• Title, Summary, Keyword: Silhouette

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A Study on the Relationship between Women's Values and Preference in Clothing Design (한국여성의 가치관과 의복디자인 선호도와의 상관성 연구)

  • Lee Sun Jae
    • Journal of the Korean Society of Clothing and Textiles
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    • v.11 no.1
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    • pp.29-42
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    • 1987
  • This study was an attempt to survey, the relationships between women's values and preference in clothing design. For the measurement of values scale was to relect the theoretical, economic aesthetic, social. political and religious values explained by Allport-vernon- Lindzey. The preference rate in clothing design consisted of 50 items and 3 factors including color, form and texture. The questionnaire were administered to a sample of women (between college students and adult) who lined in Seoul, Korea. The date for 910 respondents were analyzed by person's carrelation coefficient, to-test and $x^2$ test. Through this study, the followings were founds; 1. Aesthetic value was the mast important of female college students values and economic value was the most important of adult's values. 2. There were significant relation between values and the preference for clothing form in line and style; 1) In line preference, adult women indicated negative correlation with religious values but positive correlation with aesthetic and political values. 2) In style preference, adult women indicated negative correlation with economic values positive correlation with social values, for female college students indicated positive correlation with aesthetic social and political values. 3. There were significant relation between values and preference for texture in touch, thickness, weight, light and luster; 1) In relationship between texture and values, adult women indicated touchness preference negative correlation with theoretical and religious values, for female college students indicated positive correlation with aesthetic and social values. 2) In thickness preference adult women indicated negative correlation with theoretical values but female college students indicated positive correlation with political values. 3) In weight preference, adult women indicated negative correlation with theoretical values. But female college students indicated positive correlation with religious values. 4) In brightness preference, only adult women indicated positive correlation with social values, negative correlation with economic values. In transparency preference, adult women indicated positive correlation with aesthetic values, negative correlation with religious values. 4. There were significant correlation among color and economic, aesthetic; political and religious values, that is, evacuation and economic political values in adult women there were positive correlation with religious values in female students. 1) In chroma only adult women indicated negative correlation with religious values. In warm and cold, positive correlation with economic values in both of them. 2) In coloration, adult women like a complement color indicated negative correlation with aesthetic values, but positive correlation with political values. 5. There were significant differences in the preference of clothing design between female college students and adult women; correlationship with color variables. Evacuation, both of them indicated negative correlation with chroma positive correlation with warm and cold and coloration. In chroma, adult women indicated negative correlation with coloration and warm and cold, for female students indicated negative correlation with coloration. 6. Comparison with clothing preference: 1) In color preference, adult women liked the most white, brown, blue and black in sequence. Female college students liked the most white, also the next is blue and pink. 2) Clothing design preference, there was significant difference in warm and cold and coloration, adult women more liked than female students. In shape of clothing, both of them indicated significant difference in line and style, female students more liked sporty style. In texture, adult women more liked soft thin light weight and bright. 3) In silhouette preference, the most is H-line, female college students more liked.

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The Painting of Impressionism on the Modern Fashion (현대 의상에 표현된 인상주의 회화 양식)

  • 이효진;정흥숙
    • Journal of the Korean Society of Clothing and Textiles
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    • v.18 no.1
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    • pp.65-80
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    • 1994
  • In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

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현대 패션에 나타난 Eroticism 에 관한 연구-초현실주의와 팝 아트의 Eroticism을 중심으로

