• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.735-747
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• 2002

This study aimed at investigating the change of fat in each body part according to the wearing of sport underwear made of specially-processed materials. in this study. 6 females made up of three early twenties, and three later thirties took part in the exercises for 12 weeks to to out the change of fat amount in body, square of body part by CT and obesity after and before an exercise. The results are as follows: In the obesity condition after and before an exercise, Roller's index shows that in case of 51 and 54, one level was lowered concerning the basic physical strength and optimal index was not changed. In the silhouette between body frames. there are differences between ages. The body fat rate decreased 35.95% on the average. and the amount of the body fat of females in twenties was more than that in thirties. The amount of body fat decrease with the lapse of exercising time, while the amount of body fat shows increased of 0.75%, which showed the minus correlation. The rate of averaged flat by CT went up after an exercise in every body part. and also the decreased value of subcutaneous fat was not proportioned to that of weight and girth. Inbody parts, the lower abdomen was shown 49.7%, navel part 47.7% and waist part 37.3% each in numerical value. In the thickness of subcutaneous fat concerning waist, the value of front-center line was the lowest, and followed by rear-center line and lateral line. 1204degree part in the navel showed the most fat layed, and the lowest fat layed was in the lateral part. Concerning the lower part of abdomen, under-skin fat was the most layed in 120degree part like that of navel part.

• 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.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.363-377
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• 2012

Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.674-696
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• 2011

Recent change in consumption patterns, casual clothing market share is growing. Awareness about the quality of the product for a variety of consumer needs are becoming. Accordingly, stretch material items that satisfy modern production and consumption is increasing. Among them, circular knit and woven fabrics with different characteristics have. However, this requires a consideration of the pattern graphics, this study is not getting enough. The purpose of this study is to develop a T-shirt using circular knit pattern for women in early twenties. Through the research of literature and a survey on T-shirt patterns of ready-to-wear manufactures and training for the pattern 4 T-shirt patterns were selected. Eight women in early twenties who fit the bodily standard were selected for the test. Subjects who were tested by wearing a T-shirt made of 30's cotton circular knit. Drafting method of T-shirt pattern which were closed to the optimum value three, derived from the five point rating scale outfit test were selected and the differences between the values of the selected drafting methods and the optimum three were verified. Passed by the test of 2 times and the final research T-shirt pattern was developed through adjusting from the optimum value three. The form which is whole is a silhouette closely in the body and drafting method the elasticity and drapery considered the quality of the circular knit where the characteristic is excellent.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.382-396
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• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• Journal of Fashion Business
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• v.17 no.4
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• pp.1-21
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• 2013

A study using compare and analyze about differences among three basic pants patterns(shape and size of pattern, fitting and amount of air gap and so on) through 3D simulation. This study use 3D simulation program, DC Suite version 3.0. The results are as a follows: The results of comparison about total pants pattern shape, the ESMOD have two tucks of front and one dart of back and the Secoli and On&on have each dart of front and back. The results of estimation about total appearance, the On&on is the best of all pattern about total silhouette of front and back side and the ESMOD is the worst of all. In a case of the ESMOD, the thigh part has so many spaces between body and pants so it is rated low. When we examine about space between body and pants, amount of air gap of ESMOD is 0.6 at waist circumference and next is On&on(0.07). In case of hip circumference, the Secoli is 0.08 and the ESMOD is 0.14. The ESMOD's amount of air gap is 0.32 at thigh circumference and 0.62 at knee circumference. The Secoli's amount air gap is 0.26 at thigh circumference and 0.59 at knee circumference.

• Journal of Fashion Business
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• v.22 no.1
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• pp.1-19
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• 2018

The purpose of this study is to analyze the fashion style of Kate Middleton, the Royal Family, and to examine the social and cultural influence of Middleton fashion. We selected 314 photographs collected from a Google site and Gettyimages.com April 2011-December 2016 as the final research subjects. We categorized the situation by domestic events, royal events, diplomatic activities, and social contribution activities, and analyzed fashion styles focusing on item composition, color, material, silhouette, detail, trimming, and length. As a result of the study, the one piece was the highest in the combination of items, and the color was the most in white. The color tones were mostly vivid, and the material texture was silky. The image was classic, and the dress code was high in semi-formal. In a situational style, the coat was the most common at the Royal Family events and blue or white of the light tones appeared in the formal style of the classic image. In domestic events, there were many silky textures of modern image, and vivid, strong tonal knee length H line dress was the most prevalent. During diplomatic activities, various colors such as red, green, gray appeared in addition to blue or white and in social contribution activities, many dresses of vivid and dark tones of red appeared in the dress code as semi-formal. In conclusion, the stylistic features of Kate Middleton and the Royal Family are largely in the form of royal and noble, low cost and chic, and body-conscious styling.

