• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.77-89
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• 2013

This study investigated the formation of silhouette and hemline shape of knit flare skirts according to the properties of knit material through virtual clothing with a 3D virtual clothing system called i-Designer of Technoa, thus building a database of the property data of knit material to reduce the number of sample making steps repeated and implemented several times in the process of clothes making. The results would help to estimate a silhouette in advance, offer assistance to the development of original knit wear, and explore ways to provide basic data for the development of the knit industry of the nation. The investigator made 12 kinds of experimental clothes to the angles(width of skirt: $90^{\circ}$ and $180^{\circ}$), gauge(7G, 12G, and 15G), and grain directions(wale and bias direction) of experimental clothes for virtual clothing. The dynamic characteristics of knit skirt samples according to each gauge were measured with the KES-FB system. Draper shapes were analyzed with the sectional shape data of hemline based on i-Designer. As for the measurements of the sectional shape of hemline and the formation of silhouette, the number of nodes, the average height of node mountains and valleys, and the hemline width right and left and before and after increased at the angle of $180^{\circ}$ than $90^{\circ}$. As gauges multiplied, the number of nodes, and silhouette angle dropping. When considering grain directions, the number of nodes and silhouette index increased in the wale direction at the angle of $90^{\circ}$ with the number of nodes and silhouette angle increasing in the wale direction at the angle of $180^{\circ}$.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.989-996
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• 2008

The purpose of this study is to provide the basic knowledge for the pattern development of a flared skirt. Two flat pattern (FP) methods, the concentric circle method and the corrected concentric circle method, and a draping were used for pattern making. Using these patterns, skirts were made with lengthwise grain in the centerline. The influence of pattern making method on the silhouette of the flared skirt was evaluated by the hemlines formed at the skirt worn in a dress form. Moreover, the combined influence of pattern making method and cutting direction on the silhouette of the flared skirt was examined with the draping pattern (DP) skirt and a FP skirt with $45^{\circ}$ bias grain in the centerline. The DP skirt had more uniform nodes and formed a stable wave form than the FP skirts throughout the whole hemlines. The number of nodes was reduced with lining in the two FP skirts, whereas the number of nodes was not changed in the DP skirt. The unit wave form of all the skirts by three patterns showed long loop form, and the slope angles of the unit wave form of the two FP skirts were higher than that of the DP skirt. The silhouette of the flared skirt was highly influenced by the shape of the waist circumference line in patterns. The DP skirt with lengthwise grain in the centerline showed good silhouette with uniform nodes and high marking efficiency, compared to the FP skirt with $45^{\circ}$ bias grain in the centerline.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.113-127
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• 2021

This study aims to analyze the style of men's suits and extract expressional words for the development of semantic differential scales of visual images according to the change in silhouette. Research methods are literature studies, case studies, and questionnaires. The stimuli were created using CLO 3D, a virtual sewing CAD. This study's results are as follows: 1) The British suit jacket has an angled shoulder line using thin pads, and a slightly higher waistline. The pants of the suit have a high waistline and two pleats, so the thighs of the pants are wide. The American suit jacket has a natural shoulder line, and the waistline is not emphasized. The width of the jacket is relaxed, and the length is long. The pants of the suit have a higher waistline, and the pants are wide as well. The Italian suit jacket has wide shoulders, and the waistline is connected lower with a soft curve, and the length is relatively short. The trousers of the suit are tapered and get narrower as it goes down to the hem. 2) Because it originated in the practices of true bespoke tailoring, traditional British suits have a far more 'fitted' silhouette than the mass-produced styles that became emblematic of the American style. By the late 1950s, a sack-style suit was standard American business attire. This technique gives the sack suit its characteristically 'boxy' silhouette. The "Continental" presented a highly tailored silhouette, with padded shoulders, a slim, tight-fitting chest, and a closely tapered waist. The story was that Italian culture valued aesthetics over all else and thus sought the 'slim' suit style as much as possible. 3) The main expressional words of visual images for men's suits differ greatly depending on the silhouette of suit. The visual images are ranked in the order of 'neat', 'classic', 'educated', 'hard', 'mature', for fitted silhouettes. The words of 'masculine', 'basic', 'comfortable', 'simple', 'mature', 'conservative', 'modern', are ranked for boxy silhouettes. And the words of 'slim', 'young', 'neat', are noted for slim silhouettes.

