• 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.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.838-847
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• 2011

The object of this study is as follows. First, according to the silhouette of clothes, I will search the relationship with the embroidery design. Second, I will investigate the relation of coloration about the clothes color and embroidery color. Third, I will search the relation with the image in clothes and embroidery design characteristic. The data acquisition is selected to the total 447 pictures of embroidery clothing design from the www.style.com, www.samsungdesign.net which are the related information site. The data are limited from S/S season in 2004 till F/W season in 2008 in the Paris, Milano, and New York collection. The analytical method was made through the analyze method and statistical method. First, on the relation with the clothes silhouette and embroidery design, if the satin stitch technique is utilized as the X-shaped or A-line silhouette in the one-piece and dress, the image which is elegant and feminine can be expressed. if the satin stitch technique is utilized as the H-line silhouette in jacket and court, the mannish image can be expressed. Second, the embroidery color showed up as the contrast combination of the monotone when the clothes color was the monochrome. And the embroidery color showed up as the tone in which is bright and sober when clothes color had 2 or 3 or 4. So, if the embroidery color is utilized as the similar color scheme, it will be effective. Third, if the embroidery technique of the one-piece and dress is utilized as the the satin stitch technique and the bloom and leaf motive being stylized pattern is used in the all-over and border pattern, It will be effective to express the romantic/feminine, ethnic/folklore, active, and classic image.

• Journal of Fashion Business
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• v.10 no.5
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• pp.28-44
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• 2006

The purpose of this study is to study the movie costume and color image through the movie "The Aviator". Firstly, looking at the costumes of main characters and their color images expressed in the movie, one extreme of Hughes' image to another was expressed in order to show his extreme inner world by using the light-dark contrast rather than specific colors as the base. The gold color used to express the image of Hepburn represented an image expressing her intellectual elegance. As for her dress silhouette, the taste of intellectual elegance was displayed by a dress whose back was exposed with a grownup-style feminine silhouette or one with drapes and pleats ornaments. To express Gardner's image; that is, her alluring charm and glow, a vivid red color was used. As for her costume, her splendid and fascinating image was expressed by the 40s' rectangular- shouldered tailored suit, exotic peasant blouse and showy accessories. Secondly, the color image expressed in the background in the movie as a special space for Hughes. The red color image of screening room was shown to be as a space for passion and desire and the green color image of men’s room as a space for stability and rest.

• Journal of the Optical Society of Korea
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• v.17 no.5
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• pp.384-391
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• 2013

We propose a split-encryption scheme on converting original images to multiple ciphertexts. This conversion introduces one random phase-only function (POF) to influence phase distribution of the preliminary ciphertexts. In the encryption process, the original image is mathematically split into two POFs. Then, they are modulated on a spatial light modulator one after another. And subsequently two final ciphertexts are generated by utilizing two-step phase-shifting interferometry. In the decryption process, a high-quality reconstructed image with relative error $RE=7.6061{\times}10^{-31}$ can be achieved only when the summation of the two ciphertexts is Fresnel-transformed to the reconstructed plane. During the verification process, any silhouette information was invisible in the two reconstructed images from different single ciphertexts. Both of the two single REs are more than 0.6, which is better than in previous research. Moreover, this proposed scheme works well with gray images.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1061-1074
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• 2011

This study was conducted based on a comparative analysis of design-specific features prevalent in the Women's Wear Collection S/S 2011. As the method of this study, the denim styles were classified by various fashion design factors consisting of silhouette, fit, color, and textile fabric, which were extracted from an image database. The properties of denim fabrics associated with each fashion image were investigated to inform fabric development and washing. The results of the study show that the dense and glossy surface of the denim fabric represent a modern trend, which can be achieved by blending lyocell, tencel and rayon or by using different textiles, such as lightweight plain weave and satin instead of twill. For casual look, various washing effects were utilized jean's casual feeling like freedom and activities, while in a modern image, washing effects was restricted. And a glossy textile offers a simple modern look. The Modern image represents a simple H-silhouette and wide or straight fit in bottoms as well. Brightness can be adjusted by washing-induced bleaching. High brightness gives an elegant image, while low brightness makes a casual image. The purpose of this study is to configure a database for the development of design in the growing women's casual wear market. In addition, This study, in which the elements for specific fashion image-making were analyzed, can be used as a reference for developing denim style and fabric.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.4
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• pp.851-859
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• 2011

In this paper, we propose the method that automatically extracts the silhouette and the joints of consecutive input image, and track joints to trace object for interaction between human and computer. Also the proposed method presents the action of human being to map human body using joints. To implement the algorithm, we model human body using 14 joints to refer to body size. The proposed method converts RGB color image acquired through a single camera to hue, saturation, value images and extracts body's silhouette using the difference between the background and input. Then we automatically extracts joints using the corner points of the extracted silhouette and the data of body's model. The motion of object is tracted by applying block-matching method to areas around joints among all image and the human's motion is mapped using positions of joints. The proposed method is applied to the test videos and the result shows that the proposed method automatically extracts joints and effectively maps human body by the detected joints. Also the human's action is aptly expressed to reflect locations of the joints

• Journal of the Korea Computer Graphics Society
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• v.29 no.1
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• pp.13-22
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• 2023

In this paper, we present a method for estimating full 3D shapes from given 2D silhouette images of human bodies. Because the silhouette only consists of the partial information on the true shape, it is an ill-posed problem. To address the problem, we use the statistical human shape space obtained from the existing large 3D human shape database. The method consists of three steps. First, we extract the boundary pixels and their appropriate normal vectors from the input silhouette images. Then, we initialize the correspondences of each pixel to the vertex of the statistically-deformable 3D human model. Finally, we numerically optimize the parameters of the statistical model to fit best to the given silhouettes. The viability and the robustness of the method is demonstrated with various experiments.

• Journal of Fashion Business
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• v.9 no.1
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• pp.99-112
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• 2005

The purpose of this study is to create party wear of heroine Satine's image. This study analyzed the costume and its image of the film "Moulin Rouge" which the director Baz Luhrmann filmed the club 'Moulin Rouge' has existed in Paris, France. Catherine Martin, who got the Academy awards in movie costume and art director with this film, made the costume which was added more gorgeous and modern sense for the image beauty for costume in film from the costume design which appeared in the art work of Toulouse-Lautrec painted Moulin Rouge. In the costume form, S-silhouette robe with gored skirt was appeared as usual garment and gorgeous corset style costume which was outer garment like underwear exposed of the body, pleasant apolaustic and decorated excessively was appeared for costume design. Based on the above study, this study created the party wear of the graceful eroticism image and the prostitute eroticism image of heroine Satine. The costume design of Satine's image was planned along the character which was analyzed through this study.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• Fashion & Textile Research Journal
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• v.16 no.1
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• pp.13-25
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• 2014

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.