• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.11
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• pp.1426-1437
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• 2004

The study has an objective of providing the basic data for the bodice basic pattern that is highly appropriate after classifying the torso shapes of women in 60s. In order to classify the torso shape, 200 women in 60s that reside in Seoul were investigated for 52 tests. The factor analysis produced total of 6 factors. Factor 1 tended to be posture of upper part of torso and shape of shoulder. Factor 2 was an element of silhouette and Factor 3 was vertical size of lower part of torso and side silhouette. Factor 4 showed to be width and thickness of torso, Factor 5 was shape of neck, and Factor 6 appeared to be sagging of belly and buttocks. Therefore, it can be known that posture, silhouette, shape of neck and shoulder, sagging of belly and buttocks, and etc. are important factors for classification of the torso shape of women in 60s. Through a cluster analysis, each torso shape was classified into 4 types and each type showed information on size, shape, and posture clearly. Type 1 showed percentage of 24.2%, and values of height and weight showed to be average. Also, the body shape hardly had any curve with high shoulder at the Posture of upper body, and they had saggy stomach and buttocks. 43.5% of them were involved in Type 2 and they were short and overweighted. They were comparatively large in width compared to the height with no curves. Type 2 had the largest percentage and this can be said to be the special shape of women in 60s. People of Type 3 were short and overweighted just like Type 2 and all the sizes were similar to those of Type 2 or bigger. The posture is right posture and 21.7％ fall into this type and there is no body curve. This type is the shortest and most overweighted type, and it is a torso shape with right posture just like Type 4. Type 4 is a torso shape with tallest height and least weight. The percentage was the smallest(10.6％) and the width was smaller than any other type but the height was the tallest. The body curve is very clear and they have thin body but big buttocks so it can be said that the people of this type have the best silhouette. Type 2 that had the highest percentile is short and overweighted so it can be said that Type 2 is the representative torso shape of women in 60s.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.934-942
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• 2011

This study was intended to analyze conventional grading increments and methods for middle-age men's pants, and to suggest new grading guidelines that will enable to improve satisfaction with size and silhouette as a result of combining the concept of grading, which help maintain the ratio and proportion by sizes as one of ready-made apparel's advantages, with body form oriented and aesthetic approaches. In the apparel industry, the current sizing specifications and methods adopted by relevant companies, as well as the characteristics of body forms of men aged 35 to 55 years were comparatively analyzed to find out problems and ultimately to suggest their solutions or improvements. It was considered that as the conventional grading practices used in the industry were customary on the basis of the past experiences, it was required to take the body forms of target consumers into account and also, to reconsider the conventional grading methods. Analyses of sizing and specifications by brands show that 4 to 19 sizes including 82 or 84 as standard size have been produced. Since men's apparel has a large number of sizes with the large range of sizes, grading is critically important. As silhouettes depend on the distribution of grading rule values at each point of increment pattern in the main regions during grading, it is necessary to consider both size grading and form variations. To maintain an appropriate silhouette with keeping the angle of center back line of a pattern, it is desirable to set the ratio of side line part to center part from the crease line to approximately 3:7. It is required to diversify the values of grading rules according to different sizes and pattern regions in consideration for the body forms of key consumers. In addition, if the natural lines of designs and patterns for the width increments of waist circumference and hip circumference, the increments of hip width in pant's front and back panels, the ratio of grading rule values of the right and left sides of crease line, knee circumference, thigh circumference and so on are taken into account, grading will be satisfactory in the all aspects of size, silhouette and ratio.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.911-929
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• 2014

This study is designed to analyze the similarity of fit and appearance between 3D virtual torso length sloper with real torso length sloper according to three 3D virtual clothing simulation programs (Optitex, CLO 3D, i-Designer), three body types (A, N, H) and fit status. We selected three representative body type models of females aged 20~30 and got their direct body measurements. Using these body measurements, we developed three 3D avatar body models and made three torso length fitted sloper with long sleeves. Thirty expert fit judges consisting of technical designers and graduate students assessed the similarity of fit and appearance between 3D virtual clothing and real clothing by observing images classified into front, back and side scene. We conducted ANOVA and post-hoc analyses to compare fit and appearance between real clothing and virtual clothing depending on three program. The results showed that CLO 3D represented fit and silhouette most similarly among the programs, especially girths, width and length. i-Designer tended to be relatively good to represent stress fold amount and silhouette. Optitex was assessed relatively better in expressing ease amounts in torso girths and armscye girths, but relatively worse for width, length, stress fold amount and silhouette.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.11
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• pp.1399-1409
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• 2005

