• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.719-730
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• 2001

The purpose of this study is to develop the basic patterns of adult womens brassiere therewith, provide for some basic data useful to the brassiere manufacturing which are both functional and fitting. For this purpose, 220 adults women(aged between 20 and 59) were sampled to be measured for their body sizes and tested for their brassiere wearing. The collected data were statistically processed using the SAS 6.12 for Means, Standard Deviation, etc. The results of this study can be summarized as follows; 1. In order to develop the basic patterns of adult womens brassieres, 75A size was selected out of 12 size combination(3 women per 75A size) and then, their brassiere fitting was tested. As a result, the fronts of the basic patterns were found to have such problems as undone front center, poor levelling of upper cups bottom line or lower cups top line, poor shape of upper cups outside top line and shoulder strip position. On the other hand, n the rear side of the basic patterns, the central part of the wing was slightly lifted, while the wing width and straps interval did not befit the full-cup brassiere. The result of this first brassiere fitting test showed that the functionality and aesthetics of the basic pattern brassieres were more or less satisfactory, and thus, the problems were address for the second test. In the second test, the aesthetics, breast-shaping effect and functionality of the basic pattern brassieres were much improved. 2. The basic patterns of adult womens brassieres were characterized by a round cup wired as well as a full cup embracing the entire breasts. Each basic pattern which consisted of upper and lower cups was shaped \"straight(-)\". The basic sizes adopted at the first design stage (see fig. 1-2) was 75A of which was designed as upper foundation basic pattern. At the second stage, the upper body foundation pattern were used to design lower cup, upper cup, front panel and wing in their order.(see fig. 3-5, fig. 8)5, fig. 8)

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.151-164
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• 2004

This Studies on 20th century fashion was carried out according to the classification of the times as made up Belle Epoque, New Look, Big Look, and Body-Consciousness. Aside from research in literatures, research into 20th fashion also include the analysis of photo had been taken from various collection. The enlargement beauty of costume had been place under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness. the true nature of the voluminous enlargement in costume had been traced. To conclude, this study finds there are between the aesthetic characteristic differences in the aesthetic consciousness of the costumes in history and the present-day fashion. The aesthetic consciousness of the voluminous enlargement of the present-day was found to have the following characteristic ; (1) History-oriented tradition (2) Metaphorica autonomous (3) Freedom of breaking with restriction (4) Dismantling the irregularity (5) Hedonistic play instinct (6) Psychological compensation (7) Sexual sensuality (8) Ideal of the times (9) Aesthetic ornament (10) Feeling of satisfaction through self-enlargement. From list above. metaphorical sensuality, aesthetic ornament and the feeling of satisfaction driven by Self-Enlargement are the same characteristics found in the aesthetics consciousness of the voluminous enlargement of the costume In history in that they are the aesthetic consciousness above time and space. It is metaphorical sensuality which transform woman's body in to distorted images as influenced by both capitalism and materialism in the last 20 years. These are represented by the sadomasochistic and fetish images as the woman's metaphorical voluminous enlargement is apparently becoming more positive, radical and obscene especially in terms of expression.

• Journal of the Korean Home Economics Association
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• v.43 no.6 s.208
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• pp.97-112
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• 2005

The purpose of this study was to examine how female college students' physical characteristics affect their and hairstyle behavior. The study methodology was a survey, with questions gathered from the previous research surveys and collated by the author. The study subjects 350 female college students in Gwangju, Korea. This survey was performed from November 8thto 13th 2004, and 348 questionnaires were finally used for the study analysis.. The research results are summarized as follows: 1. As a result of the analysis on the research variants, costume behavior was derived from four factors clothing sympathy, clothing exhibition, clothing convenience, clothing aesthetics. Hairstyle behavior was derived from five factors: hair sympathy, hair individuality, hair aesthetics, dependency on hair designer, and hair convenience. 2. The difference between clothing and hairstyle behavior according to physical characteristics showed that clothing and hairstyle behavior make a significant difference according to the height, weight, study major, spending money, and family income. 3. There was a positive correlation among clothing and hairstyle behavior clothing Female college students showed the same differences in clothing behavior as in hairstyle behavior according to their own physical characteristics. When more satisfied with their body shape, they tended to pursue a clothing aesthetic. When more dissatisfied with their body shape, they tended to pursue a comfortable and acceptable look, which does not attract others' attention, rather than pee the changes of hairstyle and fashion.

