• Steel and Composite Structures
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• v.19 no.3
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• pp.735-757
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• 2015

Composite bonding steel plate (CBSP) is a newly developed type of structure strengthened technique applicable to the existing RC beam. This composite structure is applicable to strengthening the existing beam bearing high load. The strengthened beam consists of two layers of epoxy bonding prestressed steel plates and the RC beam sandwiched in between. The bonding enclosed and prestressed U-shaped steel jackets are applied at the beam sides. This technique is adopted in case of structures with high longitudinal reinforcing bar ratio and impracticable unloading. The prestress can be generated on the strengthening steel plates and jackets by using the CBSP technique before loading. The test results of full-scale CBSP strengthened beams show that the strength and stiffness are enhanced without reduction of their ductility. It is demonstrated that the strain hysteresis effect can be effectively overcome after prestressing on the steel plates by using such technique. The applied plates and jackets can jointly behave together with the existing beam under the action of epoxy bonding and the mechanical anchorage of the steel jackets. The simplified formulas are proposed to calculate the prestress and the ultimate capacities of strengthened beams. The accuracy of formulas was verified with the experimental results.

• Proceedings of the KIEE Conference
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• 2007.07a
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• pp.388-389
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• 2007

Objective of the study is development of 23kV insulating jackets for protection of workers from electrical shock. The breakdown voltage of Ethylene-VinylAcetate copolymers(EVA) films in insulating oil were measured. Insulating jackets were made by the high frequency welding machine, and withstanding voltage test of these were measured. For breakdown voltage at AC 30kV, the number of EVA film with $105{\pm}5{\mu}m$ thickness was 4$\sim$5pieces. When AC 30kV during 3 minutes supplied on the insulating jackets, those were keep on the good quality.

• Journal of Fashion Business
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• v.18 no.3
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• pp.59-72
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• 2014

This study provides the structural design for commercialization of outdoor breathable waterproof jackets for men merged with solar cells to enable emergency communications, utilizing wearable devices to develop smart clothing and extend convenience in everyday life. The most popular waterproof jacket with two-layer and three-layer moisture-permeable waterproof fabric was selected, based on previous studies of functional outdoor jackets and style with affinity to fashion. Flexible solar films suitable for clothing were embedded in the lining of the sleeve area and hood visor, and printed film was developed to balance weight and design. High performance smart solar jackets have application to expanding the use of smart phones for everyday and emergency communication, and leisure and outdoor sports activities, as well as day-to-day functions as a waterproof breathable outdoor jacket for men. It is also eco-friendly. Satisfying both the aesthetic and practical, a solar cell jacket with smart features, is an innovative tool for use in a variety of outdoor activities, and a fashion-forward commercialized product.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.308-318
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• 2007

This study aims to survey the satisfaction level with the fit of ready-made suits(jackets and pants) among adult males and thereby to show its differences by the age group and body type. The respondents to the questionnaire survey were 465 males, aged 20 through 59 years. The conclusions are as follows: 1. The average satisfaction level for the fit of each item ranged from 2.65 to 3.57, with the higher level found in jackets than in pants, and also in circumference parts than in length parts 2. The satisfaction level for the fit by the age of adult males showed inter-group differences in the parts of jacket length, sleeve length, shoulder width, sleeve openings, and sleeve band width for jackets; and pant length of pants. 3. The satisfaction level for the fit by the body type of adult males indicated into-group differences in chest circumference of jackets only. 4. The satisfaction level for the fit, with the exclusion of the age and body type relationship showed that adult males are affected more by the age than by the body type. 5. In the repair frequency by the item, pants(45.6%) showed a higher level than jackets(24.7%). The parts with a high repair level by the item were jacket length(8.4%) and steeve length(19.8%) for jackets; and pant length(42.4%) and waist circumference(8.4%) for pants.

• Science of Emotion and Sensibility
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• v.6 no.3
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• pp.89-99
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• 2003

Wearability, mobility and context awareness distinguish intelligent jackets from other hand-held devices. This research investigated usability elements reflecting those characters of intelligent jackets. In the fist study, we performed the experts' reviews (cognitive walkthrough) with the first version of intelligent jackets. As expected, we found that new categorization of the usability evaluation element was needed for the unique features of intelligent jackets. In the second study, we carried out group interviews (structured interviews) to examine user needs, attitudes and important factors for using intelligent jackets. In this study, user groups were divided into early adaptors and laggards on the basis of their challenge and attitude toward the new technology From these interviews, we found that the early adapters accepted the intelligent jacket as a computer system and they considered functional elements as important factors. However, the laggards thought the intelligent jacket as a wear, and they regarded the external design and psychological burden as important factors.

