• 패션비즈니스
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• 제1권3호
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• pp.19-34
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• 1997

The role of fashion image in modern society is being diversified from product planning to consumer satisfaction. In this research, after surveying female college students, the diversified modern fashion image was patterned. On the analogy of the relationship between these patterned image and design factors, the following conclusion was obtained. 1. The most popular styles are jacket and pants suits, three-piece outfits, tight mini-skirts and X-silhouette. Little decoration is used in general. simplicity is shown as trend by utility fabrics in single color-black, brown, beige and blue-with no pattern. Various materials such as wool, cotton, wool or cotton blended with other materials, silk, satin, knit, lace, vinyl and leather are used. 2. Fashion image is divided into four factors; factors that show fad, dignity, activity and simplicity. 3. Factors that show fad; style of tops, material of bottoms and length of bottoms reflect fad. blousons, three-piece outfits, pants rather than skirts, X-silhouette and mini-skirts are prevailing. Vinyl, leather, knit, lace and satin are the materials well used. 4. Factors that show dignity; Style and material of tops, the way of top and bottom pieces are matched and length of bottom or pieces reveal the characteristics. Jackets, blouses, half-coats and one-piece outfits rather than two-pieces are popular. Tight skirts in natural or midi length or pleated skirts are common. Wool, wool blended with other materials, leather and X-silhouette are design factors that reveal dignity well. 5. Design factors that show active image; Straight pants, three-piece outfits, T-shirts, shirt -blouses, vests, and blausons are popular. Knit and lace are used for tops, leather and vinyl are used for bottom pieces and cotton is widely used. Y- or H-silhouette are used to show active image.

• 한국의류학회지
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• 제23권8호
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• pp.1149-1160
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• 1999

In order to investigate the influence of being self-consciousness of one's body size on clothing behavior we measured body size of Korean female college students directly and examined by questionnaire the degree of being self-conciousness of their body size the aspired clothing behavior and the actual clothing behavior. In addition after classifying the subjects into groups according to the degree of obesity we also examined the difference in the actual clothing behavior among the groups./ The results are as follows: 1) On the item of girth of the body parts the subjects felt thicker in the proximal and lower part of the body than in the distal and upper part of the body. And with respect to the style which exposes body silhouette the disparity between the aspired and actual clothing behavior was greater in the parts that the subjects felt thick. 2) After investigating the relationship between the aspired and the actual clothing behavior we found out that the style which subjects wanted to put on but actually did not was the style that exposes body silhouette and the style which subjects didn't want to put on but actually did was the style covers the body silhouette. 3) There was significant correlation between the subjects' consciousness of their body size and their actual clothing behavior. The self-consciousness of body size on actual dressing tend to influence the clothing for lower body more than the other parts. 4) The subjects were classified into lean normal and obese groups. There were significant differences among the groups in the frequency of wearing the clothing that expose body silhouette. The obese group had a tendency to avoid this clothing style.

• 디지털융복합연구
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• 제15권12호
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• pp.495-502
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• 2017

현대도예는 다양한 표현장식기법으로 영역의 확장을 모색하고 있다. 다양한 표현장식기법 중 실루엣기법은 사물 형태표현의 대표적인 표현기법이다. 이는 형태의 외형을 강조하여 표현하고 내부의 형태는 생략하는 방법으로 간략함과 강렬함을 주며 미적 감수성과 상상력을 일깨우는 특성이 있다. 이에 본 연구자는 제작 작품 "도토리 이야기"를 주제로 설정하여 이야기의 핵심적인 이미지와 연관되는 소재들을 실루엣기법으로 디자인하고 이를 벡터그래픽을 활용하여 전사지 제작을 하였고 제작된 전사지는 전사기법으로 도자 접시에 표현하였다. 완성된 작품의 이미지는 보는 이로 하여금 다의적 해석을 유도한다. 따라서 도자 표현장식의 단순한 장식적 기능을 넘은 본 연구가 디지털 정보화 시대에 상상력과 미적 감수성을 일깨우는 도자디자인이 되기를 기대해 본다.

• 산업경영시스템학회지
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• 제41권2호
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• pp.1-8
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• 2018

K-means algorithm is one of the most popular and widely used clustering method because it is easy to implement and very efficient. However, this method has the limitation to be used with fixed number of clusters because of only considering the intra-cluster distance to evaluate the data clustering solutions. Silhouette is useful and stable valid index to decide the data clustering solution with number of clusters to consider the intra and inter cluster distance for unsupervised data. However, this valid index has high computational burden because of considering quality measure for each data object. The objective of this paper is to propose the fast and simple speed-up method to overcome this limitation to use silhouette for the effective large-scale data clustering. In the first step, the proposed method calculates and saves the distance for each data once. In the second step, this distance matrix is used to calculate the relative distance rate ($V_j$) of each data j and this rate is used to choose the suitable number of clusters without much computation time. In the third step, the proposed efficient heuristic algorithm (Group search optimization, GSO, in this paper) can search the global optimum with saving computational capacity with good initial solutions using $V_j$ probabilistically for the data clustering. The performance of our proposed method is validated to save significantly computation time against the original silhouette only using Ruspini, Iris, Wine and Breast cancer in UCI machine learning repository datasets by experiment and analysis. Especially, the performance of our proposed method is much better than previous method for the larger size of data.

