• Journal of Fashion Business
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• v.12 no.6
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• pp.107-123
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• 2008

The purpose of this research is to compare and analyze the brassiere patterns sold in Shanghai and Korea and to present basic materials needed in developing the brassiere patterns in Chinese adult women market. The study subject which is to find the difference in brassiere patterns of Korea and China has been selected of 3 Korean brands and 4 Chinese brands. 1. For the brassiere patterns sold in Korea, it were using the same size for the width of Hook&Eye, space between the shoulder lace on the back, slope of wing and the location of the Keeper was similar. 2. For the cup supporting base, Chinese brassiere covers the lower part of the breast and as it is not comfortable and has a phenomenon of loosening up, there were severe puckering. For issues in the wearing experiment, amendments in patterns with the cup part was required. 3. Chinese brassieres were big differences in wing angles and for Aimer, it had the steepest trend in wings and thus the wings headed down and for Gujin, as the angle of the wing was smaller than $90^{\circ}$, it was heading upward. 4. Upon comparing the patterns of the Korean and Chinese brassiere, although most of the sizes excluding the wing angle had similar sizes, there was big differences in the wing angle. The reason why the brassiere patterns sold in China had bigger wing angle was due to the fact that more Chinese women had sway back body type than the Korean women and should reflect such difference in body size into making the brassiere patterns for each women.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.1-14
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• 2015

This study mainly analyzes that designing patterns of an adult women Jeogori that takes advantage of patterns from each textbooks and complements the disadvantages based on the analysis of data from the dress evaluation and comparison of materials. The modification of a size specification is needed for the standard body as an adjust of the length of Jogori between front and back, mediation for bust width between front and back, a movement for the based line of Sup and Godae. As a result, the suitable pattern according to the standard somatotype is as below. Jeogori Length of front is determined by the length of back which was measured from side neck point to bust point plus three centimeters, and give three and half centimeters more in front. This three and half centimeters is for the curved in front of your body due to the chest. Bust width of front and back have to show the differences of human body. Bust width of front is calculated as bust girth into quarters and add two centimeters. Bust width of back gives one centimeter behind the curve from the center line in order to reduce the floating phenomenon. So, the amount of center back line dart is one centimeter. Arm hole girth measures as dividing bust girth into four. Also, Goedae width has two methods to measure. First, divide bust girth into ten equal parts and subtract 0.5 centimeters from it. Second, measure neck girth and divide it by four. Sleeve length is equal to Hwajang minus bust width of front. Hand wrist calculates in using bust girth. Make bust girth into quarters and multiply three fifths. Side line measures as deducting from Jeogori length of back to Arm hole girth and multiply two thirds.

• Fashion & Textile Research Journal
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• v.11 no.1
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• pp.103-111
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• 2009

This study is to help make-up and coordination for image-making after analysis of facial color and shape of elderly women. The data was analyzed 55-75 years old 212 elderly women's face color and pictures by means of SPSS 12.0 statistics package. On the basis of the colorimetric data on face by Minolta CM2500D, this research considered the analysis of facial color, patternization of facial color and its analysis by age group; for the analysis of facial shape, this research patternized facial shape and analyzed its characteristic using both contour-based facial shape analysis and Kamata facial shape analysis. As for facial color, it was found that the lower age bracket has bright and reddish face, looking fine, while the higher age bracket has a conspicuously yellowish face, looking bad. The community of facial color is classified as 3 types and it was found out that the facial color of the subjects belonging to Type 3, whose L value is the largest, looked the brightest; the face of the subjects belonging to Type 2, whose a value is the largest, was much tinged with red, and the face of the subjects belonging to Type 1, whose b value is the largest were tinged with yellow. According to the analysis of facial shape, there appeared oval & long forms in the classification by contour, while there appeared a lot of downward-directed power and inner-directed power in the classification by Kamata, which is believed to reflect the phenomenon that their chin line becomes roundish and the facial length also tend to be longer due to aging.