• The Research Journal of the Costume Culture
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• v.9 no.6
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• pp.893-907
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• 2001

The main purpose is to study the effects of princess lines on different body types and to disguise any imperfection by using diverse princess lines. We separated testers body shapes into specific body types, H, Y by applying both the direct and the indirect measurements. These designs were evaluated by using the point ranking system method, and then average scores were obtained from these evaluations. Following are the results of the study: 1 These are the resulting illusion effects when the shoulder width of the Princess line was fixed. When the Princess line originated from 1/3 point of the armhole, body types Y appeared to show narrow waist width. A-line silhouette appeared to display the narrowest shoulder width. When the Princess line originated from 2/3 point of the armhole, body types H and Y appeared to exhibit narrowest waist widths, and the A-line silhouette once again displayed the narrowest shoulder width. When the Princess line originated from 1/2 point of the armhole, body type H appeared to exhibit narrow width; and H-line silhouette displayed the narrowest shoulder width 2. When the Princess lines waist w'4th was fixed in order to study illusion effects of waist widths. In this experiment, locations of Princess lines and widths of the skirt were varied. When the waist width was fixed at 6.5 cm, For the H body type, the Princess line location of 1/3 point of the armhole in H-line silhouette design exhibited the narrowest waist width. For the Y body type in A-line silhouette design, the Princess line locations of 1/3 and 1/2 points of the armhole exhibited the narrowest waist width because it displayed the hourglass effect. When the waist width was fixed at 10 cm, H body type did not exhibit any significant differences between designs. For Y body type, A-line silhouette design with the Princess line origination point at 1/3 down the armhole exhibited the narrowest waist width. 3. The illusion effects of the hip were studied by fixating the width of the skirt and varying the locations of Princess line and waist widths. In H-line skirt silhouette designs, all two body types exhibited narrow hips when the Princess line origination points were at 1/3 and 1/2 way down the armhole. For A-line skirt silhouette, H body type exhibited narrow hips when narrow waist design with the Princess line originating from 1/2 point in the shoulder was shown. Y body type exhibited narrow hips when narrow waist design with the Princess line originating from 1/3 point of the armhole and 2/3 point of the shoulder. 4. With both waist and skirt widths fixed, all two body types exhibited taller and slender postures when the Princess line originated from the shoulder compare to the armhole.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.231-250
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• 2014

This study considers types of design expression and examines aesthetic characteristics by analyzing images shown on clothes worn by Korean First Ladies. This study is to accumulate a fundamental database for the effective style coordination for images of First Ladies and future directions of clothing design. The types of design expression on the clothes of Korean First Ladies are as follows. First, in terms of silhouette, H line and A line is generally represented on the silhouette of clothes; in addition, the H line is highly expressed on the silhouette. The keyword of images by design types are generally feminine, elegant on the silhouette of First Ladies' clothing, and represented a progressively more modernized image on the silhouette. Second, in terms of color, it is expressed diverse images on the color of First Ladies' clothing, and exceptionally the tendency of elegant image is highly charged on the color of clothes. This sort of tendency is influenced by the preferences of First Ladies; subsequently, most First Ladies wear their clothes with a high brightness and chroma. Third, in terms of materials, the image of elegant and simple is highly expressed through First Ladies' clothes and it is caused by choosing the clothes of a plain texture rather than a visible and fancy one. The aesthetic characteristics based on an analysis of the types of design expression on the clothes of Korean First Ladies are as follows. First, 'femininity' on First Ladies' clothes is expressed by A line silhouette of a feminine curve and decorative effects. Second, 'simplicity' on First Ladies' clothes is expressed on the H line silhouette of a straight figure or through the solid colors of high chroma. Third, 'elegance' on First Ladies' clothes is represented on the silhouette of a restrained curve, long skirt hemlines, and woolen fabric with a neat, warm and soft coordination of colors. Forth, 'traditionality' on First Ladies' clothes is expressed through the application of materials and colors that influence culture, traditions, and detailed decorativeness.

• Journal of the Korean Society of Costume
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• v.28
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.54-68
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• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.93-110
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• 2011

This study investigates the analysis on the acceptance of Foreign Fashion trends in Korean Fashion Collection by collections, years, season, and designers. The purpose of this study is Korean collection's degree to adopt and receive foreign collections, by comparative analysis of design features between Seoul and foreign collections. For such purpose, from 2006 S/S to 2011 F/W, 5185 pictures were collected from designer's photos of Seoul, Paris, Milan, NY, and London collections. The content analysis and statistical analysis using SPSS will be conducted for data analysis. The results of the research are as follows. First, regarding the design features, square-form silhouette, achromatic colors, and none pattern were presented as well. Second, there were significant differences in the design characteristics of each year. Particularly, in 2008, X-form silhouette, Yellow and Green color, and flower pattern were emphasized. Third, the design features by season were significant differences. In S/S season, square-form and X-form silhouette, achromatic colors of white and gray color, none pattern were evident while in F/W season, square-form Silhouette, achromatic colors of black and gray, and none pattern were emphasized. Fourth, the design features by designer are as follows. In terms of form, Seoul collection was influenced by Paris collection. In terms of colors, it was influenced by NY and London collections.