• 한국의류산업학회지
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• 제20권6호
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• pp.713-721
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• 2018

This study aimed to develop a draping manual for the basic bodice to be available in colleges and industries. For this, draping methods mentioned in six different textbooks were comparatively analyzed. As for the research method, draping methods were compared by using training textbook, and basic bodices designed with muslin were assessed using the 5-point Likert scale. First, the draping methods of basic bodices were comparatively analyzed. The main baselines were set as the center front line, the center back line, the bust line, and the shoulder blade line. The position of dart was suggested based on the princess line, in both the front and the back. The value of dart was classified as a fixed size with any associated excess. The length of dart was set based on the bust point and shoulder blade point or a fixed size. The amount of ease was randomly set based on the fixed size, bust circumference, waist circumference, interscye length, armholes and shoulder lines, or the worker's intuition. Second, according to the appearance evaluation of the patterns, the following patterns obtained the highest scores: A pattern 2.5cm away from the B.P point of the waist dart and shoulder dart in the frontal appearance, a pattern of 0.6~0.7cm ease for the front armhole, a pattern with an ease of 1.2cm in the bust and 0.6cm in the waist. As for back appearance, the pattern in which the point of waist dart is 2~3cm from the bust line received the highest score.

• 동양고전연구
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• 제34호
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• pp.225-255
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• 2009

본고에서는 정혜(貞惠) 정효(貞孝)공주의 묘지(墓誌)에 대한 분석을 바탕으로 발해 묘지 양식의 형성 배경과 특징 그리고 후대에 끼친 영향을 살펴보았다. 발해의 묘지 양식은 다음과 같은 고고학적인 특징과 역사적인 의의를 지니고 있다. 첫째, 발해의 묘지는 규형(圭形)의 비갈(碑碣) 형태를 띠고 있는데, 규형으로 된 비(碑)는 동한(東漢) 시대에 처음 보이기 시작하였으며, 위진(魏晉) 시대에 이르러 무덤 앞에 묘비 세우는 것을 엄격하게 규제함에 따라 무덤 안에 규모가 작은 비갈 형태의 묘지가 출현하였다. 그러나 출토된 발해의 묘지 2점은 동시대의 당나라나 통일 신라의 그것과는 달리 규형의 비갈 양식을 띠고 있다. 이는 위진 남북조 시기의 비갈 양식이 고구려에 영향을 끼쳤고 다시 고구려의 비갈 양식이 고분벽화와 함께 발해의 묘지 제작 방식에 영향을 주었음을 시사하고 있다. 둘째, 인근 왕조의 영향에도 불구하고, 발해는 스스로의 독특한 묘지 양식을 발전시켜왔다. 발해의 묘지 형태는 전형적인 규형(5각형)에서 뾰족한 윗부분을 다시 반으로 나누고 가로로 윗부분을 잘라 내어 사다리꼴의 변형된 규형(6각형)으로 변화 되었는데, 이는 이전과 동시대의 주변국에서는 찾아 볼 수 없는 고유한 양식이다. 셋째, 정혜공주묘지 정면의 테두리선과 문양도 새롭게 등장하는 양식으로, 발해의 묘지에서는 미학적인 기준이 중요하게 고려되었던 듯하다. 정혜공주의 묘지는 우선 비 몸돌의 정면에 실선을 새겨 넣어 장방형의 몸체와 사다리꼴의 이수(?首) 부분으로 구분하고, 다시 사면의 가장자리에서 두 선을 긋고 그 사이에 식물의 덩굴문양을 새겼으며, 윗부분의 사다리꼴 안에는 꽃문양을 새겨 넣음으로써 한층 화려한 모습을 보인다. 넷째, 발해의 묘지 양식은 인근 지역에 성립된 후대 왕조의 묘지 양식에도 적지 않은 영향을 주었다. 발해의 영향을 받은 고려는 물론 요, 송, 금, 원 등의 묘지에서도 발해묘지 양식의 흔적을 찾아 볼 수 있다.

• 복식
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• 제61권4호
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• pp.152-168
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• 2011

The purpose of this study is to develop a design prototype of outdoor-wear which is suitable for trekking. For achieving this purpose, 6 factors(bodice, sleeve, hood, pockets, opening, hem-line) considered for clothing function were selected, classified, and complemented based on the survey of literature and the research of 185 designs in 12 outdoor-wear brands. The results are as follows; The removable hood and 4DM sleeve style with the elastic band and velcro for the cuffs was the most preferred in the detail design on the brand research. And also the ventilation function and 1 or 2 diagonal in-seam pocket, covered zipper was preferred. Based on this result, two design prototypes of men's outdoor-wear for trekking were suggested; jacket 1 has a slim waist line and a hip length. Front opening has a zip and placket for windproof effect. There is a detachable hood with stopper around the head line. 4DM sleeve and elastic band inserted at the end of sleeve, so that prevent the hem-line raising. Two inseam pocket is placed slightly diagonal. Jacket 2 is a hood jacket with a york. The Jacket has a little roomier in waist and a hip length. Front opening is fastened by a waterproof zip. It has a 4DM sleeve and a princess line to make it placed two pocket which have ventilation functionality.