• Journal of Fashion Business
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• v.19 no.5
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• pp.175-187
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• 2015

Body painting according to physical types is a method to express the body as it exists in nature or as an active element of nature. There is a need to research physical formation that applies the trend of contemporary naturalism to the types of nature art by emphasizing the artistic value of body painting with natural environmental overtones. Importantly, body painting according to physical types attempts an intact reproduction of natural objects and the reflection of the beauty of natural objects in body painting. Thus, the purpose of this study was to analyze body painting according to physical types based on the types of nature art. The methodology of the study included theoretical and empirical review. Theoretical review examined the characteristics of physical formation in nature art and relevant nature art works and body painting of physical types through previous research and literature. The empirical review applied analyses to works extracted from web sites of body painting. The study included physical type cases extracted from body painting works from 2005 to 2015 in foreign web sites(www.ilovebodyart.com and www.angel cakebodyart.com). Body painting works were based on the characteristics of physical types. As a result, the body painting of physical types based on nature art is as follows. First, organic continuity with nature art through the artists'thoughts and beliefs. Second, the specificity of place that respects the natural phenomenon itself. Third, the creative diversity of formative shapes for the body. Fourth, the social implications of body painting with human empathy. Fifth, immediacy to embody the artistic will of the artist. Finally, the application of physical types according to affinity with nature, as well as an independent artistic entity.

• Journal of Fashion Business
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• v.16 no.2
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• pp.88-107
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• 2012

Hybrid implies that elements in more than two are combined, and is what is merged and used complexly the technologies and materials in several fields according to the development in scientific technology and the progress in technology. In the formative and artistic aspect, the hybrid can be said to be phenomenon that two of mutually different genres are combined. The function and form in each genre, which were combined at this time, are remained wholly or partially, thereby revealing as well without hiding a fact of having been combined. In the digital communication era, the same time level was integrated into one culture, with destroying the temporal·spatial boundary. As for the objectives of this study, first, the aim is to suggest a model for researching into make-up by grasping the developmental process and the characteristics of hybrid art through considering an art theory of hybrid, which was shown in make-up. Second, the aim is to design make-up by analyzing trend by make-up style after applying the genre deconstruction in hybrid. The modern make-up design through genre-deconstruction characteristics beyond diverse plurality and genre could be known to be highlighted as aesthetic characteristic by a slight attempt as communication of open space, which connects culture and genre, which had failed to be recognized and was neglected. Through the results of this study, it could be known that there is infinite possibility in developing make-up design in line with modern sensation through aesthetic element and symbolic significance through genre deconstruction. Based on these findings, its significance can be said to be in substantially contributing to offering new sight to the design & formative characteristic and the expression mode in future make-up, to providing basic data, and to strengthening competitive edge of culture and art.

• Journal of Fashion Business
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• v.18 no.5
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• pp.15-24
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• 2014

The aim of this study is to examine the patterns of expressing contemporary beauty from the perspective of Laotzu's philosophy in order to suggest its concept and characteristics and to suggest specific cases through cosmetics advertisement. In doing so, the study attempted to understand that contemporary beauty is more humanistic and liberal in terms of expression patterns than in any other time period. The research results are as below. The frame concept of Laotzu's philosophy includes 1. Naturalness, 2. coexistence in Conflict, and 3. Non-otherness. The characteristics of contemporary beauty are natural and healthy, People can foresee changing beauty by the cycle of life and, by admitting this philosophy, people can understand one's individuality and discover self-esteemed beauty. Also, the results from the cases of cosmetics advertisement are as below: 1. Naturalness was remarkable. Such phenomenon was common in representative brands of the research subjects. Expression pattern was based on soft, natural make-up and hair style. 2. For conflict and coexistence, they introduced the ancient image of the situation, and the situational image using food and herbs demonstrated a functional, situational image, which was used for the cosmetics advertisement based on the mutual coexistence concept instead of dichotomy of period or material. 3. Non-otherness advertisement, of which there was none, we expected that maximized marketing effect would be achieved if non-otherness cosmetics advertisement expressed the contemporary beauty because it could solicit sympathy form many consumers.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.2 s.2
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• pp.12-17
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• 2005

Efficiency study of chamomile and Thyme essential oil about the basal layer & sebaceous gland in dry-skin induced by surfactant is as following : 1. Formal observation of outer skin layer and basal layer There was refreshing effects about Surfactant induction skin inflammation in Chamomile, Thyme essential oil processing group but effect in surface layer appeared by higher thing in Chamomile essential oil and it could know that thing which do not use Thyme essential oil in case Thyme essential oil is ultraviolet rays allergy at skin care because Melanocyte appear on the surface is bigger than Chamomile essential oil that it was usefully reaction in basal layer. 2. Formal observation result of sebaceous glands. There are few damages in all group but there is recuperative through excessive water damage by excessive a sebaceous gland made of mulberry bark secretion because Thyme essential oil application group cause chapped skin phenomenon after surface-active agent processing but is seen that difference does not exist greatly and Thyme essential oil that general skin is strong in permeation is effective, but Surfactant induction skin inflammation estimates that Chamomile essential oil is effective. Therefore, it was considered that use of Chamomile essential oil is effectiveness than Thyme essential oil by essential oil used for recovery after damage of inflammation etc..