  • 이효진
    • Journal of the Korean Society of Costume
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    • v.23
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    • pp.111-130
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    • 1994
  • The purpose of this study was to illuminate eroticism represented din modern fashion. Art based on sex is very important like all of the other cultural values. But we feel that erotic art, neglected, suppressed , and persecuted for centuries, has an important contribution to make to the understanding of art, the social history of mankind, and human happiness and progress. It is our deep personal conviction that erotic art serves important social and therapeutic functions. Erotic art expresses the demand for sexual freedom-a freedom vital to individual happiness and mental well-being, And sexual freedom, in turn, cannot exist without a high degree of political and economic freedom as well. In that sense , erotic art came a truly revolutionaly message ; it demands no less than extension of freedom , not only in the sexual are, but in every sphere of social life. What is eroticism \ulcorner Eroticism must be distinguished from a mere animal reproduction . Eroticism is deeply rooted in the cultural tradition of myth, religion , customes and art. It also has a close relationship with psychological activities of our life. Eroticism is a kind of psychological revolution in the development of human civilization. Eroticism is related to different kinds of art, which express internal spirit of human especially Surrealism. Surrealism is above all a movement of the conquest and deepening of the unconscious. The exploitation of Freud's discoveries opended a new, practically unlimited path for artistic studies to Surrealism . Especially all theory of mental psychoanalysis a affected artists greatly in western art, Freud was appraised highly on his achievements by art critics in art history on his achievements by art critics in art history. As far as erotic subject matter was concerned, Surrealism provided a means of presentig it. Pop Art is not actually a movement , born at a specific time and place, nor is it an easy concept to define. The term first appeared in Great Britain during the fifties, when it referred, particularly in the decorative arts, to an inclination to go back and imitate the stereotyped images of the mass media : film, advertising , cartoons, and other popular consumer products. The eroticism expressed in Pop Art calls the modern's attentions to their devastated minds, taking advantage of the commercialized sex. Fashion has developed constantly reflecting the spiritual aspiration and social and cultural phenomona of man , and artistic steam. Eroticism in fashion is the style which expresses the internal meanings of sexuality through the texture, color, pattern , silhouette etc.

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A Study on the Changes of the Form of costume related to the recognition of the beauty of the body -from prehistorical period to Ch'ing Dynasty in Chinese female costume- (인체미 인식과 복식형태의 변천 - 선사~청대까지 중국 여성복식을 중심으로-)

  • 김민지
    • Journal of the Korean Society of Costume
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    • v.32
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    • pp.225-242
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    • 1997
  • This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

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A Study on the Basic Slacks Pattern for Middle Aged Women Based on Their Lower Body Shape Analysis (중년여성의 하반신 체형분류에 따른 슬랙스 원형 제작)

  • 성옥상;정인향
    • The Research Journal of the Costume Culture
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    • v.7 no.6
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    • pp.140-158
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    • 1999
  • The purposes of this study are to examine the characters of the lower body shape in the middle aged women and to make slacks pattern on the base of four difference body shapes. The lower body shapes were classified into 4 types on the basis of their lateral view silhouettes. The slacks patterns were based on the lower body shape characters and resulted in followings. In “Type 1” of the right body shape with the standard protrusion of abdomen and hips, little difference from conventional patterns was seen in experiment pattern, in which the front waist girth was W/4+0.5㎝+0.5㎝+fold(2.5㎝) and the back waist girth W/4+0.5㎝-0.5㎝+dart(3.5㎝). The front hip girth was defined as H/4+2.0㎝+0.5㎝ and the back hip girth as H/4+2.0㎝-0.5㎝ due to its increased ease amount produced by abdominal fat deposition. In the experimental pattern of “Type 2” with prominent hips, the front and back differences of the waist girth and the hip girth and the hip girth were defined as 1.0㎝ and 2.0㎝ separately. Accordingly, the front waist girth was W/4+0.5㎝+1.0㎝+fold(2.0㎝), the back waist girth W/4+0.5㎝-0.1㎝+dart(6.5㎝), the front hip girth H/4+2.0㎝+1.0㎝ and the back hip girth H/4+2.0㎝-1.0㎝. In “Type 3” with the prominent abdomen and the flat hips, the front waist girth was set up as W/4+0.5㎝+0.5㎝+fold(4.5㎝) for the increased front fold amount and the back waist girth was W/4+0.5㎝+0.5㎝+dart(3.0㎝). The front hip girth was made as H/4+2.5㎝+0.5㎝ and the back hip girth H/4+2.5㎝-0.5㎝. In “Type 4” with prominent abdomen and hips, considered were ① the increased front fold amount due to the abdominal protrusion, ② the increased back dart amount and the decreased back dart length owing to the hips prominent and ③ the front and back differences of waist and hip girth for the lateral view silhouette. Therefore the front waist girth was defined as W/4+0.5㎝+2.0㎝+fold(5.0㎝), the back waist girth as W/4+0.5㎝-2.0㎝+dart(4.0㎝), the front hip girth as H/4+2.0㎝+1.0㎝ and the back hip girth as H/4+2.0㎝-1.0㎝. The sensory evaluation of appearance and comfort was appeared more suitable on the experiment pattern than on the conventional pattern.

