• The Research Journal of the Costume Culture
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• v.22 no.4
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• pp.565-578
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• 2014

This study is about the cases in fashion figure appearing the contemporary fashion and their characteristics. The work aims at providing a further active research opportunity for fashion figure in the modern fashion field and finding several possible utilizations to help the overall fashion industry through examination. Research methodology was followed up with the related literature review and empirical work through the case study of multiple fashion figures denoted in the contemporary fashion. The results showed in the following way for types of fashion figure in the modern fashion. The first type is that its figure was used for stage apparatus in fashion collection, various properties, or garment tool as doll shifted to a certain object. The second type is that art toy or fashion doll was used as specially added product via way of cooperation with fashion brand to be applied as fashion figure alone or other properties for T-shirt or something like that. The third type is the case that multifariously sized figures were applied to show window or shop display. This type of fashion figure is basically an imbedded fashionistic feature, reflecting the rarity, publicity, playfulness, and artistic value.

• Fashion & Textile Research Journal
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• v.6 no.4
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• pp.427-432
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• 2004

We evaluate what kinds of differences are existed to the visual sensitivity of college students m Daegu and Daejeon. Evaluation used the produced basic pattern to change modeling element of figure, direction, proportion, and color. The results are as below. The circle is preferred to the figure sensitivity and the triangle in Daegu and triangle and quadrangle in Daejeon is disliked. The direction sensitivity shows the difference of preferences according to figure. The angle of $0^{\circ}$ and $90^{\circ}$ which could be felt stability is preferred in general. In proportion sensitivity, the basic figure 1:1 rectangular proportions are preferred. The color sensitivity I shows the differences of preference according to figure and there are difference to the area in the degree of aversion.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.906-917
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• 2012

The purpose of this study is to examine the characteristics of expression and their effects of New painting in fashion illustration since 1990s. This study is focused on searching for the development in expressional techniques of the fashion illustration on the basis of various techniques of New painting. New painting as a trend of new expressionism in America was developed in opposition to the minimalism in the 1980s when the discussion of the post-modernism was most widely. The artists of New painting attempted to resurrect figure through the representation of figure and concrete image, rich in color and strong in image. They also expressed the realistic scene of life with the various kind of medium, materials and styles and appropriation of image from mass media and popular culture. The representation of fashion figure and image through the various kind of painting medium, techniques and styles can express the realistic and sensitive image and increase the communication ability in fashion illustration. It could also deliver the fashion message more clearly through the appropriation of image. These findings indicate that fashion illustrations accept variety by interacting with fine arts and expand the scope of expression.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.209-221
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• 2013

This study has attempted to investigate the effect of cubism on fashion and figure out how its formative characteristics have been expressed in contemporary fashion in the 21st century, focusing on the period since 2010. The propose of the study is to broaden research scope in fashion design through analysis and inspection on formative aspects among the cases which have proposed brand - new fashion designs by adapting cubism in fashion. To find out the characteristics of cubism in painting and formative characteristics of contemporary fashion in which the characteristics of cubism are reflected, a literature review has been conducted by referring to domestic and foreign books, previous papers, academic journals and Internet resources on cubism. For an empirical study, in addition, photos of cubism-applied modern fashion have been collected and analyzed through http://www. samsungdesign.net. The following results have been obtained: First, the formative characteristics of cubism were obtained in following categories; character of figure, simultaneity, reiteration and facticity. Second, according to analysis on cases after applying the formative characteristics on contemporary fashion design, the character of figure by the geometric shape of cubism was observed in fashion as well. After dismantling and reconfiguring garments, simultaneity has been expressed in an exaggerated and distorted manner through regular and repetitive overlapping or overlapping of irregular shapes. In terms of facticity, novelty has been delivered with the use of heterogeneous materials, using collage and patchwork techniques. Third, simplicity and functionality in cubism - style garments in the early 20th century have disappeared in contemporary design in the 21st century. Now, a dynamic aspect is only found. Fourth, unlike common paintings, 2D textiles are added to a 3D body in fashion design. In addition, it can be observed from multiple angles depending on the movement so that it can display more diverse shapes. Therefore, it could be the origin of inspiration to many designers.

• Fashion & Textile Research Journal
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• v.17 no.5
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• pp.691-703
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• 2015

Indeterminacy maintains that the simultaneous measurement of object location and speed is theoretically impossible. This study present indeterminacy as a theoretic tool to interpret a variety of expression characteristics that seem disorderly in recent fashion illustrations; in addition, it analyzes the characteristics and meaning of indeterminacy as expressed in fashion illustrations. This study reviews concepts and related theories on indeterminacy to examine characteristics of indeterminacy expressed in the arts and fashion; subsequently, indeterminacy characteristics found in fashion illustrations are analyzed. In expressing the fashion figure, indeterminacy finds expression in a distorted figure transformations that include a hybridized combination of heterogeneous forms that dismantle and reconstruct the human body. The hybridized body of combined machines, animals and plants indicates an indeterminate body endlessly transforming itself. Indeterminate space expression finds expression in space expression by projection with the overlapping and juxtaposition of irrelevant constituent elements as well as a space expression from the insertion of unexpected images. An unclarified inconclusive open space provides space with fluidity, causes space expansion and conveys inconclusive meaning. Indeterminate expressions found in fashion illustrations reveal the ambiguity and complexity of a post-modern society with polysemous aesthetic values and the expanded visual concepts of fashion illustrations.

