• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• Fashion & Textile Research Journal
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• v.11 no.3
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• pp.488-495
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• 2009

The purpose of this study is to experiment and develop seamless-effect knitwear design using tubular-jacquard structure in order to find a new method of manufacturing knitwear and to suggest a new design. The study is based on changing the point of view about using the practical technique like the tubular jacquard which has been used mainly for expressing patterns. The result of experimenting this, a piece of fabric is able to being worn as a piece of garment. As for using circular structure of tubular jacquard, a body can be fitted into the big space between front and back part of fabric and seams can be made of small patterns of jacquard fabric. The silhouette, the drape and the result of the garment of this experiment are different from the ordinary outfit. Therefore, the study to find a new way of design and manufacturing should go on to suggest a different form and method.

• Journal of Fashion Business
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• v.16 no.4
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• pp.29-45
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• 2012

The purpose of this study is for providing not only the latest design technique trend for zero waste fashion, but information about creative fashion design education through eco-fashion industry trend in globally and domestic which is focusing on eco-fashion labelling. The research were processed with literature related eco, sustainable, green fashion books, former articles, newspapers, and web sites. The results as follows; The certification about eco-fashion product is moving to 'Life Cycle Assessment' from focused on primary process like material, finishing, dyeing. Especially simplicity of process means reducing the wastes. And fabric wastage for adult outwear was estimated 15% percent of total fabric used in general design studios. Three cases for Zero waste fashion were as follows; First, Jigsaw puzzle by Timo Rissane and Mark Liu were different zero waste methods, but the result was same. Rissene's method was based on traditional cutting like 'cut and sew' but traditional cutting can lead to design that have an abundance of fabric and drape. Jigsaw of Rissene was approached with description a pattern-cutting technique in which all piece interlock with each other generating no waste from design production. Another Jigsaw by Liu was related with innovative textile design. DTP makes the possibilities for zero waste garment production almost endless. The dress intricately cut from 10 pieces, wastes none of the fabric required to make it. Second, Subtraction Cutting by Julian Roberts provides unexpected fluid, organic forms and zero waste fabric. Utilizing Roberts plug(tunnel) technique enables any part of the garment that is removed for fit or aesthetics to be reincorporated into the design of garment. Third was 'Bio Couture' by Suzanne Lee. She has created garments from cellulose bacteria which grow in a bathtub using only green methods addressing in such as way ecological issues and exploring the future of fashion design in conjunction with technology.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.35-50
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• 2007

We performed the subjective sensibility evaluation on knitted fabrics by the following procedures: setting acrylic fabrics used for S/S among fabrics as basis, five kinds of blended spun yarns and four kinds of twisted filament yarns made by different twisting methods then, we did questionnaire survey targeting sixty females in the expert groups. Utilizing SPSS 12.0, correlation, ANOVA, Duncan, and Multidimensional Standard way were analyzed. The results are as following. First, the result of evaluating on preferred knits followed by the analysis of the sense factor, in the 'drape sense', the acrylic/rayon blended knit was preferred as the most flexible, pliable, and elastic knit; in weight/bulk factor, the acrylic filament knit the most twisted was preferred as the least bulk, thin, cool and transparent knit; in 'surface depression sense' factor, A(F)W acrylic/wool blended knit was preferred as the most haggard, straight, dry knit. Second, the result of evaluating on preferred knits followed by the analysis of the sensibility factor, in the 'neatness' the acrylic filament hit was preferred as the most clean, neat and delightful knit; in the 'comfortableness', the acrylic/wool blended knit was preferred as the most natural, stable, and comfortable knit. Third, according to the result of evaluating on preferred knits as the spring and summer, generally the acrylic filament twisted yarn knits were more preferred than the acrylic blended yarns. However the preference on the kinds of the acrylic twisted filament yarn showed that there is a little difference on the acrylic blended yarn knit.