• 한국의류산업학회지
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• 제18권5호
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• pp.695-707
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• 2016

This study presents quantitative evaluation standards for the shape fitness test, conducted in the process of the slacks fit test. This study aims to quantify appearance sensory test of slacks for the objectification of qualitative evaluation methods in existing shape fitness tests. The subjects were women of standard body type between the ages of 18 and 24. Slacks differing in their ease in waist girth, hip girth, crotch length and knee length were designed to test their shape fitness. The gap volume distribution between the body and slack, angle of the baseline by body part, and ratio of total thickness from the sideline using 3D human body scan data (which reflect the results of the appearance sensory test) were presented as quantitative evaluation standards. There were less wrinkles in the wrinkle/overstretch and ease categories of the appearance sensory test; in addition, ease was adequate and small enough to comfortably perform basic human activities in the standing upright posture. The gap volume distribution analysis between body and slacks showed that curves increased in the slacks surface along with an increase of ease in slacks and suggested that wrinkles also increased. In the baseline's horizontal categories in terms of a $0^{\circ}$ horizontal angle, the range of angles were evaluated as adequate by the clothing expert group. The total thickness ratio of 0.5:0.5 divides into the sideline from the baseline.

• 복식문화연구
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• 제16권6호
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• pp.1087-1098
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• 2008

The purpose of this study is to conduce the survey of three groups of college women living in different residential districts, Seoul, Gyeonggi-do and a district, each other, analyze the actual condition of wearing blue jeans, comparative investigate actual condition in each residential district of wearing blue jeans and cognition by change of crotch length and trend through comparison of cognition on dressed blue jeans with short crotch length. By which investigation, it was intended to understand their condition and propose of blue jeans as may offer fit with short crotch length. As the result of this study, it presented college women had hipbone blue jeans in order of $2\sim3$ and more than 4 in all of residential districts, they purchased hipbone blue jeans with crotch length in order of for middle crotch(23 cm) and short crotch(21cm) commonly in all of residential districts, and they care a lot for exposing back waist and hip of hipbone blue jeans without reference to residential district. They had a bad feeling for exposure, and as an alternative to deal with this, they answered mostly on 'wearing hipbone underwear' or 'wearing long upper garment', and there was significant difference between residential districts in silhouette and exterior fitness of crotch length among important factors when wearing hipbone blue jeans.

• 복식
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• 제57권4호
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• pp.9-17
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• 2007

Somatotype is human body shape and physique type which can be classified not only by the size, but also by the shape or posture of the body. Postural variations in the alignment of the back, shoulder, and neck can have an adverse effect on the fit of garments designed to hang from the shoulders. There have been some previous studies about the lateral upper torso by analyzing photographic measurements. In this study, 3D body scan images were used to classify the side somatotype of upper lateral method even though they are major data in the classification of upper torso. This study focused on following objective.; 1) To apply new and developing technology into the apparel industry analyzing 3D body scan images. 2) To classify upper laterla torso using the data through the new improver technology, 3D body scanner. 3) To propose basic materials for well fitted garments for each type of figure. The test subjects for this study were two hundreds nine female aged 19 years and up who were recruited in Cornell university body scan research team. Seventeen Variables(12 angles, 5 lengths) out of 3D body scan data were measured based on these landmarks and applied to analyze. The result of factor analysis indicated that 6 factors were extracted through factor analysis and orthogonal rotation by the method of Varimax and those factors comprise 62.5% of total variance. And the somatotype of upper body is classified into 3 types of figures according to cluster analysis; Bent forward posture, Straight posture, Swayback posture. Future study could be addressed about the somatotype of body by the age group based on the large database with wide variety of age.

• 감성과학
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• 제6권1호
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• pp.17-26
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• 2003

의류상품의 전자상거래 시장이 확대됨에 따라 인터넷쇼핑에서 의류를 구매할 때 선택한 의류를 착용한 자신의 모습을 확인하는 도구로 가상피팅모델이 제공되고 있다. 본 연구에서는 가상피팅모델 구축 시 사용자의 주관적인 체형인식을 반영할 필요가 있는지 알아보기 위하여 여성의 신체 치수나 체형에 대한 인식이 어떻게 다른지 연구하였다. 의류학 전공 여자대학원 50명을 대상으로 실험한 본 연구의 결과는 인체부위에 대한 개인의 치수인식이 체형에 따라 다름을 보여준다. 연구자들은 인터넷 의류 쇼핑용 가상피팅모델을 구축하기 위해서는 사용자 신체치수뿐만 아니라 사용자가 인지하는 자신의 체형특성을 반영할 필요가 있다고 결론지었다 특히 배가 많이 나온 체형도 자신이 실제보다 배가 나오지 않은 체형으로 생각하는 경향이 있으므로 여성이용자에게 거부되지 않는 가상피팅모델을 구축하기 위해서는 지나치게 극단적인 체형의 가상피팅모델의 구축은 신중하게 고려해야함을 시사하였다.

• 패션비즈니스
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• 제16권4호
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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.

