• 한국의상디자인학회지
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• 제15권2호
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• pp.77-89
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• 2013

This study investigated the formation of silhouette and hemline shape of knit flare skirts according to the properties of knit material through virtual clothing with a 3D virtual clothing system called i-Designer of Technoa, thus building a database of the property data of knit material to reduce the number of sample making steps repeated and implemented several times in the process of clothes making. The results would help to estimate a silhouette in advance, offer assistance to the development of original knit wear, and explore ways to provide basic data for the development of the knit industry of the nation. The investigator made 12 kinds of experimental clothes to the angles(width of skirt: $90^{\circ}$ and $180^{\circ}$), gauge(7G, 12G, and 15G), and grain directions(wale and bias direction) of experimental clothes for virtual clothing. The dynamic characteristics of knit skirt samples according to each gauge were measured with the KES-FB system. Draper shapes were analyzed with the sectional shape data of hemline based on i-Designer. As for the measurements of the sectional shape of hemline and the formation of silhouette, the number of nodes, the average height of node mountains and valleys, and the hemline width right and left and before and after increased at the angle of $180^{\circ}$ than $90^{\circ}$. As gauges multiplied, the number of nodes, and silhouette angle dropping. When considering grain directions, the number of nodes and silhouette index increased in the wale direction at the angle of $90^{\circ}$ with the number of nodes and silhouette angle increasing in the wale direction at the angle of $180^{\circ}$.

• 대한가정학회지
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• 제30권3호
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• pp.15-32
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• 1992

The purpose of this study was to detect the effect of the lower body type on the shape of flare skirts. The subjects for the wearing test were 50 female students, who were controlled in their hip and waist shapes. The skirts used for wearing test were six types(three flar angles $\times$ two fabric types). The effect of lower body type on the shape of flare skirts was determind by the hemline trace method and the silhouette photography. The data were then analyzed by the repeated measures of analysis of variance and the SNK multiple range test. The results obtained from this study were as follows : 1) When a flare skirt made with larger flare angle and better drapable fabric was worn, the numeric of the nodes increased as the drop value(hip - waist) increased. When a flare skirt made with smaller flare angle was worn, the width of horizontal sectio of hemline increased as the drop value increased. The hemline uneveness decreased on the sides and back as the drop value increased. When a flare skirt made with worse drapable fabric was worn, the sides angle of the flarskirt increased as the drop value increased. 2) When a flare skirt made with larger flare angle was worn, the numeric of nodes increased as the ratio of dropped hip increased. The wave-height increased and the back variation ratio of wave-height was higher than the front variation ratio of wave-height as the ratio of dropped hip increased. The hemiline uneveness decreased on the back as the ratio of dropped hip increased. When a flare skirt made with larger flare angle was worn, the sides angle of the flare skirt increased as the ratio of dropped hip increased.

• 한국의상디자인학회지
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• 제9권3호
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• pp.35-46
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• 2007

The purpose of this study was to modify a Flared Skirt for women according to the somatotype of lower body. The subjects for the wear test were 3 students, who were in mean${\pm}1{\sigma}$ each somatotype. As seen in the study, it was found out that there was a difference in three dimensional shape of the lower part of the body even in the group of whom the body heights, measured by Martin's system, are alike. Due to such a difference in the three dimensional shape of the lower part of the body, it was found out to be a difference in drapability of the flare skirts. In order to have better fitness of the lower part of the body and to raise the visual effect, therefore, it is suggested that there need to develop a new model of the flare skirts considering three dimensional shape of the lower part of the body for the wearer or to take complementary measures for each body shape in case of applying traditional model.

• 한국의류산업학회지
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• 제12권5호
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• pp.650-656
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• 2010

To present a 6-piece baseball cap pattern with good wearing sensation and with good reflection of head shape, this study conducted direct measurement using martin's anthropometer and indirect measurement using surgical tape among women of 20 to 24 years old. For a crown, correlation analysis was carried out between direct measurements and surface shell measurements of each section on the head to set main items for prototype design, along with regression analysis to complete design formula; for a cap pattern, draping design was used on the finished crown to compete cap pattern design formula. The results showed that main measurement items to design a baseball cap included head circumstance and bitragion arc for a crown and the cephalic index for a cap. For the crown pattern reflecting the shape of the head, 6 pieces were designed with different sizes and types of front (F), side (S), and back (B) patterns; hemline was also designed diagonally and completed by reflecting the curve of the head.

• 복식문화연구
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• 제4권1호
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• 복식
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• 제32권
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• 한국컴퓨터정보학회논문지
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• 제23권7호
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• pp.63-72
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• 2018

The purpose of this study was to compare and analyze the pants pattern of the lower body of 70-85 aged women. I tried to present excellent pants pattern that is convenient and suitable for the activities of elderly women. Through this, I tried to provide basic data necessary for making elderly women 's pants. As a result of evaluating the appearance of the pants pattern according to the body type, the fit of the type 2 was evaluated as the highest in the item except the position of the front waist line. For the objective evaluation of the 3D simulation, the air gap of the pants by the body part analysis showed that there was not much difference in the air gap around the waist circumference, hip circumference, thigh circumference, and knee circumference by applying the same drawing method and body size. However, in type 2, the air gap of thigh and knee circumference parts was larger than that of type 1 and type 3. Because type 2's legs were thin but it used same size of hemline. It was thought that it is necessary to adjust the space of front and back crotch length to 1 inch (2.54 cm) instead of 1.9 cm (3/4 inch) so that the waistline position of all three types can be set up a little to cover the abdomen. This study was conducted to investigate changes in body shape of elderly women and to develop appropriate pants patterns.