• 복식문화연구
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• 제23권3호
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• 한국의상디자인학회지
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• 제11권2호
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• pp.75-84
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• 2009

The following research analyzed the sewing teaching of the tailored jacket shown in fashion textbooks, which are currently used in universities and educational organizations in the fashion industry. To analyze the sewing teaching of tailored jackets, we analyzed 35 textbooks in the market. Among them we used 14 textbooks which dealt with the patter formation method of tailored jackets, and cutting and sewing methods. First, the stitching direction and the location of attachment varied. The type of sticking tape and its position also differed, emphasizing the need to make an institutionalized education material which is based on the characteristic of the fabric and its silhouette. Second, controlling the ease length of the right side sewing princess line, or information about the shoulder line and sleeve line of the notch as not specifically shown in the textbooks. Furthermore, not many textbooks showed how to pull the lower part of the texture out of sight, nor did they explain why this needed to be done. Third, the lining is usually slightly larger than the outer texture of the clothing, as the lining is usually tugged in the sewing process, and this method makes the clothes more comfortable. The method of sewing the princessline $0.2{\sim}0.3cm$ outside the outer pattern was the most recommended. The center-back side was usually 2cm in activity measurements, but it turned out that a textbook which required ease treatment on the shoulder line did not do so on the lining material. The textbooks used in this research dealt only with how to manufacture a tailored jacket without full explanation about textures which could influence the manufacturing. The production method and process differed between different textbooks, showing the need to make a institutionalized education material. In a quickly-changing era where there is rapid change in the dressmaking procedure, we need to help students understand the process more easily through a formalized education process.

• 복식
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• 제63권6호
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• 한국의류학회지
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• 제32권9호
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• pp.1478-1486
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• 2008

The human body composed of concave and convex curvatures, and the current 3D scanning technology which involves inherent measurement errors make it difficult to extract distinct curvature plot directly. In this study, a method of extracting the clear curvature plot and its application to the cycling pants design were proposed. We have developed the ergonomic pattern from the 3D human body reflecting cycling posture. For the ergonomic design line on the 3D human body, the 3D information on the lower part of four male bodies with flexed posture was analyzed. The 3D scan data of four subjects were obtained using Cyberware. As results, the iteration of the tessellated shell was executed 100 times to obtain optimized curvature plots of the muscles on the body surface, and the boundaries of the curvature plots were applied to the design lines. Maximum(Max-pattern) and mean curvature plots(Mean-pattern) were adopted in the design line of the cycling pants, and performance of those lines was compared with that of conventional princess line(Con-pattern). The average error of total area and length in the 2D pattern developed from the 3D flexed body surface in this study were very minimal($4.58cm^2$(0.19%) and 0.15mm(0.46%)), which was within the range of tolerable limits in clothing production. The pattern obtained from the flexed body reflecting cycling posture already included the contraction and extension of the cycling skin, so that the extra ease for movement and good fit was not need to be considered.

• 복식문화연구
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• 제27권2호
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

• 한국의상디자인학회지
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• 제23권1호
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• 대한가정학회지
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• 제40권8호
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• pp.183-190
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• 2002

This study was aimed at investigating the satisfaction in relation to clothing design and size-fit for nurse uniform in Korea. The subjects were 986 female nurses working in 12 hospitals selected by convenience sampling. The data were collected by questionnaires. Using SPSS package, frequency, percentage, t-test, ANOVA and SNK test were conducted. The results were divided into 2 categories as fellows; 1) Results of the satisfaction with the size-fit and size system of the nurse uniforms : Nurses satisfied at the individual size-fit system than ready-made size system. There was a considerable difference of the satisfaction with the size-fit depending on age and clinical career. And more than half of nurses were needed the concrete and precise size system. 2) Results of the actual design condition and clothing satisfaction : Nurses wore two-piece pants suits more than classical designed one-piece style. The princess-line, convertible collar and yoke design were preferred for nurse uniform with the high satisfaction. 41.6 percent of respondents used the cap obligatory and the white color and a patterned textile were generally used. The used fabrics were only polyester and cotton/polyester mixed spinning.