• Journal of the Korean Society of Costume
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• v.57 no.9
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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The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the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.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.148-160
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• 2014

This study proposed the design development of performance uniform for Korean classical music. To do this, we considered the state of the performance uniform of the Korean Classical Music Band through photographic data. The research targeted the performers in Korean Classical Music Band, and conducted a survey for the preference of type, pattern, decoration, color and fabric materials. Based on the results, we extracted the design of performance uniform, which is suitable for the environment of Korean classical music performance and meets the substantial requirements of performers. The performance uniform that the current national or public Korean classical music bands are using, has two types: Western clothing and Hanbok. The attire is influenced by the genre of the music that they are playing because one of its main functions is to deliver the music to audience effectively. In addition, there are some differences in the uniform based on the gender, but no division in the design of clothing according to music instruments. However, the result of the survey show that there was no difference in preference by gender, but there was some difference according to the division of music instruments. On this study, we reflected this result in the design, and proposed the design of an convenient outer garment for everyone to wear in the music performance band.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.24-34
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• 2007

The purpose of this study is to examine the pieces of 100 fabrics excavated from unknown woman's tomb Incheon, by analyzing woven methods, names of the fabrics, the kinds and the shapes of the patterns. The characteristics to assume the period of the fabrics are as follows. The geumsundan which was woven peacock insignia at chest and back area was excavated for the first time from the tomb of Joseon. Peacock insignia woven with satin weave using supplementary golden wefts, wrapped gold thread. These kind of fabrics were usually imported in the $15^{th}$ century, according to the old documents, 'Nogeoldae' 'Joseonwangjosilrok' written at the end of Goryeo or early in Joseon. Thus, these relics are from about $15^{th}$ century. From this tomb, the mixture fabric of cotton and ramie are excavated. According to another excavated cases, the mixture fabric of cotton and ramie appears from the period before the Japanese Invasion of Korea in 1592, and after the invasion, there are usually mixture fabric of cotton and silk. This also tells that these fabrics show the characteristics of those from the early period of Joseon Dynasty. The rounded patterns of Jangot is only shown from the fabrics of late Goryeo Dynasty, and the cloud pattern of an upper garment with a squared neckline is shown from the early Joseon Dynasty. So, the patterns from these excavated costumes are ranged from the late Goryeo Dynasty to the early Joseon Dynasty. To assume the period through the overall study above, these relics show the characteristics of the $15^{th}$ century fabric.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.167-179
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• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.

• Journal of the Ergonomics Society of Korea
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• v.21 no.1
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• pp.33-49
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• 2002

With the wide range of movement, the movement of neck accompanies the body surface change of neck and shoulders. And neck corresponds to the collar of garment, meaning that the body surface change of this part affects the construction of patterns for collars. So the purpose of this study was to manifest the changes of body surface in the neck and shoulder accompanied with the movement of the neck and to draw up the facts worth consideration when constructing the collar pattern. In this study, the draft of body surface of neck and shoulder was drawn up by gypsum method according to the 5 movements (standing at attention, neck bending - front, back, right, left). The length of body surface was measured and analyzed by ANOVA, post hoc test, correlation and regression analysis using SPSS 10.0 for Windows. The variation of the surface of neck was remarkable in the vertical lines than the horizontal ones. So the height of collar should be established considering the range of movement of the neck. It was the raising amount of c.f(center front) of neck and girth of neckbase (back) that were proved to have significantly varied after movement. With correlation analysis done, in every movement, the raising amount of side and the girth of neckbase had remarkably positive relation. The movement of the neck accompanied the variation of body surface in the shoulder as well. It was the part of scapula and side of neckbase that the variation was notable, suggesting that the surplus is needed in these parts.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.1 s.160
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• pp.44-56
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• 2007

The aim of this study is to provide fundamental data on the development of dress shirts pattern appropriate for the body types of athletes. The research subjects are 257 athletes from wrestling, bodybuilding, weight lifting, Judo, canoe, rowing. In regards to the category used in the measurement of bust somatotype, there are 48 types directly measured, 4 types indirectly measured, 7 types calculated and 1 bodyweight of type, making it 60 categories in total. The bust somatotype of a sports athlete and general person were compared together and after examining the characteristics of the bust somatotype, the somatotype of sports athlete was divided according to drop. The results of the study are as follows: 1. Questionnaire Results of the questionnaire showed that 63.4% of the respondents chose dress shirt as the most uncomfortable upper garment for athletes. And as for the result of the most uncomfortable body part turned out to be 'the neck is tight'. 2. Somatotype Analysis Results of direct, indirect measurement and the average somatotype of 97 National standard physique were compared. The characteristics of somatotype of athletes with well-developed upper body are that they are taller and have longer upper body and arms than the general person. And also the width of the trunk is wider, the girth bigger and the waist measure relatively slimmer. Looking at sports by category, it we could see that wrestlers were the largest neck parameter and width. Bodybuilders were the largest body parts for most categories. Weight lifting and Judo athletes were the largest waist and buttock. Canoe and rowing athletes were the largest height and arm parts. Dividing the somatotype of athletes according to drop, 72.8% of the research group belonged to the body type that resembled the letter Y.

