• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• Fashion & Textile Research Journal
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• v.11 no.3
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• pp.453-459
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• 2009

The purpose of this study was to provide the basic knowledge to determine the proper seam finish according to the design of sewing products. Four seam finishes(no seam finishes, over-edged seam finishes, turned-and-stitched seam finishes, and bias-bound seam finishes) were constructed with seams in warp, weft and bias directions of the fabric. Using a drape measurement system involving two 18cm diameter supporting disks and a digital camera, the images of draped specimens were captured and processed. Drape behavior was evaluated in terms of drape coefficient, node number, and drape profile. Drape coefficients of the fabrics increased with seam formation and varied by the seam finishes, however no significant differences in drape coefficients by the seam finishes were observed on the heavier fabric. Node numbers of heavier fabric were more deeply affected by the seam finishes than those of lighter fabric. The specimens with turned-and-stitched seam finishes and bias-bound seam finishes showed significantly smaller node numbers compared to the specimens with no seam finishes and over-edged seam finishes on heavier fabric. The length of the seamed part showed positive correlation with the weight of the specimens and negative correlation with the number of nodes in each seam direction. The maximum length of all draped specimens was found in the same direction as the seam direction. In the case of the lighter fabric, the seam and the seam finish had a great influence on the shape of the draped profile.

• Journal of Fashion Business
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• v.24 no.4
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• pp.130-143
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• 2020

The development of three-dimensional (3D) printing technology is bringing new innovations to various fields such as health care, architecture, and fashion. 3D printing can be manufactured to suit the size of the consumer's body, modify the design to meet their tastes, and produce small quantities of various products. Therefore, 3D printing in the field of fashion has great potential. The purpose of this study was to investigate various application models of 3D printing for fashion design and analyze their characteristics after developing the fashion garment samples. First, the background of 3D printing was reviewed then, fashion designed by a 3D printing application was analyzed. As a result, four types of 3D printing applications were developed: object-attached, linkage, kinematics, and assembly. The object-attached type was the method of printing 3D material as an object in the intended shape and form and was attached to the garment by sewing. The linkage type referred to printing 3D material in small pieces of certain shapes that could be linked. The kinematics type was structures with hinges that could flex to fit the human body. The assembly type referred to developing 3D materials in female and male pieces such as nuts and bolts. By providing the advantages, disadvantages, trial-and-errors, and challenges of the 3D printing fashion design process, this study contributes to the effective applications and possibilities of future design.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.418-424
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• 2011

The purpose of this study was to reveal the effects of the seam type on the fabric drape to provide the basic knowledge for proper seam type according to the design of sewing products. Seven kinds of specimens were constructed with seam (no seam, welt seam with over-edged finish, welt seam with bias bound finish, plain seam with over-edged finish, plain seam with bias bound finish, french seam, and flat fell seam) in wrap direction of the fabric. Using a drape measurement system involving two 18 cm diameter supporting disks, and a digital camera, the images of draped specimens were captured and processed. Drape behavior was evaluated in terms of drape coefficient, node number, and drape profile. Significant differences were found in drape coefficient by the seam types. The specimens with french seam and flat fell seam showed higher drape coefficients compared to those with welt seam and plain seam. Node numbers in the drape profiles showed positive correlation with the weight of the specimens, however, no significant differences were observed in node numbers by the seam types. Significant differences were found in the length of the seamed part by the seam types. The specimens with french seam and flat fell seam showed longer length of the seamed part compared to those with welt seam and plain seam. The ratio of the maximum length in the seam direction to the maximum length perpendicular to the seam direction showed significant differences by the seam types.

• Fashion & Textile Research Journal
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• v.10 no.3
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• pp.329-334
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• 2008

The purpose of this research is to develop the design, pattern and size system of brief as a measurement garment in order to obtain more precise silhouettes and sizes of the body in 3D measurements. The results of this research are as follows: First, nylon/lycra materials which elasticity is equivalent to 18%(wale) and 27%(course), were selected as a material for briefs to minimize possible error in measurement and deformation of body shape caused by looseness or tightness in its measured parts. And T-back style design was selected, of which briefs neither deform human body nor cause overlapping or excessive tightness when was put on the measurement garment over it. Second, different darts for men and women were adopted into the pattern in consideration for the shape of hip. Third, the waist band of briefs was located between the waistline and abdominal girth line so that it didn't interfere with measurement, and using a wide band of 40mm minimized the tightness of the human body. In addition, the stitch lines and sewing procedure were simplified to minimize the deformation of body shape resulting from inseams and stitch lines. Finally, for the size of briefs, 6 cm intervals were set on the basis of the waist girth and 8 kinds for men and 6 kinds for women were selected in descending order of appearance rate by the interval sections. English T meaning T-back design and numbers representing the waist girth were marked in parallel for the name of size.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.763-780
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• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.05a
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• pp.219-221
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• 2022