• 패션비즈니스
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• 제20권5호
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• pp.45-59
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• 2016

This research is a study to develop basic block patterns for adult males. The subjects were 20 men in their 20s, and we tested 6 basic bodice blocks that are used in academia and industry. First, a comparative analysis of the patterns of the bodice blocks was conducted and the test garments were made, and then their appearances were evaluated during wearing tests. Based on the test results, we intended to select a bodice block that is a good fit when it is put on and to use it as basic data in order to design a man's bodice block for the future. The research results are as follows: First, a comparison of the 6 bodice block drafts showed that they used differently calculated ease allowances at chest circumference and width, waist circumference, shoulder length, etc. for which the upper chest circumference is used as a reference. Second, when the appearances of the test garments were tested, the average scores were high in the order of B> H> P> K> M> L. Pattern B was superior in the areas of the neck circumference and shape, ease allowance at the back of the neck, circumference of the front of the neck, location of side width, ease allowance at sides, armhole width and depth. But in the other test items, there were cases where other patterns were superior.

• The International Journal of Costume Culture
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• 제2권2호
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• pp.80-96
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• 1999

This research focused on pattern adjustments of the stable knit garment for women. Fourteen different types of the knitted fabrics by 12 gauge, computerized flat bed machines were cut in as one half of the torso front, one half of the torso back, and one side of the sleeves for each of them. Guidelines such as the center front, the center back, the armhole, the bust-line, the waistline, the hip-line the hemline were basted on the torso patterns in the knitted fabrics. Also the grain-line, the elbow-line, and the hemline were basted on the one side of the sleeves in the same as above knitted fabrics. The torso patterns in the knitted fabrics were exhibited on the dress-forms on top of the torso patterns in Muslin, which also have the same guidelines drawn on. The distances between the guidelines on Muslin and those on the knitted fabrics for each set of the sample fabrics were measured every three days for two weeks. The fabric properties of the fourteen knitted fabrics such as fiber contents, stitch density both in the wale and course directions, weight, thickness, stretch & recovery, residual shrinkage, relaxation and drapability were laboratory tested for how these were related to finished appearance of 12 gauge, computerized flat knit garments and also in order to prove the fourteen knitted fabrics fall to a category of such as the stable knit. The results from the investigation revealed that six fabric properties such as stitch density, thickness, stretch recovery, residual shrinkage and relaxation were not so much significant factors as weight and drapability. In conclusion, fabric weight, and drapability of the fabric resulting from fiber contents were the cause of final appearance distortion of garment. When adapting patterns for stabilized, 12 gauge, computerized flat knitted fabrics, the fiber contents of the fabrics should be taken into consideration to reduce the production cost and produce better-fit garments.

• 복식문화연구
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• 제26권3호
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• pp.360-376
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• 2018

The purpose of this study was to make a pants pattern suitable for women 70 to 85 years of age, then analyze that- pattern's shape, size, appearance, fit, allowance and air gap. Participants made the pattern using 3D simulation program DC Suite version 5.1. The results suggest a design method suitable for the lower-body shapes of elderly women. In external appearance, the A-type earned the highest evaluation in all items except the allowance of the back waist and back hip. The L type earned the highest evaluation in the allowance of back waist and hips. The A-type's, back waist appeared set at an angle that did not match the body shape of an old-old aged woman in the center-back-line setting. Therefore, the pattern method of A-type combined with L-type's method of center back, produces an excellent pants pattern. Evaluation of the air gaps among patterns revealed that; the A-type showed the largest air gap in waist and hip circumference and the smallest air gap in thigh circumference. The waists, abdomen, and hip circumferences of older women often become larger while their legs become slimmer. This study accounted for those factors in determining a pattern suitable for the lower-body shape of old-old aged women. However, participants only analyzed four patterns and compared them with women 70 to 85, years of age. Therefore, it is necessary to develop industrial patterns applicable to a wide age group.

• 복식문화연구
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• 제23권1호
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• pp.32-44
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• 2015

Increasing of Korean old women's rate is demographic characteristics attributed an aging society, silver generation would lead to silver fashion market with steady competitiveness and interest in fashion. So the study attempts to use foundation material for silver's fashion design by analyzing design characteristics and processing development of design representative women's top. Selecting brand for collecting photo using study represents a mid- and premium-priced with reference Brand Yearbook. After selecting brand on domestic and foreign I have collected picture from Internet shopping mall and web-site of fashion brand, from October 2013 to July 2014, but I selected 840 pictures based on front poses for easy decision. In order to search design characteristics according to sort of silver blouse design on domestic and foreign. I have examined shape, color, pattern, fabric sensation, inside composition line and decoration with reference standard of analysis in preceding research. Data analysis method was conducted on analysis of frequency and cross analysis using SPSS statistical package 21.0. The conclusion of design characteristic according to type of blouse design for silver, H-silhouette in shirt blouse seems to fit in body transformation and expose silhouette with correcting the body flaw. Using soft material in T-shirt blouse they are able to conceal a body defect and express beautiful silhouette. By using detail in pullover shirt blouse and tunic blouse for point of design, it express glamour and luxurious. Most of blouse are printed various pattern, it would looks more gorgeous using pattern.

• 복식
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• 제65권2호
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.