components. In regarding the effect of interaction between each variable, the combination of dot pattern on background of color area ratio, dot pattern size on the combination had cuteness, womanly.