• Journal of the Korea Convergence Society
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• v.12 no.12
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• pp.213-222
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• 2021

This study tried to identify the factors influencing the visual factors of fashion virtual influencers(FVI), on follower behavioral intention and addiction. As the number of fans of FVI is increasing these years, and the addiction phenomenon of social platforms is also increasing, researchers thought that a study to confirm the behavioral intention of fans and the path to addiction through the visual factors of FVI would be necessary. According to the research results, it was confirmed that among the visual factors of FVI, attractiveness affects authenticity through expertise. In addition, researchers confirmed that authenticity influences flow through relationship maintenance of behavioral intention, and authenticity influences addiction through flow. Thus, researchers verified the path leading to FVI's visual factors to behavioral intention and addiction, such as visual factors and authenticity, authenticity and behavioral intention, and behavioral intention and addiction. Researchers hope to conduct research with various content types of FVI, other social platforms.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.1-11
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• 2019

This study examined the cause of the phenomenon of shrinkage in machine-embroidered fabrics, specifically those made of thin and pliable fabrics. Four woven fabrics and two knitted fabrics were selected as samples for analysis. The fabrics selected were silk organza, flax linen, polyester chiffon, cotton batiste, polyester raschel mesh, and cotton jersey. The thickness and drapability of the fabrics were observed and the shrinkage of the various types of embroidered fabrics produced using satin & step stitch techniques were measured. Moreover, the correlation between the shrinkage of the machine-embroidered fabrics and the drapability of the original fabrics was analyzed. Also, the colorfastness of six embroidery yarns was determined. The results of the study are as follows: first, the shrinkage of machine-embroidered fabrics increased at a greater rate than in embroidered knitted fabrics as compared to rates in embroidered woven fabrics. Moreover, in terms of stitch techniques, there was a greater shrinkage rate when satin stitch was applied compared to step stitch. Second, the shrinkage rate of machine-embroidered fabrics decreased when a stabilizer was fused onto the fabric. The shrinkage rate also decreased for fabrics when fused with paper stabilizer compared to those without it, and the rate decreased at a greater amount with paper stabilizer as compared to alginate film. Third, since there was a strong correlation between the shrinkage rate of the embroidered fabric and the drapability ratio of the original fabric, it was generally the case that the more pliable the fabric was, the greater the shrinkage rate was when the fabric was embroidered. Fourth, while the embroidery yarns mainly used in machine-embroidery presented an overall excellent level of colorfastness, there was slight color migration of level 4 to level 5 when using viscose rayon.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.201-217
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• 2014

There is likely to be a fit problem when women aged in their 30s-40s purchase down-age clothing from brands that target women in their 20s. To identify the part of the lower body that causes the fit problem, the sizes and types of lower body of women in their 30s-40s were compared with those of women in their 20s. The data for this study was from the 2010 Size Korea survey of body measurements of 1675 female adults in their 20s-40s. To examine differences in the average sizes of the lower body between women in their 20s and 30s-40s, descriptive statistics and t-tests were conducted. Factor and cluster analysis were used to classify body types by age groups. On the whole, compared to women in their 30s-40s, women in their 20s were found to be higher for all height items and smaller for size, thickness and width items. The result of the Glycemic index analysis showed that the body type of women in their 20s was generally larger than that of women in their 30s-40s. In addition, women in their 20s had a large drop value compared to those in their 30s-40s, whereas flatness of body cross section was bigger in the group of women in their 30s-40s. Four factors related to the lower body type of female adults in their 20s-40s were identified in the factor analysis, and three categories of body type were identified by cluster analysis. A Type 1 individual had abdominal obesity and chubby lower limbs, Type 2 had short legs and slightly chubby lower limbs, and Type 3 had long legs and a skinny lower body. A significant number of women in their 30s-40s were included in the Type 1 group, which was the least common category for women in their 20s.