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A Study of Costumes in the Palace Painting Depicting the Worship of Buddha during the Reign of King Myungjong (관중숭불도에 나타난 16세기 복식연구)

  • 홍나영;김소현
    • Journal of the Korean Society of Costume
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    • v.38
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    • pp.305-321
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    • 1998
  • The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.

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Development of Torso Pattern according to the Physical Types of Men in 20s (20대 남성 체형 특성에 따른 토르소 원형 개발 연구)

  • 황은경;김인숙
    • The Research Journal of the Costume Culture
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    • v.12 no.3
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    • pp.415-428
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    • 2004
  • The purpose of this thesis was to develop torso patterns according to the physical types of men in 20s. The procedure and results are as follows; 1. Of the men in 20s meeting the national average of physique, 4 men were selected and classified into 2 physical types according to their chest and waist circumference drops. One group had 20㎝ drop (Y type) while the other had 16㎝ drop (N type). Through evaluation performed by clothing construction professionals on the 4 upper bodice blocks drafted according to the existent drafting method and dressed on the 4 men, several problems have been found. These problems were adjusted and supplemented to make two new blocks. The fit of the new blocks were evaluated and proved to be satisfactory. 2. The following is the adjustments made to the existent men's torso patterns which had been utilized as the objects the first evaluation experiment. ① Though the back waist length of the pattern from the existent drafting method covered the center back length of the body in both Y type and N type, the front length did not causing it to stand away from the body. To adjust this, 2.0㎝ has been added to the center front length of each pattern so that the waist line could make a bar level to the ground. ② The shoulder line of the pattern from the existent drafting method had the tendency to fall backward. To make the shoulder line to fall in place, it has been moved 1.0㎝ to the front. 0.5㎝ has been added to the should length. ③ The neckline had a tendency to climb up. It has been lowered by 0.5㎝ until the line touched the center front neck point. ④ Though different in degree, the neck circumference did not allow enough width for both physique type causing the neckline to pull at side neck point with diagonal crease. To adjust this, 0.3㎝ and 0.6㎝ has been added to the Y type and N type respectively so that the neckline would touch the side neck point and the neckline could naturally fall into its original position. ⑤ Though different in degree, there was not enough space at the armhole causing wrinkles around this area. Therefore, 0.25㎝ and 0.5㎝ has been added to the front and back of the armholes of the Y and N types respectively. The armhole was made 1.0㎝ deeper only for the N type. ⑥ 1.0㎝ in the front and 0.5㎝ in the back were added to the side scam for the Y type while 0.5㎝ in the front and 0.25㎝ in the back were added for N type. This eliminated the unwanted wrinkles to give the silhouette a smooth look.

