• 한국의류산업학회지
• /
• 제23권6호
• /
• pp.810-825
• /
• 2021

This study measured and analyzed clothing pressure at each measurement part of commercial body shapers to provide basic information for product design and clothing pressure standard and level. This study used five body shaper. Clothing pressure measurements were taken at 18points: Anterior area 8points, lateral area 5points, posterior area 5points. The findings of this study were as follows. As a result of measuring the clothing pressure, the body shaper 1 showed the highest pressure, and body shaper 5 showed the lowest pressure at almost of the measurement points of the three body types. In some cases, body shapers 2, 3, and 4 showed different orders of pressure depending on the measurement point. The highest measured values in most body shapers were the P1 shoulder area and the P2 bust area. The lowest measurement area differed by body type, but mainly P3 underbust area, P4 thorax area and P9 axillary area, P11 waist lateral area, P13 hip lateral area. These body shapers showed different results depending on the the manufacturers and body type of middle-aged women, and because there was no standard for the pressure value. Therefore, it is necessary to design a body shaper sizing system after accurately setting the clothing pressure value for each body part of the consumer.

• 한국의류학회지
• /
• 제34권6호
• /
• pp.982-996
• /
• 2010

This study classified the body shapes of Korean obese women and investigated the differences of each body shape, using 2004 Size Korea data. For selecting the obesity sample, 7 obesity judgment indices were chosen through previous clothing-related studies. A total of 636 females defined as "obese" by 5 out of 7 indices were selected as subjects and 54 body measurements and obesity judgment indices were used in this study. Firstly, mean, standard deviation, minimum, and maximum values of each measurement and item were obtained from the descriptive analysis of 53 measurements. According to the descriptive analysis, all measurements and obesity judgment indices of the subjects demonstrated a serious obesity level shown by BMI 27.11, R$\ddot{o}$hrer index 1.76, Vervaeck index 104.77, Relative weight 133.00, WHR 0.90, and waist circumference 86.71cm. In addition, the measurements and indices showed considerable differences between minimum and maximum values. Significant differences were identified in all measurements and items at a significant level, p=.001. Each distribution of body types according to age, stature, bust, and waist circumference groups was provided in this study. Secondly, factor analyses were conducted using 38 measurement items to extract the body characteristics of obese women. Factor 1 was "circumference measurements & obesity judgment indices," Factor 2 was "heights & arm-related lengths," and Factor 3 was "size and ratio of waist circumference & hip circumference." Factor 4 was "lengths in upper body," Factor 5 was "back width in upper body," Factor 6 was "side neck point to bust & bust circumference," Factor 7 was "length in lower body & arm circumferences" and Factor 8 was "neck base circumference & front width in upper body." These 8 factors explained 76.54% of the total variance. Finally, 5 body types were selected in the cluster analysis. Type 1 (with big back widths & arm circumferences) was 15.5% of the entire subjects, Type 2 (the shortest and fattest, with big upper body) was 18.8%, Type 3 (with big breast) was 27.8%, Type 4 (the tallest and longest in arm lengths, with the smallest arm circumferences and lengths in torso) was 22.5%, and Type 5 (with big hips compared to waist circumferences, smaller height and upper body) was 15.5%. Fundamental differences were identified in all measurements and items at the significant level of p=.001. In addition, each distribution of body type according to age, height, bust, and waist circumference groups was provided in this study.

• 한국의상디자인학회지
• /
• 제18권2호
• /
• pp.221-236
• /
• 2016

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe $L{\oe}il$ expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, it targeted the women's wear collections of Paris, Milan, London, and New York, limiting its range from S/S 2010 to F/W 2015. The results are as follows: First, based on the preceding research, the types of Trompe $L{\oe}il$ expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe $L{\oe}il$ based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe $L{\oe}il$ such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.

