• 한국의류학회지
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• 제6권2호
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• pp.57-67
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• 1982

The purpose of this study was to improve the clothing life of the children between the nine to twelve by making a scientific and rational basic bodice pattern. The comparison of the eight pattern drafting currently used in Korea was referred in order to make new basic pattern. Three hundred fifty-two subjects from 9 to 12 years old in Seoul area were measured on 19 items. The measurements (24 items including 19 measured items and 5 drafted items that were difficult to measure) were analyzed by mean values and correlation coefficients between each item. This new pattern attempted to set the ease for clothing from experiments of the changes of body surface in motion. On the basis of the above results, a new bodice basic pattern was developed and tested with wearing three times. Through the experiments in measuring the changes of the body surface in motion, it was concluded that it desirable to set a standard of 12cm clothing ease on the bust circumference and 4cm on the waist circumference. The correlation coefficient of the tack width to across back was relatively high (r= .677), therefore, the latter measuring items were eliminated. A grading method was adopted to determine the width and depth of neckline and shoulder slope.

• 한국의류학회지
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• 제19권4호
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• pp.615-627
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• 1995

The purpose of this study is to identify the difference of value and clothing behavior by generation, and to suggest a [device for family concord by overcoming a generation gap. Data was obtained from 106 families(daughter, mother, and grandmother in one family), of which the daughter was attending Ewha Womans University. And it was analyzed by ANOVA, Duncan.test, x2_test, ANCOVA ant two-way ANOVA. The results of this study were as follows. 1. Each generation showed different values. Mother and grandmother perceived greater importance for each value except political value. 2. Each generation has its own clothing behavior characteristics. Style, silhouette, skirt length, and neckline preferrences were different by generatiorts. In general, mothers and grandmothers showed si mil ar characteristics. Wearing size and subjective feeling for suitability were also different by generation. Finally in consumption behavior, preferred clothing price and expenditure were also differed by generation.

• Human Ecology Research
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• 제61권1호
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• pp.53-71
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• 2023

Dressmaking is a high value-added sector of the fashion industry in which the individuality and skills of designers play a prominent role. The appropriate use of the draping and the flat pattern techniques in the dressmaking process also play an important part in perfecting the finished product. The purpose of this study was to improve the understanding of dress design and identify a pattern production technique to enhence efficiency in each of the three elements of the dress manufactureing process. For this purpose, analysis of the design of 1,389 wedding dress photographs published in Wedding 21, Korea's leading wedding magazine, during 2019 and 2020 was conducted. This analysis identified 15 bodice designs and 11 sleeve designs based on neckline and eight skirts based on silhouette which were ranked by frequency distribution. Patterns for the design of samples were then developed according to the highest combined frequency distribution of these three elements. Eight samples were finally produced to test the the efficiency of the patternmaking techniques empolyed and the selected designs. The findings from this study have practical applications, notably in improving the efficiency of pattern production techniques that will facilitate further growth in the dressmaking industry.

• 복식문화연구
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• 제31권6호
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• pp.824-836
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• 2023

The purpose of this study is to analyze the formative characteristics of women's costumes among the Regency era's elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne's costumes (of the Bridgerton family) and Penelope's costumes (of the Featherington family) representing the upper class. The study reveals that women's costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families' costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne's costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.

• Archives of Plastic Surgery
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• 제51권5호
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• pp.447-458
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• 2024

Botulinum toxin can be used for various purposes to enhance neck aesthetics, addressing concerns such as platysmal bands, optimizing the cervicomental angle, preventing worsening of horizontal neckline and decolletage lines during aging, submandibular gland hypertrophy, and hypertrophied superior trapezius muscle. Understanding the anatomy of muscles such as the trapezius, platysma, and submandibular gland is crucial for achieving desirable outcomes with botulinum toxin administration. Techniques for injecting botulinum toxin into these muscles are discussed, emphasizing safety and efficacy. Specific injection points and methods are detailed for treating platysmal bands, optimizing the cervicomental angle, addressing submandibular gland hypertrophy, and managing hypertrophied superior trapezius muscle. Careful consideration of anatomical landmarks and potential complications is essential for successful botulinum toxin injections in these areas.