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ACMs-based Human Shape Extraction and Tracking System for Human Identification (개인 인증을 위한 활성 윤곽선 모델 기반의 사람 외형 추출 및 추적 시스템)

  • Park, Se-Hyun;Kwon, Kyung-Su;Kim, Eun-Yi;Kim, Hang-Joon
    • Journal of the Korea Industrial Information Systems Research
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    • v.12 no.5
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    • pp.39-46
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    • 2007
  • Research on human identification in ubiquitous environment has recently attracted a lot of attention. As one of those research, gait recognition is an efficient method of human identification using physical features of a walking person at a distance. In this paper, we present a human shape extraction and tracking for gait recognition using geodesic active contour models(GACMs) combined with mean shift algorithm The active contour models (ACMs) are very effective to deal with the non-rigid object because of its elastic property. However, they have the limitation that their performance is mainly dependent on the initial curve. To overcome this problem, we combine the mean shift algorithm with the traditional GACMs. The main idea is very simple. Before evolving using level set method, the initial curve in each frame is re-localized near the human region and is resized enough to include the targe region. This mechanism allows for reducing the number of iterations and for handling the large object motion. The proposed system is composed of human region detection and human shape tracking modules. In the human region detection module, the silhouette of a walking person is extracted by background subtraction and morphologic operation. Then human shape are correctly obtained by the GACMs with mean shift algorithm. In experimental results, the proposed method show that it is extracted and tracked efficiently accurate shape for gait recognition.

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Layout Principles of Renaissance Classicism Architectural Style and Its Application on Modern Fashion Design - Focused on Classic Style Fashion after the Year 1999 - (르네상스 고전주의 건축양식의 조형원리와 현대패션디자인에의 적용 - 1999년 이후 클래식 스타일 패션을 중심으로 -)

  • Lee, Shin-Young
    • The Research Journal of the Costume Culture
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    • v.18 no.2
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    • pp.261-276
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    • 2010
  • The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

Analysis on Fashion Style of Salon Cultural Era Reflected on the Contemporary Fashion - Mainly about France of the 17th and 18th Centuries - (현대 패션에 나타난 살롱문화시대의 패션스타일에 대한 분석 - 17, 18세기 프랑스를 중심으로 -)

  • Lee, Min-Jung;Lee, In-Seong
    • Journal of the Korean Society of Costume
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    • v.62 no.1
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    • pp.14-28
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    • 2012
  • 'Beauty(美)' is pursued by many women. It has been expressed through fashion which has become more various as the society became wealthier. This phenomenon can also be found in the Salon Culture of the 17~18th Centuries and in the way that the free-style socialization without specific purposes began by women. Such 'salon culture' fashions have been reproduced in various methods by contemporary fashion designers as they met the trends or as they became the inspiration and source of ideas and were reinterpreted in various styles. Therefore, it is necessary to compare and analyze the studies and expression methods regarding that style's effects on contemporary fashion at a time when the women's salon culture fashion of the 17~18th Centuries is being naturally combined with or restructured to fit in with contemporary fashion. Therefore, the purpose of this study is to analyze, establish the concept of, and summarize the characteristics of the salon fashion style in order to provide fundamental scholarly information and a direction for the fashion design market by establishing a database on the characteristics of both eras based on the characteristics analysis results of the contemporary fashion style and salon culture era. Moreover, this study is also significant in that it will be a helpful tool for new design development to satisfy consumer needs, and in that the comparison analysis on the salon culture and contemporary fashion characteristics can be a useful tool to understand the fashions of both era. The study methods were, first, through a literature review to study the concepts and background of the salon culture. The second method was to setup a style analysis of a period of 4 years and collect visual data from internet fashion information web sites, such as collection books, to collect and analyze the data. Third, the analysis focused mainly on the results of the categorization of images with 20 fashion experts. Fourth, the details of the salon culture fashion style that are used the most in contemporary fashion were summarized and analyzed. Therefore, the results of this study are as follows The development of the socializing culture during the economically abundant era of the 17~18th Centuries became the stepstool for women to enter a new society and at the same time became the background of the development of the salon and related literature. For the characteristics of the salon culture fashion of the 17~18th Centuries, the changes were more significant in the details of the collars, necklines, sleeves, and robes, rather than in partial silhouette changes. It was found that the same fashion repeats in several-century intervals depending on the era changes; however, it has been reinterpreted newly based on consumer preferences and era situations instead of being reused exactly. Therefore, this study will become scholarly and fundamental data to establish the contemporary understanding of the fashion of the salon culture.