• The Research Journal of the Costume Culture
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• v.20 no.2
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• pp.184-194
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• 2012

The purpose of this study is twofold: it suggests appropriate sizes in menswear slim-fit jackets according to brand zones and number of buttons, as well as jacket patternmaking methods according to jacket styles by surveying and comparing the overall present status of patternmaking and production for both men's slim-fit and classic-fit jackets. The researcher conducted interviews with patternmakers of sixteen brands with prepared questionnaires. Data were analyzed by descriptive statistics using SPSS 12.0. The results of this study are as follows: first, for the production ratios of jacket style, the jacket styles' respective proportions differ distinctly according to brand zone. Second, for a jacket with the same number of buttons according to brand zone, the size in character-casual brand zone (character casual can be defined as high quality brands producing designer style clothes) is slightly bigger than the men's formal suit. As the number of buttons increases, there are increases in the chest, waist and hip circumference; on the other hand, the front neck width and the distance from the shoulder neck point to the bottom of the lapel both decrease. Furthermore, the amount of wearing ease in the chest, waist, upper arm circumference, and sleeve curve is less in slim-fit jacket styles than in classic-fit jacket styles. Fusible interfacing alone is used in slim-fit jackets, while sew-in interfacing is used in combination with fusible interfacing in classic-fit jackets. This research concludes that when slim-fit men's jackets are manufactured, appropriate patternmaking and manufacturing methods should be considered.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.849-864
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• 2021

This study analyzed product conditions in terms of "size system," "clothing construction depending on fit," "details," "colors," and "prices," with an emphasis on young contemporary brands for spring/summer 2021, in order to provide basic data for the development of small-sized women's jackets. Out of 96 domestic and foreign brands, the study analyzed 254 small-sized jacket products from 23 brands that produce size-XS jackets. First, when examining the sizes for women's jackets, we found that 8 out of the 23 brands offer a size-XXS option. After conducting tree analysis to analyze the factors affecting the production of size-XXS, the study found significant results in the areas of "distinction between domestic and foreign brands" and "product price." Second, after categorizing small-sized women's jackets into 3 categories-fit-slim, basic, and straight-the study analyzed clothing construction elements depending on fit. This seasons mainly feature straight-fit's hip-line length jacket, a 4-panel pattern, and a panel without a waist dart. Third, the study, through the analysis of the colors of small-sized women's jackets, found a higher frequency of colors in the order of black (23.0%), white (13.3%), and beige tones (10.1%), with additional colors such as sky blue, rose pink, and aquamarine in production, which exhibit the senses of the seasons. Price analysis revealed that small-sized jackets constituted a price range at the mid-to-low end, as in ₩50,000-100,000 (30.3%), ₩100,000-150,000 (19.3%), and ₩150,000-200,000 (11.8%).

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• Fashion & Textile Research Journal
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• v.25 no.5
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• pp.593-602
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• 2023

This study aimed to facilitate the use of virtual technologies such as sewing, appearance, and material expression in 3D virtual wear programs. For product production and education, we expounded how to express the shoulder shape and silhouette of sleeve-expanded power shoulder jackets. Two designs of sleeve-expanded power shoulder jackets were selected, and virtual jackets were produced using a virtual avatar based on the body dimensions of female subjects in their 20s. The essential purpose of a 3D virtual power shoulder jacket is to express the shoulder angle rise and shoulder width, which are much wider than the avatar's shoulder. Therefore, the virtual pad values were adjusted for the collision and rendering of each thickness. In addition, the position and angle of the virtual pads were controlled through simulation. Appearance similarity was evaluated using photographic data and the virtual jackets. For the set-in sleeve virtual power shoulder jacket, the wrinkle expressions of the torso and sleeve were rated as moderate, and material expression was slightly insufficient. The similarity of some ease and width items of the torso was tightly expressed, and the overall appearance, positions of lines, and details of jackets were rated high, especially at the neck and sleeve shapes. In the case of the kimono virtual power shoulder jacket, the expressions of the torso wrinkles and buttons were slightly lower; however, the overall similarity, basic lines, ease, shoulder and neck details, and material expression of the virtual jackets were highly evaluated.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.49-62
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• 1993

This study intends to find out the correspondence of the costumes of the terracotta warriors at the tomb of Qin Shi Huang to the dress of nomadic people. The Chinese took the dress of nomadic people into their costumes so that they might practise shooting arrows from horse back in the Age Of Wars. The terracotta warriors at the tomb of Qin Sin Huang provide us with substantial evidence that Qin Dynasty inherited the system of wearing the dress of nomadic people from Zhao. Figures of calvarys wear the jackets of nomadic people, but figures of other warriors wear Han jackets. This means that the aim of taking the dress of nomadic people is to be convenient in practising shooting arrows from horse back. Nomadic people adjusted their jackets to left, because they road on a horse from left for being the tunga only on the left. But calvarys adjusted their jackets to right. In those days, China didn't have a tunga. So there was no necessity for riding from left. And Chinese were accustomed to adjusted their jackets to right. This is the reason why calvarys adjusted their jackets to right, though they wear the dress of nomadic people. Soldiers wear trousers. Some have puttee, some have their leg bounds. All the soldiers tightened their coats or jackets with belts which were inhereted from nomadic people. They wear either shoes or short boots. The figures are classified according to rank, espicially in their hats and armours. General wears a cap adorned with pheasant' feathers, officer wears an unadorned cap, and men are hatless or in turbans. Calvary's headgear looks like a p'ing-chin-tse which was correspondence to the headgear of nomadic people. Soldiers wear armours according to duty, and armours are differentiated by rank. From the state of terracotta warriors, I think that the warriors were made from BC 246 to BC 210 which is equal to the date of making the tomb of Qin Shi Huang. Then the date of making the terracotta warriors was between 60 and 100 years since the king Wu Ling of the state of Zhao took the dress of nomadic people.