• 복식문화연구
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• 제12권1호
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• pp.121-135
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• 2004

The purpose of this study is to analyze the image evaluation and the preference of tailored jacket according to the body type and the degree of satisfaction with their body of middle-aged women. The subjects used for this study were three hundred and twenty three middle-aged women ranging from 35 to 50 years old. We measured their bodies and asked them report to the questionnaire. The results are as follows. 1) Middle-aged women were classified into four typical types of body. The type 1 was tall and thin and had a front view silhouette with the form of a letter X. The type 2 was the tallest and the medium of fatness and had a front view silhouette with the form of a letter H that the lower part of the body is short. The type 3 was the medium of height and width and had a front view silhouette with the form of a letter A that the upper part of the body is short compared with their height. The type 4 were the shortest and the fattest and had a front view silhouette with the form of a letter Y that the lower and upper parts of the body is the longest. 2) Middle-aged women roughly tended not to be satisfied with part of their body. The results showed that a neck was the most satisfied body part and the weight was the least satisfied as well as overall leg shape among all 13 body parts. 3) The type 1 had the highest the degree of satisfaction on their face size, upper arm girth, waist, hip girth, weight and body shape, etc., excepting hip shape among 4 body types.

• 복식문화연구
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• 제10권6호
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• pp.648-665
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• 2002

This study is to analysis on movie costume including the personal characters, social influences and situational effects of the main heroines among the expressions of clothing through the movie, "Gone with the Wind" produced by the MGM Company in America in 1939 with the collapse of the social classes through the American Civil War as its setting. The range of this study is to look into the images of cinema costumes like the colors and silhouette related to the roles based on the movie. According to this study, first, we can see the changing process from crinoline to bustle styles by historical invastigations into clothing styles rather than the images of roles in the aspect of silhouette Scarlet of hanghty and challenging character is shawn in X-type silhouette mainly using capped sleeves and laces and Mellany of obedient and generous character, compared with Scarlet, is showing less detail effects, and is expressed in A-type silhouette of modesty and maturity. Second, there are remarkable differences of colors and details in which starlet who had the pioneer spirit used the vivid tones like red, green and black, and white laces and blades as an accent while Mellany who was considerate and soft used the dark tones like black and blue, and white and blue lace shawls And third, in images, Scarlet who was very positive in sociai activities is expressed as a elegance and romantic images in the sophisticated and modern styles but Mellany who was a good and steady housewife was shown as a elegance image in the mannish styles.

• 한국의상디자인학회지
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• 제10권2호
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• pp.57-68
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• 2008

In this study, we prepared reference data needed for clothing design for middle-aged women by analyzing body satisfaction of their body shape, which had been classified by collecting body features of middle-aged women. As for the study method, we have set five scales from 'never satisfied' to 'very much satisfied,' after analyzing body features of middle-aged women by measuring their body shape through the body meter and auxiliary tools. We used the SPSS 12.0 statistics program, and the results are the following: Body shapes of middle-aged women can be classified into the following four types. A middle-age women with an 'A silhouette' has a normal height, but fat nether limbs. A 'Y silhouette' is short with a fat upper body. The 'O silhouette' is short with fat nether limbs and upper body, and 'H silhouette' is tall and thin. Body shape I has displayed satisfaction with her own body shape, and body shape II showed the most dissatisfaction compared to other body shapes. Body shape III showed satisfaction on all items except face size and breast size, whereas body shape IV was dissatisfied with her face size, neck length, shape of her breast, waist, and buttocks. The result of this study is expected to contribute in accomplishing clothing production that will satisfy the desire of the consumers in the clothing business, while being utilized as the basic data for clothing design that fits their body shape by grasping the changing patterns of their body shape.

• Human Ecology Research
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• 제60권2호
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• 복식
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• 제51권3호
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• pp.111-127
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• 2001

This study aims to apply the formative aesthetic of human body to the form of clothing. For this purpose I try to find the various methods of analysis used in the work of sculpture. The method of inference and the checklists of design are used to relate the sculpture with the clothing design specifically. This methodology intends to regard human body as an artistic form and use the image of sculpture to the maximum. Especially I try to derive the motives of design and recreate them in clothing design emphasizing silhouette. On this methodology, following results were developed. First, the observations on the formative characteristic of human body show that the transformed form of human body expresses more perfect image of human body than the original form. The power of simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity and exaggeration can be variously recreated in a silhouette with the formative and cubic effect, simplicity, and activity. Third, the elegant and static image found in the analysis and synthesis of human body can be used as a motive of clothing design and the changed details lead to the transformation of silhouette. Fourth, in developing designs by the item of checklists, one motive can be variously recreated according to the methods of designs.

• 한국의류산업학회지
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• 제15권1호
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.