• Journal of Fashion Business
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• v.21 no.6
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• pp.47-65
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• 2017

This study is intended to compare an actual wedding dress being made completely through 3D software, and compare it with an actual dress of a real model by using collective tools for comparative analysis. The method of the study was conducted via a literature review along with the production of the dresses. In the production, two wedding dresses for the small wedding ceremony were designed. Each of the design was made into both 3D and an actual garment. The results are as follows. First, the 3D whole body scanner reflects the measure of the exact human body size, however there were some difficulties in matching what the customer wanted, because the difference of the skin color and the hair style. Second, the pattern of the dress is much more easily altered than it was in the real production. Third, the silhouette of the virtual and the actual person with the dress was nearly the same. Fourth, textile tool was much more convenient because of the use of real-time rendering on the virtual dresses. Lastly, the lace and biz decoration were flat, and the luster was duller than in reality. Prospectively, the consumer will decide their own design of variety through the use of the avatar without wearing the actual dresses, and they would demand what the another one desired, different from the presented ones by making the corrections by themselves. Through this process, the consumer would be actively participating in the design, a step which would finally lead to the two way designing rather than the one way design of present times.

• Journal of the Korea Society of Computer and Information
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• v.24 no.4
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• pp.137-144
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• 2019

The purpose of this study was to provide basic data for the development of a prototype of a garment that allows middle aged men to look idealized by examining the type of perception of middle aged men based on their subjective evaluation and their characteristics. This study used the Q methodology, which is a subjective research method that finds correlations among middle aged men across subjective attributes. The types of perception of body shape of middle aged men were analyzed as three types: leaning forward shape with bird legs, developed upper body shape with thick legs, protruding abdomen obesity body shape. The leaning forward shape with bird legs was recognized as the lowest in the BMI index, and the shoulder and chest were sagging, legs were thinner than the body and leaned forward. And that the hip were protruding and had a flat rectangular shape. Developed upper body shape with thick legs was the second overweight type of BMI index. It was recognized that the ankle and calf thighs were thick and the upper abdomen protruded upper body development body. Protruding abdomen obesity body shape was the most obese type with BMI index. In this type, the height was the smallest, and the upper abdomen came out and the abdomen protruded, and the abdomen was more exuded than the chest, and the neck was thick and the hips were recognized as the big body. The middle aged men's recognitive body shape was classified as a similar to actual body shape. However, in the recognition type, the frontal and side body types were mixed and classified. It is necessary to study the ergonomic pattern considering the features of each body type. This suggests that psychological effects can be obtained that allow the body shape that changes with age to be accepted more positively.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.133-146
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• 2021

It is important to conduct an anthropometric study to develop garment patterns to accommodate the changes found in the body size and type of men in their 30s, to effectively address fit dissatisfaction. Thus, this study aims to explore changes in the lower body sizes and body types of men in their 30s, and provide basic measurements for designing pants patterns. For this purpose, key anthropometric dimensions for the lower body of men in their 30s, which were acquired by the 6th (2010) and 7th (2015) survey conducted by Size Korea, were analyzed using SPSS 24.0 for Windows. Independent sample t-tests were conducted on major lower body sizes to track changes over time. Factor and cluster analyses were used to classify lower body types. From the comparison of the 6th (2010) and 7th (2015) surveys, it was found that the overall lower body size of men in their 30s were increasing in the height-related aspects, circumference, thickness, and width-as well as body weight and BMI. The five factors were derived to determine the typical lower body types of men in their 30s and the body types were classified into three categories through cluster analysis: (1) those with the largest body size, body volume, and obesity, (2) those with smallest body size, lower body volume, and obesity degree, visually the most skinny type, (3) those with BMI and weight that are the smallest, like Type 2, but the main circumference of the lower body is lower. In order to visually look at the statistical analysis, results were presented by producing a avatar based on the main lower body values.

• Journal of the Korea Society of Computer and Information
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• v.26 no.8
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• pp.113-125
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• 2021

This study aimed to develop a new Hanbok Jeogori prototype based on design extracted through a preference survey on new Hanbok Jeogori. This study was conducted based on K-patterns selected as excellent patterns in prior research and utilized the SPSS 27.0 program for analysis of appearance evaluation. As a result of the first appearance evaluation and garment pressure evaluation, the shoulder area was required to be modified, so the shoulder end point was moved within 1cm to rearrange the armhole line. Modification of sleeve length and circumference was also required, reducing sleeve length by 1.5cm and sleeve circumference by 0.5cm at both ends. As a result of the second evaluation, the length of Jeogori, hem circumference, and sleeve length were required, reducing the length of the front and back Jeogori by 1 cm and reducing the sleeve length by 1cm. The hem circumference was reduced by 0.2cm each in the princess line, which was highly evaluated in the final evaluation. In future research, it is thought that pattern studies by material, length, and age should be conducted and corrections should be derived through actual wear experiments.