• 한국생활과학회지
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• 제21권2호
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• pp.285-298
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• 2012

Considerable number of women are enjoying swimming, however, the chest-region of swimsuits including cup inserts are not stable during swimming. The purpose of this study was to explore alternate designs and methods of stabilizing the breast cup to the swimmer's body by using 3D technology to design and position the pad and cup pattern of the swimming suit. To position the pad optimally, a 3D pattern of a nude woman was divided into blocks and different reduction rates were applied to blocks around the outlines of the breast. Two types of 3D patterns were developed. The first, referred to as the 'basic 3D pattern' provided for the curved surface of the breast point to be maintained with the remaining slack distributed evenly along the neckline, armhole and side seam. The second, referred to as the '1/3 shoulder moved 3D pattern' ignored the curved nature of the breast point by overlapping, with the resulting position of the shoulder strip moved toward the center. Three women of corresponding size and body shape evaluated the two 3D pattern designs as well as the conventional 2D pattern style of swimsuit. Respondents rated the'the basic 3D pattern' design highest in terms of stability and easy of movement in the chest region.

• 한국의류학회지
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• 제36권1호
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• pp.99-111
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• 2012

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Horniman Museum in London. The Museum holds eighteen items of Korean dresses donated by Mrs. C. de J. Luxmore in 1948 and by Mrs. Bowra in 1953. Male dresses consist of white silk outer robe (durumagi), a pale violet silk waistcoat (jokki), a jade green silk jacket (jeogori), pale yellow silk trousers (baji), a pair of ankle bands (daenim), a cotton waistband (dae), a silk purse (jumeoni), a rattan under-vest (deungbaeja), a pair of rattan wristlets (deungtosi), a top hat (gat) and a skullcap (tanggeon). Female dresses comprise a jade green silk jacket (jeogori), an ivory silk skirt (chima), a light blue silk petticoat (sokchima), two kinds of white cotton trousers (sokbaji and soksokgot), a pair of silk wristlets (tosi) and a pair of padded socks (beoseon). A Korean dress collection of the Horniman Museum shows a set of ordinary dress items worn by a married couple in the 1930s and the 1940s. Of these items, a silk petticoat (sokchima) and a rattan under-vest (deungbaeja) can be highly evaluated as object resources in the history of Korean dress. The petticoat is a rare and valuable example that represents an early type of modern petticoat that has replaced a traditional petticoat (dansokgot). The rattan under-vest has square neckline and two tiny sleeves similar to a Western cap sleeve. This kind of under-vest is a transitional form shown between under-vest similar to the Korean waistcoat (baeja) and one similar to the Western waistcoat (jokki).

• 복식문화연구
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• 제11권1호
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• 한국의상디자인학회지
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• 제20권1호
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• 한국의상디자인학회지
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• 제19권2호
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• pp.63-78
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• 2017

The purposes of this study was to study Turkic clothing traditions as a way to shed light on cultural development via the interactions among different tribes along the Silk Road, the close correlations between the surroundings of the Turks and their costumes, and the root of Turkic culture through literature studies and empirical studies. The study results are as follows. First, the Turks were nomadic equestrian tribes in the north that dominated the cold dry steppes from the $6^{th}$ to $8^{th}$ century A.D., when they expanded their influence to Dongbei, China to the east, and Turkistan (Central Asia) to the west. The Turks formed a nomadic lifestyle and culture suited to a cold dry climate, and interacted with various other tribes via the Silk Road, while exchanging and sharing different cultural aspects. Second, given that the Turkic garments constitute a two-piece style, which is a category of the basic nomadic costume of northern tribes, and that the artifact materials manifest jackets, overcoats, pants and skirts, the garments are categorized into tops and bottoms. The tops are sub-categorized into jackets and overcoats. The bottoms are sub-categorized into pants and skirts. In light of the necklines of tops, jackets have round necklines, while overcoats have V-necklines, round necklines and lapel collars. The bottoms include narrow-legged pants, wide-legged pants and closed-hem pants. Drapery skirts are worn at the waist. Third, the Turkic V-neckline overcoat is comparable to the Huns' silk overcoat, which illustrates the ethnic link between the two tribes. Also, the Turkic narrow- and wide-legged pants are consistent with the Huns' silk pants discovered in Noin Ula. The Turkic costumes are mostly tight fitting, suitable for the nomadic lifestyle in a cold, dry climate. Also, additional patches must be attached to the crotch points of pants due to the equestrian lifestyle.