• Journal of Fashion Business
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• v.16 no.4
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• pp.123-136
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• 2012

The purpose of this study was to analyze body image of women and investigate the relationships of apparel management behavior and weight(figure) control behavior. To achieve the purposes, a questionnaire was conducted to 329 females from October 5 to October 25, 2011. The final data were analyzed with spss 17.0 program. The results were as follows. First, It was found that body image were classified 4 factors of care for appearance, concern about weight, effort of appearance improvement. and appearance attractiveness. Second, there were significant differences of body image by demographic characteristics. Third, there were significant differences of BMI, apparel management behavior and weight(figure) control behavior by demographic characteristics. Forth, there were significant differences of body image, apparel management behavior and weight(figure) control behavior by BMI. Fifth, there were partial significant relations of body image, BMI, appearance management behavior and weight(figure) control behavior. Thus, it was found that body image is related to appearance management behavior and weight(figure) control behavior.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.713-720
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• 2008

The purpose of this study was to propose the method reproducing three dimensional figure data to a reconstructed body by the styrofoam board. To make the reconstructed body, the 3D figure data were rotated to make symmetry and the surfaces were edited. The horizontal curves were gathered equally-spaced based on the waist horizontal plane. we proposed the process to cut the styrofoam board according to the horizontal curves, to assemble them to organize the shape of the body figure and to coat the surface with the knitted. The 3-dimensional figure data of straight type, swayback type, lean-back type and bend-forward type were selected and the reconstructed bodies were made as above. And the compatibility was verified by the measurement comparison and deviations between 3-dimensional figure data and reconstructed body.

• Journal of the Korean Home Economics Association
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• v.48 no.6
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• pp.1-8
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• 2010

The purpose of this study is to classify body type by BMI and to inquire about body satisfaction and fitness apparel depending on body type among women 20-50years of age. As a result, body types are classified into three groups: lean, normal, and obese figures. On front silhouette, the normal type occupies most in women belonged to lean figure group, the obese lower part of the bodytype in normal figure group, and the obese upper part of the body type in obese figure group. On the other, in side silhouette, the slender type is prevalent in lean figure group, hip obesity in normal figure group, and trunk obesity in obese figure group. In particular, women in the obese figure group were distributed among the various body types. The obese figure group had a lower fitness apparel in the measurement of circumference(e.g., chest, waist, and hip) related to obesity in comparison with measurement of length. Therefore, the development of an optimal sizing system in response to the various body types in the obese figure group is needed to provide more diversity in aesthetic design and continuity among various sizing systems.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.82-97
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• 2009

In this study, it can be identified that drawing style of cartoon and fashion illustration are mutually linked and interchanged. The common background of drawing style between cartoon and fashion illustration, is as follows; 1. A means of image communication through mass communication 2. Similarities as visual signs 3. The borderless of painting, illustration and cartoon. 4. Usage of common drawing expressions such as deformation, distortion, exaggeration, metaphor, metonymy. Drawing style interchanging between cartoon and fashion illustration, is as follows; 1. Similar to figure and face are contemporary style, similar figure, Anime style and humourous style. 2. Similar to the way of express is focusing on the line, simplification, mixed computer graphics with hand drawing, artistic expression, the way of multimedia.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.4
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• pp.115-135
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• 2010

Regarding the figure painting of the T'ang period, by Yeomipbon, a representative painter of the early T'ang period, shows a traditional painting style. Figure paintings of the Prosperous T'ang period, influenced by Odoja's painting style, are characterized as illustrating the lives of noble women delicately with brilliant colors. They include Janghwon's and in which Chinese traditional and Western painting styles were combined. , and , which were painted by Jubang in the mid T'ang period, were the developmentally succeeded the figure painting style of the previous times, illustrating even the psychological and emotional states of painted figures in a sophisticated way. Skin make-ups shown in figure paintings of the T'ang period are mostly baekjang in type. Besides, other different types of the make=up such as bihajang, dohwajang and juwoonjang can be seen. The paintings, show that the tone of skin got more and more red as the times moved from the early to the late T'ang periods because rouge was more and more used as the times passed between the periods. As a type of forehead make-up, aekhwang is found in Janghwon's and of the late T'ang period. Hwajeon is seen in lots of figure paintings made between the Prosperous the late T'ang periods. Most eyelid make-ups shown in the figure paintings are round-shaped wolmi and yuhyeopmi in type. Besides, other creative types like gyeyeopmi, paljami and iljami are found. Lips are found made up clearer and more red as the times went from the early and the late T'ang periods. The types of cheek make-up like sahong and jangyeop can't be found in figure paintings of the T'ang period.