• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.55-67
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• 2012

Based on the fact that a parody is widely used as one of main methods of creating art, this study focuses on the parodic techniques used by one of the most famous contemporary artists, Cindy Sherman. Her unique techniques, which are shown through parody, provide different aesthetical values to contemporary fashion designs. The purpose of this study is to find out whether or not contemporary fashion designs that use parodies can be presented as creative fashion designs. The study was carried out by analyzing data retrieved from various literatures, dissertations, magazines and the Internet. The period between the late 1990s and 2010 is the time when parodies were widely introduced, this study presents tables, pictures and photographs based on data collected from that period. The result of this study suggests that there are mainly four expressive techniques used to create Cindy Sherman's parodies: female viewed from a male's perspective, pornography and sexual satire, narrative and realistic reproductions, and foreignness and harmony in conflict. This study discovered that based on these four expressive techniques, contemporary fashion can produce the following four results according to their production styles, silhouettes, materials, and colors: the beauty of the retro pinup girl style, the beauty of eroticism and sexual satire, the beauty of history through reinterpretation of the past, and the beauty of compromise through conflict. As described above, this study attempts to seek how techniques of parodies give different aesthetical values whether or not they can become creative fashion design techniques by listing Cindy Sherman's unique expressive techniques in her parodies in relation to contemporary fashion designs.

• Fashion & Textile Research Journal
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• v.11 no.4
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• pp.592-601
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• 2009

This study was conducted to find out the purchasing characteristics, the wearing practices and the preferring style of skirts. Also the comparison between recognized body type and actual body type for skirt was analyzed. The questionnaire was developed and administered to 179 women aged 20 to 59 in Busan. The women of 20th liked to buy skirts at the road shops and the internet shops but the 30th, 40th and 50th at the department stores and the discount stores. The main purpose of buying skirts was to coordinate with other clothes. The design of skirt was the most important factor of buying. The women of the 20th wore skirts without special purpose but the 30th, 40th and 50th wore those for social life. The women of the 20th liked to wear skirts with t-shirts and cardigan, the 30th with blouse and cardigan and 40~50th with blouse and jacket. As the age increased, the ratio of women who felt discomfort of skirts increased. Most of these women felt discomforts in the waist and abdomen part of skirt. The style of skirt that made up for the weak points in the body type was preferred. The preferred silhouettes of skirts were semi-tight and A-line. The preferred lengths of skirts were different from ages. Black was preferred color of skirts. There was a significant difference in recognized body type according to age groups. As the age increased, the ratio of women who thought themselves as thick waist type increased. Just only 43% women of total subjects recognized their body type accurately.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.608-619
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• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.3
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• pp.301-312
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• 2000

This study conducted an analysis of the middle aged women whose ages are from 35 to 59 years old in order to give those ladies much external satisfaction and covered body lines. I have come to present a few characters of body types as silhouettes which resulted in the factors of the upper bodies of middle aged women. I have adopted SAS(statistical analysis system) as a data process method of this survey. The followings are the results analysis. 1. The item of height have decreased, but increased in the items of thickness among the late middle aged women. 2. The body componant factor of middle aged women are extracted as 10 items, and the rate of their cumulative contribution is 78.9%. The first is the thickness of upper body, the second is the thickness of side upper body, the third is the height of upper body, the fourth is the length of upper body the fifth is width of upper body, the sixth is the projected rate of back, the seventh is the projected rate of breast, the eighth is the squared rate of shoulder, the ninth is the crooked rate of neck, and the tenth is the upper from of breast. 3. The body types of middle aged women can be classified into 4 types, and the followings are their characters. Type 1 is a standard type as the most common body character of the middle aged women, showing the appearing rate of 42.4%. Type 2 is a semi-curved body type like the curved figure of side body, showing the appearing rate of 34.5%. Type 3 is a reverse body type with the projected breast feature of front body, showing the appearing rate of 20.9%. Type 4 is a crooked body type with a tall height and crooked neck, showing the appearing rate of 2.2%.

• Journal of Fashion Business
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• v.18 no.1
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• pp.182-198
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• 2014

The main purposes of this study is to evaluate clothing behaviors according to cosmetic surgery parts and to research how the clothing style preference is expressed depending on each clothing behavior group. This study focuses on women in their 20s and 30s living in Seoul and Gyeonggi area whom have cosmetic surgery experiences. From the women being evaluated, the following groups are divided and then surveyed with equal frequency and ratio: 'facial surgery', 'face contour surgery', 'breast surgery', and 'body figure revision'. When comparing the changes in clothing style preferences before and after the cosmetic surgery, they prefer silhouettes which show body shapes, diversity of color tones, and more overall exposing preferences. After investigating the preferred clothing styles based on cosmetic surgery parts, it is being analyzed that body exposure is more aggressively expressed upon after taking the surgery because the self satisfaction is increased according to the changes in their body shapes after the surgery. Lastly, after looking into the cosmetic surgery and the clothing preferences styles of each clothing behavior group, there seems to be more breast surgeries and body figure revisions for aggressive and extroverted characters: the sex-appeal and mood switching type. It is also being analyzed that facial surgeries are more common in the passive group: information collection, trend alignment, and beauty preference. Such results are also reflected in clothing preferences styles: the biggest change is shown in the aggressive and extroverted group, the sex-appeal types.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Journal of Fashion Business
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• v.22 no.4
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• pp.30-46
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• 2018