• 복식문화연구
• /
• 제5권4호
• /
• pp.12-31
• /
• 1997

This is a study on the changes of the ancient underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Functions of underclothes are follow ; to protect the body from cold, to support the shape of the costume, to cleanliness, to erotic use of underclothes and as a method of class distinction. Linen is the oldest as materials and cotton came into general use after the Restoration of 1660. We must suppose that woolen petticoat was at least as old as the Middle Ages and silk was rarely used until late in Victorian times. Until the middle of the last century underclothes were necessarily hand-made, and the absence of fit was noticeable until the introduction of man\`s drawers, fitting the leg, at the close of the eighteen century. Strings and ribbons were the fastenings for underclothes until the middle of the seventeenth century, when they were replaced by buttons. One outstanding example of the first type of figures is a Babylonian girl of about 3000 BC from Sumeria who wears that today would immediately be described as briefs. Female statues show no trace of anything being worn under the chiton, but there is literary evidenced that the Greeks. A band of linen of kid was bound round the waist and lower torso to shape and control it. It was known as the Zone or girdle. The apodesmos, meaning a band, breast band, occurs in a fragment of Aristophanes. A Roman mosaic shows female athletes wearing a bikini-briefs and bra in the fourth century AD. A similar band, called the mastodeton, or breast band, was also worn round the bust, apparently to flatten or minimise it, as in the 1920s, and not, to stress its curves. In Rome, too, women sometimes wore bands of material round the hips and bust-a cestus or girdle is referred to by the poet Martial and seems to have been similar to the zone, but wider, and the strophium, or breast band, is mentioned by Cicero.

• 복식문화연구
• /
• 제24권6호
• /
• pp.725-742
• /
• 2016

In the Korean fashion industry, 3D printing systems are considered as new technology and a new opportunity. With 3D printers, consumers can be manufacturers and individuals can develop businesses with little upfront capital. In this study, a dress form for the typical Korean women's body shape was developed using 3D technology (3D scanning, 3D modeling, and 3D printing). Ten women with apparel sizes 85-91-160 were selected from 3D body-scan data collected by SizeKorea of 201 women aged 25 to 34 (2010). First, 15 horizontal cross-sections were collected from the 3D scan data of the 10 subjects. Then, inside lines of those cross-sections were drawn at 15-degree intervals, and the lengths were measured. The average of the inside lines was connected to the internal spline curve, and the curves were used as the average cross-sections. The average torso body and the dress form of Korean women were developed into a 3D solid model using a 3D CAD program (Solidworks 2012). An output mockup was printed by the FDM type's 3D printing system (Bonbot 1200, Bonbot 3-H4) using PLA material. The dimensions comparing the 3D solid modeling to the 3D printed mockup of the dress form were measured, and minor differences were between 0.00cm and 0.40cm. In the future, 3D printing systems are expected to be in use for various personalized dress forms.

• 한국의류학회지
• /
• 제32권1호
• /
• pp.134-146
• /
• 2008

This study measured the body parts of female adults in their 20s, 40s and 60s living in Japan and analyzed and examined the measures by age group in order to provide the basic data required for the somatics study of Koreans living abroad. The subjects were 304 women in their 20s, 40s and 60s born in Japan and living in Osaka at present, and 81 items were measured. The major results of this study are described below. All women in their 20s, 40s and 60s showed significant differences in weight, waist size and abdominal size. The 19 height items of which group were different from the measurements of the women in their 60s. All 20 length items displayed a significant difference by age group. The significant differences by age group were also observed in eight items of 12 width items, 10 items of 13 thickness items and 13 items of 14 girth items except the ankle girth. The weight measurements had a significant difference by age group(${\le}0.05$). The women in their 20s, 40s and 60s revealed almost similar values in the shoulder angles. As a result of the analysis above, the items that were considered being included in the obesity items in all age groups displayed significant personal differences. The women in their 20s had the largest sizes in the length and height items. The older the age, the higher the measures of width and girth items were. Those results helped to estimate the change of figures by torso by age.

• 복식문화연구
• /
• 제27권5호
• /
• pp.433-448
• /
• 2019

Oversized fashion is again in the spotlight due to the influence of retro fashion. This has created new fashion trends with methods different from those of the past. This analysis examines recent trends by sorting these looks according to new and different methods of judging their appearance. A new categorization of the oversized look and its configurations has been created, one which separates "big" looks, partial changes, and layered looks. This research was based on historical review and previous studies. Three thousand one hundred thirty-six photos of oversized looks that have appeared in collections over the past five years were gathered, and their appearance was categorized according to type. The categorization results showed that big looks (55.1%) were most prevalent, followed by partial alterations (36.35%), and layered looks (8.45%). In comparison to prior oversized clothing production, new permutations of the "Big" look expanded the silhouettes of torso, shoulders, neckline and collar. Partial changes have expanded from the broadened shoulders of the 1980s. Today these styles expand the shoulders and armholes vertically or horizontally, which dramatically exaggerates the sleeves and collar. The layered look no longer simply features overlapping layers but takes the form of over-layering through cuts and insertions. Through such analysis it is clear that modern oversized looks break away from the simple expanded forms and production methods of the past. They now attempt to realize an exaggerated beauty of form regarding each clothing component and also maximize decorative effects through innovative drafting or sewing methods.