The purpose of this study was to analyze the shape of gathered skirts using a three-dimensional measurement system. And in this experiment, I try to accumulate three-dimensional data of wearing model and to figure out analyzing method made by shape of clothes. The experimental design consists of two factorial designs. I set up three different kinds of fabrics, ratio of gathers. Therefore nine samples were made. The instrument and tools for three-dimensional measurement was whole body 3D scanner. Analysis program used in experiment is RapidForm 2004 PP1 and Pattern Design 2000. Data analysis utilizes SPSS WIN 10.0 Package. T-test to effect an inspection of evidence, there was difference about measurement times. One-way ANOVA to analysis effect of gather made by gathering conditions. The following results were obtained; 1. As a result of inspecting an error several times using a three-dimension measurement system, convinced data was obtained. 2. At front, distribution of gap amount was larger than back. And as ratio of gathers increased, distribution of gap amount showed regularly. 3. After analyzing horizontal sectional figure of skirts, as a height of skirt changed from waist to the bottom of skirts, the results showed as follows. While section width, section thickness, node width, node depth increased, node count decreased. 4. With the horizontal section levels of gather skirt, the silhouette on middle hip section was similar with the silhouette of body line. And as ratio of gathers around hip section increased, nodes showed regularly. At the bottom of skirts showed different nodes by different gathering condition.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.1
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• pp.18-28
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• 1998

The objective of the study was to observe the difference of moving function of lower-limb in relation to the length 8t silouutte of tight skirt. Four types of tight skirts (2 lengths$\times$2 silhouettes) were made for the experiment. The surface E.M.S in four different locations of leg muscles (Rectos femoris, Semitendinosus, Tibalis anterior, Gastrocnemius) were recorded. The sensory test to decide how to be fatigued after longtime wearing of skirt were examined two times per a day. The fatigue sensory test was scored a Likert-type scale (1= no fatigue, 5=heavy fatigue). Data were analyzed by the repeated ANOVA ann Duncan's multiple range test with use of SAS Package. The main results of this study were as follows: 1. As a result of analysis of E.M.S., in case of walking on the floor there was significant difference in the moving function according to length of skirt and in case of stepping there was significant differnce in three ways (length silhouette, length, silhouette). 2. From the record of walking the step-length, stride-length, step-width were found affected by garments, but foot-angle was not affected. The moving function of slim type was lower than that of semi type and that of ankle-length skirt was lower than that of knee-length skirt. 3. The results of the sensory test agreed with that of E.M.G and Footprints.

• Proceedings of the IEEK Conference
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• 2003.11a
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• pp.321-324
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• 2003

This paper presents a novel system that analyzes and recognizes a gait based on shape context on silhouette images. The main functions of the system consist of three steps: First, the system extracts the silhouette images from galt image sequence by performing a simple pre-processing and acquires the AGM(Averaged Gait Map) by averaging them. Next. it computes the cross-correlation between the AGMs. Finally, it classifies the AGMs based on the cross-correlation using nearest neighborhood classification. The proposed system uses two cues to classify a gait: One corresponds to biometric shape cue such as body height width. and body-part proportions. The other corresponds to gait cue such as stride length and amount of arm swing. Perceptionally, the biometric cues are sailent on the double support (both legs spread and touching the ground) while the gait cues on the midstance. Through a variety of experiments, it is proved that the property of a gait is mainly influenced by gait cues than biometric cues.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.701-715
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• 2016

This research compared 3 types of jacket pattern design methods for men's wear (age range 25-35) in textbooks. We are to develop research pattern with problem solving based on an analysis of three jacket patterns. The comparative analysis revealed that loose-silhouette slopers A and B scored high in functional evaluation and low in appearance evaluation. However, the tight-silhouette slim-line sloper C received high points in appearance evaluation, but low scores in functional evaluation. All three slopers were evaluated low in the back appearance. The design characteristics of the development jacket sloper were: front width, ($1/10chest{\times}2$)+0.8cm; side width, 1/10 chest+5.5cm; back width, ($1/10chest{\times}2$)+1.5cm; armscye depth, 1/8 chest+11cm; waist back length, 1/2 jacket length+5cm; and hip length, 1/2 (jacket length-waist length)+1cm. The proportions against jacket length were applied to waist length, hip length, and the position of chest/waist pockets. In addition, the back part with low appearance estimation was adjusted as comfortable with the back curve line. Appearance evaluation and 3D clothes modeling system (CLO) showed an overall improvement in the developed jacket sloper when compared to the original jacket slopers.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.