The purpose of the study was to suggest certain measurements of the skirt block pattern drafting process for the Korean female fashion models, with the aim to improve its fit. For this purpose, the study carried out an analysis of the lower body features of a dress form developed for the study. This form was representative of Korean female fashion models' body features. The study performed a cross-sectional analysis at waist and hip levels and measured the angles from the frontal and lateral silhouettes of the dress forms. The comparisons of the skirt block patterns developed through draping by the use of 2 types of the dress forms developed and existed and through drafting according to the current patternmaking method have led to noticeable findings in terms of implementation of the skirt block drafting process for the Korean female fashion models. The results of the study are as follows: (1) the vertical lengths between the levels at the front waist point and the side waist point in the patterns are 0.7cm; (2) the vertical length between the levels at the front waist point and the back waist point in the back panel is 0.7cm; (3) the horizontal lengths between the perpendicular line from the side hip point and the side waist point in patterns are within a range of 2.0 to 2.2cm; (4) the horizontal length between the original and the adjusted back waist points moved into the waist line, in a range of 0.0 to 1.0cm, differs whether the center back line would be folded or sewn.

• The Korean Journal of Pain
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• v.31 no.4
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• pp.268-276
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• 2018

Background: Although a variety of instruments implement body maps for the precise identification of pain symptoms, no instrument has been validated for use in people with obesity. This study reports the adaptation and validation of body maps for musculoskeletal pain location in people with obesity. Methods: Nine key anatomical regions were highlighted based on the original images of the Nordic Musculoskeletal Questionnaire body maps. Adult silhouettes were generated from photographs of men and women with obesity. The body dimensions were adjusted to take into account the different body fat distribution patterns of people with obesity. The validity of the images was assessed by 12 experts. Subsequently, a data collection stage was performed with 58 patients with severe obesity from both sexes. The reproducibility of the images was tested by comparison with the original images. Results: The results of the validation pilot study indicated that the adapted images facilitated the location of musculoskeletal pain in men and women with obesity. The reproducibility of the original and adapted versions of the body maps indicated good agreement for pain over the last 12 months and 7 days (80% vs. 79.7%). Pain scores in the last 12 months indicated good and high sensitivity and specificity for all body areas (60.9% vs. 89.1%). Considering pain in the last 7 days, high sensitivity and specificity for all areas of the body (85.1% vs. 70.1%). Conclusions: The body maps developed in this study are reliable and valid to identify the location of pain in people with obesity.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.104-113
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• 2015

Sports wear in relation to sports life is being developed in fashion industry with increasing leisure time. However, design development for swimwear including trend analysis is still required. In this research, we analyzed design trends in domestic social and cultural environment, and fashion design elements for the development for swimwear. We collected 9,549 picture images totally through 138 swimwear product catalogues in 1970s to 2014, and 8 web sites. We analyzed formative characteristics such as silhouettes, materials, colors, and textile designs. Because of the shorter cycle of social changes, and various trend, design changes of swimwear are getting diverse. Especially, color and textile design are remarkable. Also, new materials and printing technology make the design of swimming wear more comfortable and fashionable. This research would be a basic research for the design development of swimming wear.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.778-792
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• 2015

The purpose of this study is to identify women (aged from 49~59), who have recently emerged as consumers, and their clothing preferences, and it suggests how to make jackets provide better fit and wearability. The results of the study are as follows. In drafting a pattern for size 66 tailored collar jacket with an X-silhouette, it was made with front waist length measuring B/4+1.5 cm, a back length of B/4+1.3 cm, an armhole depth of B/4, a hip ease of H/4+1.2 cm and a sleeve opening of 34.5 cm, to allow for easy movement. In drafting a size 66 high neck collar jacket, it was made with a front and back waist length measuring B/4+1.5 cm, an armhole depth of B/4, a hip ease of H/4+1.2 cm and a sleeve opening of 35 cm. In drafting a size 66 sports collar jacket with an A-silhouette, it was made with front and back waist lengths measuring B/4+1.5 cm, an armhole depth of B/4, and a side dart of 1.3 cm, to provide raglan sleeves. The last experimental jacket pattern improved the appearance and moving fitness evaluation especially for shoulder and arm movement. Based on analysis, jackets were made and subjected to an appearance evaluation using multi-modules to test the level of wearing satisfaction for each fabric and silhouette. the results of the multi-module wearing tests indicate that the preferred silhouettes caused less stressful situations in terms of both psychological and physiological signals.