• Journal of the Korean Home Economics Association
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• v.12 no.34
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• pp.663-677
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• 1974

The social and psychological approaches to clothing researches by Fluge,l, Hurlock and Barr in the early 1930's have since been developed greatly. It has now been generally agreed that clothing is the symbol of one's personality and social status, for clothing is regarded as the second skin and a manifestation of one's emotional states as well. Based on this consensus, this study was intended to observe the possible relationship between one's clothing design preference-in line, color and texture- and interest. For this survey, 200 college woman students from four universities were selected at random, and an interest-test standardized by prof. Jung Bum Mo and a questionaire made of 20 items on the clothing prferences were given. The results as commputerized and analyzed are as follows : 1. Line Preference a) Structural line : It is quite obvious that those like straight line are interested in fine arts, and curved line in physics. b) Out-line : Among tubular, bell and bustle of the silhouette, those like the bustle have shown particular interest in music, and the tubular in politics and business. c) Style : There is a salient tendency that those like a dressy style are much interested in music, and casual style in physics and physical exercise. 2. Color Preference a) Favorite color : Those like red, orange and yellow show a high interest in artistic activities and physical exercise, and black, grey and white in politics. b) Variety and combination of color ; These have shown no relationship to the interest. 3. Texture Preference a) The touch : Those like the texture with the feeling the crisp and rough are interested in fine arts, and of soft and smooth in the field of social service. b) Fabric surface : Those like naturalistic pattern, i.e. print of flowers, show much interest in music and literature, and plain fabrics in physical exercise.

• The Journal of Korean Academy of Prosthodontics
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• v.44 no.1
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• pp.40-50
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• 2006

Statement of problem: $Periotest^(R)\;and\;Osstell^{TM}$ were known as the most objective and quantitative mobility tests available for evaluating stability of implant in vivo. Although a correlation between PTV widely used and ISQ recently introduced exist, a PTV was corresponded to various ISQ. A correct evaluation of implant stability could be obtained only after one has a thorough understanding of the limitations of devices and factors that affect measurements. Purpose: The purpose of this study was to investigate the causes of variables in the values obtained with these two tests. Material and method: A total of 333 implants 134 $Br{\aa}nemark$, 5 Silhouette and 194 ITI implants were investigated. Result: 1. There was a correlation between PTV and ISQ (Spearman correlation =0.39, p<0.0001) 2. The factors that affected ISQ were diameter of implant future, location of implant and implant system (submerged type vs non-submerged type). 3. The factors that affected W were dimeter of implant future, location of implant, and elapsed time after implant placement. 4. There was no significant difference between different surface treatments of RBM, smooth surface and ti-unite on PTY and ISQ. 5. In radiographic finding, no saucerization or bone resorption has been detected in implants with ISQ values that were above the average level of each PTV. These higher values had higher bone densities around the implant fixture. Saucerization was observed in the most impants with ISQ values that were below the average level of each PTV. Conclusion: There was a correlation between ISQ and PTV. However, each measuring methods had factors influencing the measured values. PTV were less sensitive to marginal bone resorption and influenced with the striking point on an implant to the level of bone. With ISQ, the height of implant from bone level to transducer should be considered.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.4 s.40
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• pp.393-403
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• 1991

The purpose of this study were to explain the difference in body dimensions and body shape between the early in the twenties and the late in the twenties and to get information clothing construction. Subject were 483 Korean males, which were extracted from men's physique investigation on June to August in 1989, consisted of 149 aged $19\~24$ and $25\~29$. T-test and factor analysis were applied to 52 measurement items and 58 indices. The Result of the study were as follow; 1. As regards $19\~24$ aged group, they were taller their waistband level was higher than the late in the twenties. Upper arm and thigh were thick in comparison with trunk. As the difference between shoulder and waist in dimension was great, they showed reverse triangular silhouette. As regard $25\~29$ aged group, their body from variation between individual was greater than that of 19~24 aged group and they were obese on mainly waist and abdominal parts. For that reason, waist band level became low and their shoulder and hip looked slim relatively that reason, waist band level became low and their shoulder and hip look slim relatively to bust and waist parts. 2. Between $19\~24$ aged and $25\~29$ aged groups, as each had charicteristic body from, there was the difference in factor structure. 3. The change of men's body from with age in their twenties was obeseness on the whole body but the increasing rate of upper arm and thigh girth was less than that of trunk girth.