Seoul Metropolitan City, the world's top 10 cities and Metro City, has traditional urban manufacturing industries such as printing, sewing, and mechanical metals. These manufacturing industries have developed in the form of mutual assistance by forming small business clusters according to detailed industries and processes. Due to the nature of the cluster, logistics between companies for each process in the cluster are being carried out quickly, but it is difficult for relatively small small business owners to prepare order processing services for consumers of finished products. Therefore, it is urgent to introduce an integrated order fulfillment service platform for collective business owners for smooth order and delivery processing. In this paper, we collect and analyze the existing Fulfillment Service data of small business owners in the printing industry among traditional urban industries, and design an artificial intelligence Fulfillment Service Platform system applying CRNN, k-NN, and ID3 Decision Tree algorithm. Through this study, it is expected to greatly contribute to the increase in sales and capacity of small business owners by enabling the use of individual orders and customized delivery services that can be used by any small business owner in the cluster.

• Fashion & Textile Research Journal
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• v.25 no.2
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• pp.139-152
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• 2023

Despite efforts to apply 3D print (3DP) technology in the field of fashion and endless discussions about the possibility of future development, in reality, it is difficult to utilize 3DP technology in fashion for reasons related to material, technology, and cost constraints. The purpose of this study was to supplement the limitations of 3DP technology in order to promote its utilization in fashion and simultaneously find a solution to achieve aesthetic satisfaction in the design method. Specifically, through the development of fashion products with a 3DP polymer-fabric structure to which the parametric design methodology has been applied, this study explored the possibility of practical application and proposes a new 3DP fashion design method. The 3DP polymer-fabric developed as a result of the research was stably adhered to the fabric. Additionally, the study confirmed the possibility of making 3DP clothes that are amenable to the wearer's activities, as it was verified that cutting and sewing tailored to the human body's curvature and structure can be performed. The design process using the 3DP polymer-fabric presented in this study is meaningful in that it suggests a solution to complement the limitations of modern technology in connection with designers' creativity. Moreover, the design process presented in this study is expected to contribute to the commercialization and generalization of 3DP by providing practical help to allow fashion experts to utilize 3DP technology.

• 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 Costume
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• v.64 no.2
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• pp.150-162
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• 2014

This study examined the excavated clothes of Lady Sim Cheongsong(1753~1810) in Jecheon which were excavated in 2012. Lady Sim died at the age of 57 and the excavated relics belonged to the 18th and 19th centuries. The excavated relics consisted of 9 pieces of three-kind-clothes. They showed various qualities such as Plain-Silk, Plaited-Silk, Patterned Twill, Plain Twill, Plain Satin, and Satin Damask. Through comparing them with the other excavated clothes of the 18th and 19th centuries, we can comprehend the periodical changes of the excavated Jegori and Yeomo (the hat for a dead woman). The excavated Jegori shows the difference of length and form from the other Jegori of the 18th century. The total length of the excavated Jegori ranged from 24 cm to 25 cm, which is 10 cm shorter than that of the other Jegori of the 18th century. The excavated hat for a dead woman shows the changes of the form and needlework. The form of a rectangular cover was changed into that of a round shape. In regards to the sewing composition, the way of inserting the cover into Mosin(the body of the hat for a dead woman) was replaced by that of connecting the cover into Mosin. The excavated clothes show three kinds of textile fabrics: plain silk fabrics and plaited silk, plain twill and four-leaf-patterned twill, eight-leaf-plain satin of life-lettered textile and five-leaf satin damask, and plain satin. Especially, the combination of eight-leaf satin and four-leaf twill with mixed textile is considered as a fabric of high quality. The excavated clothes of Lady Sim Cheongsong showed a periodical change which was different from the clothes of the 18th century in terms of the formal composition of Jegori and Yeomo. Regarding Women's Jegori a short length and slim and long sleeves are changed into short and tight Jegori, which signaled the specific change of Jegori aesthetics. The significance of the excavated clothes of Lady Sim Cheongsong lies in its role as the bases for understanding the couture culture of the 19th century.