• 복식문화연구
• /
• 제29권4호
• /
• pp.471-487
• /
• 2021

The purpose of this study was to analyze changes to body measurements and silhouettes after wearing an early 19th century women's corset. Two types of corsets were tested. Changes in body size and silhouette were compared based on the levels of tightening strength of the corset. The tightening strength was adjusted in 4 steps by making the length of back fastening string 10-40 cm shorter than the standard. The silhouette was compared with the front silhouette and the side silhouette. The results were as follows. After wearing the experimental 19th century corsets, the chest circumference and front interscye length increased. However, the chest circumference did not increase proportionally to the tightening strength. The underbust circumference, waist circumference, and back interscye length also decreased. The waist width was decreased to create a slim front silhouette. The change in the body silhouette differed depending on the style of the experimental corset. The experimental corset made with the six-piece torso pattern changed the posture so that the shoulders were pulled back and the chest was pushed forward. The experimental corset with the side bodice pattern resulted in the subject's shoulders reclining backward and the chest and abdomen extending forward. The results of this study show that women's body sizes and silhouettes could be changed by wearing the early 19th century corsets, but the changes in body size and silhouette vary depending on the wearer's individual body type or corset style.

• 한국음향학회지
• /
• 제28권2호
• /
• pp.96-106
• /
• 2009

본 논문에서는 헤드폰의 음향적 특성과 주관적인 선호도간의 상관관계를 분석하고, 이로부터 음향적 특성을 이용한 주관적 선호도의 예측 가능성을 알아보았다. 헤드폰의 음향적 특성으로 좌, 우 채널에 대한 고조파 왜곡, 주파수 특성의 분산, 그리고 충격파 응답의 양이 상관 계수가 사용되었다. 이들 특성은 머리 모형을 이용하여 잡음이 없는 무향 환경에서 측정되었다. 주관적인 선호도는 음량감, 선명감, 공간감, 포만감, 전체적인 느낌의 5개 항목으로 점수화하여 나타내었다. 선호도 평가에는 음악 청취에 경험이 많은 12명의 청취자가 참여하였으며 샘플 음악은 가요, 팝, 경음악, 음성, 클래식의 5 종류의 음악이 사용되었다. 실험에 사용된 헤드폰은 밀폐형 4종, 개방형 2종 귓속 삽입형 2종 등 총 8개가 사용되었다. 주관적인 선호도는 이원 배치 법을 이용하여 주관적 선호도에 영향을 끼치는 요인을 분석하였으며 음향적 특성과 주관적인 선호도 점수 간의 상관 계수를 구하였다. 실험 결과 오른쪽 채널에서 측정된 주파수 크기 응답의 분산이 주관적인 선호도와 가장 높은 상관 계수를 갖는 것으로 나타났으며, 충격파 응답의 양이 상관 계수는 거의 상관 관계가 없는 것으로 나타났다.

• Journal of Trauma and Injury
• /
• 제22권2호
• /
• pp.206-211
• /
• 2009

Purpose: Abdominal CT (computed tomography) is a principal diagnostic imaging modality for torso trauma at the Emergency Department (ED). When acute osseous pelvic injuries are detected by abdominal CT, additional three-dimensional (3D) reconstruction pelvic CT is often performed. We compared abdominal CT with pelvic CT to provide information about acute osseous pelvic injuries. Methods: A retrospective investigation of patients'electronic medical records during the five year period between January 1, 2004 and December 31, 2008 among Korean soldiers who underwent pelvic CT after abdominal CT at the ED was conducted. Axial images of abdominal CT were compared with axial images and 3D reconstruction images of pelvic CT. Results: Sixteen patients underwent subsequent pelvic CT after abdominal CT. Axial images of abdominal CT showed the same results in terms of fracture detection and classification when compared to axial images and 3D reconstruction images of pelvic CT. Pelvic CT (including 3D reconstruction images) followed by abdominal CT neither detected additional fracture nor changed the fracture type. Conclusion: This study has failed to show any superiority of pelvic CT (including 3D reconstruction images) over abdominal CT in detecting acute osseous pelvic injury. When 3D information is deemed be mandatory, 3D reconstructions of abdominal CT can be requested rather than obtaining an additional pelvic CT for 3D reconstruction.