• 한국의류학회지
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• 제34권7호
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• pp.1111-1125
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• 2010

Study is a basic analysis of a future virtual clothing system based on a comparative analysis of all the shirring, using a 3-dimensional apparel cad system. Frilled skirts shirred at the lower hemline were the subject of this study for a comparison of expression and shape of shirring. It compared the silhouette and details expressed in virtual and real skirts made of woolen fabrics and polyester satin, with different widths (1.5, 2 and 2.5 widths). It was found that the virtual skirt could not express shirring as exquisitely as the real skirt due to fabric thickness and other fabric characteristics. In addition, the increase in widths caused the frill shape to deform badly. In the case of a virtual skirt made of polyester satin, the increased multiplication factor let the frill spread out sharply (unlike the real skirt). Simulated skirts of polyester satin and woolen spread out to the sides with the sidelines of their frills hanging down markedly (unlike the real cloths) when the frills changed from 1.5 widths to 2 widths. When it came to the virtual skirt, side-line from the hip down all the way short of frill contorted with the wrinkle multiplication factor of 2 and 2.5 widths. This phenomenon was more notable in polyester satin skirts than in woolen skirts.

• 대한가정학회지
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• 제24권1호
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• pp.28-41
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• 1986

In the history of costume, coat can be traced up to ancient Persia but it was generalized as today's style around 14th an d15th century in Euro[pe. World wars, revolutions and rapid social changes of the last 80 years have produced more changes in the way people dress than any comparable period in history. Thewse changes enabled emergence of more modernized woman's garments and through it, dress and coat ensemble became public's main fashion. In 1920's after world war I, boyish style in woman's garment was in vogue. Woman's coat was also in the same style with length sortened up to the knee level and silhoutte was straighter and semi-fitted than previous period. Length of the coat was longer in late 1930's but shortened again in 1940's. And the most popular silhouette of both 30's and 40's was shape of the hourglass which was commonly called the "X-shape". Also double=breasted coat with fitted waistline, belt and flare skirt was in vogue. In 1950's and 60's, with the variety of lines in woman's garments, silhouette of the coat also appeared in many different forms. Along with the various shapes, color of the coat changed throughout the decades : dark colors in 20's, bright colors in 30's, mixed colors of 20's and 30's in 40's and in 50's, color had changed to archromatic. In fabric, wool was most popular in all periods. However, such gabrics as tweed, cotton, gaberdine, linen were added to give variety. It is very interesting to see collars trimmed with expensive furs were very popular in 20's and 30's but it almost disappeared in 40's and fur trimming reappeared in late 50's. In addtion to silhouette changes in design, details such as buttons, epaulettes, pockets and fur trimming of hemline were emphasizing points of varieties in design. This study has set time limits world war I which was the period coat became major fashion of woman's clothing, to 1960's.

• 복식
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• 제47권
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• pp.73-88
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• 1999

To find the reasonable gathering amount by a length of gathered skirt and a fabric the methods of this study were divided on three types-five kinds of the gathering amounts three kinds of fabrics and three kinds of skirt length-so forty five kinds of the samples were made. As the visual evaluation and the shape of hemlines evaluation of the gathered skirt were practiced by these factors this study found the aesthetical gathering amount and analyzed the shape of hemlines. The following are the results of this research. 1. In the same fabric and skirt length to estimate a hemlines shape of a gathered skirt the increased amount of the node number of cotton fabric was widest and wool fabric was most stable And when the gathering amounts of each fabric were higher than 1.5 times the node indexes were no difference. According as a skirt length was longer the node indexes assumed a similar aspects but according as the skirt length was shorten an the gathering amount was smaller the node shapes were level and broad. And according to being increased a gathering amount the width of right and left of gathered skirt was generally wider. 2. In the same gathering amount and skirt length in seeing the estimation of a hemlines shape of a gathered skirt when the skirt length was 40cm in cotton polyester wool fabrics the node indexes were similar at up to 1.5 times of gathering amount and especially it became very bigger at 0.5 times and according as the gathering amount was increased node index became gradually smaller. The width of right and left of the skirt hemlines of wool fabric was more smaller than polyester and cotton fabrics so it is happen to hang down. 3. In the same gathering amount and fabric in seeing the estimation of a hemlines shape as a variation of a skirt length when the gathering amount of cotton and polyester was from up to 1.5 times and wood fabric was from up to 1.0 times according as skirt length was longer node index in the same gathering amount was decreased. And in case as it was 0.5 times the node indexes of the 40cm and 60cm skirt length were bigger than other factors. In the same gathering amount the width of right and left of the skirt hemlines was smaller at 60cm skirt length and polyester fabric was smaller at 80cm skirt length.