• (The) Research of the performance art and culture
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• no.19
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• pp.191-220
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• 2009

The aesthetics of Korean pantomimic mask-dance-drama is studied in this thesis. The scripts of the pantomimic mask-dance-drama were recorded generally, explanatorily and interpretively. The emotion and psychology are expressed by the look and body language. The mimic expression of the pantomimic mask-dance-drama was analyzed intensively. The speech drama is richer and deeper than the pantomimic mask-dance-drama at the aspect of the power of expression.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.1
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• pp.49-60
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• 1998

This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. \circled1 Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity, \circled2 Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. \circled3 Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ㉧ Fortune created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.teral try.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.195-209
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• 2018

This study reviewed emerging trends in 3D technology adopted in apparel design research and product development for rapid prototyping and effective evaluation of product performance. Based on a literature review, the authors discussed technical advantages, practical merits and limitations, applications, and on-going developmental efforts of the following methodologies focusing on 3D body scanning and 3D motion capture, and 3D virtual fit simulation technologies. Such data-driven technical approaches observed in recent apparel design research and industry practice are expected to increasingly be adopted in the field to improve consumers' satisfaction with functionality, aesthetics, and comfort of a wide range of apparel products that include daily wear, sport apparel and protective clothing.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.450-455
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• 2006

디지털 기술의 발전은 다양한 정보들과의 새로운 상호작용들을 창출하고 있고, 여기에서 인터페이스는 상호작용을 가능하게 하는 구체적인 장으로서, 우리가 정보들과 갖는 상호작용 방식을 규정한다. 그런데, 확장현실이나 유비쿼터스 컴퓨팅과 같은 새로운 기술적인 흐름들은 우리의 물리적 공간에 디지털 정보라는 무형의 층위를 더함으로써, 현재의 손과 눈의 작용을 중심기반으로 하는 상호작용 방식들로부터 발전된 형태의 상호작용이 필요하게 될 것임을 시사하고 있다. 이에 본 논문에서는 물리적 공간 안에서의 우리 자신을 형성하고, 세계를 인지하는 근간이 되는 신체에 초점을 맞추어, 신체가 새로운 정보 환경 속에서 정보의 인지 메커니즘과 상호작용의 주체로서 어떻게 기능할 수 있을 것인지를 메를로-퐁티의 현상학과 구현인지 이론을 바탕으로 탐구하고, 그 실질적인 예와 가능성들을 인터랙티브 아트 작품들에서 찾아본다.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.652-663
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• 2001

The purpose of this study was to make clear reduction ratio due to the stretch ratio and to find out the ease for the patterns of stretch skirt according to the body types to improve the aesthetics and wearing satisfaction. Therefore, fundamental data for aesthetic and functional patternmaking of the stretch skirt can be suggested. The results from the study were as follows: 1. The results from the appearance test were as follows. For the ease on waist, W+0cm and W - lcm for thin body type were suggested for the best fit. For the ease on hip, H+0cm and H-2cm for thin body type were suggested for the best fit. 2. The results from wearing satisfaction test were as fDllows. W+Ocm, H+Ocm for thin body type were suggested for the best wearing satisfaction. 3. Based on the results from the above tests, the pattern reduction ratios for stretch skirt were as follows: pattern reduction ratio 3.3 ∼ 5.0% of waist, 4.8 ∼7.2% of hip for thin body type were suggested for the appropriate reduction ratio for stretch skirt. 4. The result from this study for stretch skirt was as follows: For thin body type, W+0cm, W - lcm for waist and H+0cm, H-2cm for hip were appropriate for stretch skirt pattern. Therefore, different ease has to be applied to stretch skirt pattern according to the body parts, to make the skirt looks good, is appropriate for thin body type, and is satisfied with appearance and wearing satisfaction test.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.14-30
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• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.