• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.224-236
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• 2017

Kimono sleeves have continuously appeared in modern fashion as a design motif and this trend has become increasingly prevalent recently. However for research in the area of clothing composition for kimono sleeves in Korea, there has been a lack of development of master patterns based on basic data from the analysis of the standard body type of Korean people and finalized designs based on comparative experiments and analysis of pre-existing research Thus, there is no ideal master kimono sleeve pattern development research based on the examination of the results of the analysis of the standard body type of Korean people. Therefore by recognizing the importance of developing a master kimono sleeve pattern, this research aims to present a practical master kimono sleeve pattern for the standard body type of someone in their 30s. First, the four master patterns were collected and a dressing evaluation was conducted, and by selecting and improving one of these master designs, a final research master pattern was developed after a second dressing evaluation. Through this research, it was possible to design a master kimono sleeve pattern appropriate both externally and functionally for the standard body type of someone in their 30s, which has not been a consideration in previous research.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.595-603
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• 2015

The influence of Japonism, which is the post-mid-$19^{th}$ century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early $20^{th}$ century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in $20^{th}$-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.742-754
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• 2013

This study aims to conduct a investigation on the gusset of a Kimono sleeve to achieve excellent movability through an evaluation of its fit wearing by conducting comparative research in terms of the length of the gusset pattern according to sleeve angle, which having a great effect on the wearing and activity of the top of a Kimono sleeve. A prototype was manufactured by developing the basic Kimono sleeve based on the method of Ernestine Kopp's basic bodice pattern. The sleeve angles which was applied to the prototype pattern of the Kimono sleeve ware approximately $50^{\circ}$, $70^{\circ}$ and the gusset was diamond-shaped which has a width of 10cm and lengths of 9cm, 10cm and 11cm. As a result, in the case of $55^{\circ}$ of the sleeve angle, the angle was gradually increased as the length of gusset was extended, although, in the case of $68^{\circ}$ of the sleeve angle, there was not remarkable effects between increased gusset length and the value of the angle. This result could be analyzed that the gusset did not affect remarkably since the sufficient movability was gained with only the angle in the case of $68^{\circ}$. Also, in the results of experiment on $55^{\circ}$ angle, as 9cm, 10cm and 11cm of length of gusset commonly indicated over $70^{\circ}$ in average, it was found that the movability was obtained sufficiently in every part.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Fashion & Textile Research Journal
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• v.21 no.2
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• pp.163-170
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• 2019

This study utilized the wearing test of subjects and a preference survey to determine wearing preference on types of blouses according to shoulder angle. The shoulder angles of the subjects were set as average shoulder, slopping shoulder, and square shoulder. The blouse sleeves were set as set-in, raglan, and kimono according to five domestic clothing construction books. A total of 15 blouses were made and tested by different bodices and sleeve types. The wearing test of subjects had the human subjects evaluate the appearance of the subject looking at the mirror while standing as well as evaluated the sensation test while not looking at the mirror. The preference survey was given to 100 females and was conducted using photos with combinations of three types of sleeves and shoulder angles in a survey under the same conditions. The average shoulder showed that set-in with the highest score in the wearing test was also preferred in the preference survey. The slopping shoulder evaluated the highest score in the wearing test by mirror; however, the preference survey showed that raglan was the most preferred choice. The squared shoulder showed that raglan with a high score in the wearing test by mirror was also preferred in the preference survey.

• Journal of the Korean Society of Costume
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• v.43
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• pp.15-30
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• 1999

The Kosode(小袖) which is a traditional Japanese outfit with a narrower sleeve than the Kimono was worn under the court dress. Korean who first immigrated to Japan wore the Po(袍: the Korean clothes of the time) and introduced the outfit to the japanese people who adopted and integrated it into their daily wear. This outfit was labelled the Kosode(小袖) during the 13th century. The Kosode(小袖) eventually developed throughout centuries into today's Kimono. 기본포(基本袍). Kibonpo(Traditional Korean Basic Outfit), 袍형기본포. Mekibonpo(Traditional korean Outfit with Round Sleeves) 통수포 Tongsupo(Outfit with Narrow Sleeves) 고소데(小袖).Kosode(Traditional Japanese Outifit with narrow Sleeves) 후리소데(振袖). Furisode (Traditional Japanese Outfit with fluttering Sleeves)

• The Research Journal of the Costume Culture
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• v.29 no.3
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• pp.388-405
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• 2021

This study classifies the compositional methods of power shoulder jackets from 1980 to the present. It analyzes the relevance of jacket details according to how the power shoulder changes and its compositional methods by era. The research subdivides shoulder compositional techniques into seven, based on shoulder variation, sleeve variation, and the body and sleeve combination. The researcher investigates the frequency and trends of composing shoulders and analyzes details pertaining to the silhouette, jacket length, collar shape, and front closure. The most common method of shoulder composition is an angular shoulder variation. The others are a rounded shoulder variation, puffed sleeve, sleeve variation using pattern incision, raglan and kimono sleeves, and a shoulder variation that expanded the angle and width. The frequency differs slightly for each era. The relationship between shoulder compositional methods and details of power shoulder jackets is statistically significant, showing period-related differences. The homogeneity analysis results reveal that the shoulder composition of power shoulder jackets, the times, and details fall into distinct groups. This analysis shows that the silhouette, length, collar, and front closure of the power shoulder jacket differ depending on the power shoulder's compositional methods. Moreover, the shape of the power shoulder jacket is distinctly different. One can use this data to help develop the power shoulder jacket design by reflecting the details of shoulder compositional methods and changing trends over time.

• 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.

• Fashion & Textile Research Journal
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• v.18 no.2
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• pp.194-206
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• 2016

This study analyzed jackets by Alexander McQueen that have always pleased customers with traditional tailoring via every season's collection. This study categorized and then analyzed jackets by components such as silhouette, jacket length, collar, lapel, sleeve, shoulder line, and closure methods. To achieve the research goal, the study referred to photographs of 501 jackets introduced in signature brand collections by Alexander McQueen between 1996 and 2010. The analysis results on McQueen's jackets with the general components of the clothes indicated that the frequency of traditional tailoring components (such as lapels, tight sleeves, natural shoulder lines, and a button closing method) was higher than the frequency of designs of dramatic, deconstructive patterns examined by previously-conducted research. This shows that Alexander McQueen was cognizant to the responsibilities as a tailor and the basics of tailoring when developing jacket designs. This study also confirmed how McQueen enjoyed adding exaggerated jacket design components by making various use of details that emphasize drastic shapes like the hourglass silhouette, wing collar (that covers the shoulders), peaked lapel collar, kimono sleeve, bell sleeve, crescent shoulder, and pagoda shoulder.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.39-52
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• 2004

The purpose of this comparative study what is the way to express difference fashion design between Japanese fashion designers and Western fashion designers in the 1990s. The design data were 422 pictures of contemporary fashion designs which represented the Japanism style design from fashion collections and analyzed by literature study and classification categories. The results were as follows : 1) Early general Japanism expression was directly borrowed from traditional fashion design elements and has changed indirectly with fashion trend. 2) Japanese fashion designers have used color, fabric, and pattern than shape to express Japanese traditional images. 3) Western fashion designers have directly borrowed aesthetic elements of Kimono design, that is, layering. bending, neck-line, sleeve, and traditional Japanese men's wear to express Japanism.