• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.55-63
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• 2004

The dress culture of Korea and Turkey should be necessary to study in view of a similar culture of Korea and Turkey due to similarity of oriental culture. Thus, as two nation's dress is investigated, cultural characteristics and dress form of two nations are analyzed with cultural background in detail. Also, comprehension is determinated for the dress color and texture as well as dress culture. In this paper, It is investigated theoretically for the function, type, and class of dress. Also, The form of Korean Po are compared to background of Turkish dress and Sulltans' dress form. To unify a cultural propagation and dress form, technical, inductive contents analytical method as well as literature review are used in positivism. Subject is limited to the Korean Po and Sultans' dress of Turkey. As a results, as the nation's dress reflect to culture and society of the nation, Korean dress have some similarity and differences comparing Turkish dress as followings. In dress form of two nation, rectangular Gil's shape was very similar. Mu's shape was similar too. However, Sultans' dress had outside shape of caftan type and Po had full or partial wrinkles by transforming Mu. Also, Sultans' dress did not have Sup. Korean Po have side slits or back side slits and Jun-Sam but Sultans' dress had only some side slits.

• Human Ecology Research
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• v.58 no.2
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• pp.215-228
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• 2020

Underlying dress forms for high coverage patterns are very important in the dress industry. Size 9 from brand D was chosen according to the analysis that it was the best option because a dress should have a large allowable range in one size. The criteria for selection were the dress form with a waist circumference of 63.50 centimeters, which is close to the standard size of women in Korea. Brassieres for dresses were included to enhance the aesthetic value of the correction process in producing a basic dress pattern. An experimental torso pattern was applied to evaluate the fit and suitability of the dress form that was also later verified in the process of the dress works. Three dresses were produced and presented on the chosen study dress form. The research procedures are as follows. First, the sell-through rates and feedbacks were collected from the dress form vendor. Second, a literature survey on dresses and a dress company investigation were conducted. Third, the amount of body dimension changes due to the use of a bra in the dresses were examined. Fourth, after the correction of the dress form, the torso pattern was made by draping. Fifth, the torso experimental clothing made of muslin material was evaluated. Sixth, the dress works of the top design were presented using the size 9 basic pattern developed by brand D.

• Fashion & Textile Research Journal
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• v.1 no.2
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• pp.148-153
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• 1999

The purpose of this study was to manufacturing of personal dress form by replica method for draping. The objects were physical body and personal dress form of their torso somatotype. Comparing the measurements of Martin method and of sliding gauge method to examine the fitness of dress form. Dress form was found bigger than physical body. This was due to the transformation in processing that wrap a Suck-Go bandage and pack a polyurethane foam. On the basis of the result, manufacturing of personal dress form and foundation by draping, it was wearing done test on the physical body, through the procedure that investigate the possibility of usage and the manufacture of personal dress form.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Journal of Fashion Business
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• v.21 no.1
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• pp.74-87
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• 2017

The aim of this study was to analyze the features of bodice patterns modeled using a dress form that represents Korean female fashion models' body features. A controlled experiment was carried out using an existing dress form that has been frequently used in South Korea. The purpose of the study was to suggest notable findings derived from understanding the development of bodice patterns for Korean female fashion models. The comparison of features of bodice patterns from the developed and existing dress forms was carried out with consideration of the upper body features of the developed dress form, such as body angles and body cross-sectional shapes. The following results were derived from the investigations. (1) The angles of the upper and lower breast cups of the developed dress form differed to those of the existing dress form, showing a 5.0cm smaller front shoulder dart and a 3.5 larger ㎝ ㎝ front waist dart within the bodice patterns. (2) The body angle features of the developed dress form included a straighter neck and shoulder blade and more concave center back than the existing dress form, with a 2.0 reduced back neck height and a 4.8 larger back waist dart for ㎝ ㎝ the bodice back panel. The more realistic body angles of the developed dress form anticipate the improvement of garment pattern-making. (3) The altered shoulder angles resulted in an increased size of the back shoulder dart and a decreased size of the front shoulder height within the bodice patterns. (4) The increased rate of curvature of cross-sectional shapes on the bust and waist circumferences of the developed dress form resulted in an increase in the sizes of the front and back waist darts.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.8
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• pp.1076-1087
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• 2004

The purpose of the study is to give new aesthetic values of black dress one of the important items in contemporary women＇s fashion. Through the work, to give the new aesthetic characteristics that women really needed can be found. This study was processed by fashion books and articles, literal material with fashion photos which were related fashion trend from 1920 to the present. The results are as follows: In early 20th century, the black dress, which had simple form pursuing function like little black dress. In the middle of the 20th century, elegance and minimalism was represented by black dress, expressed erotic images together with see-through fabrics. In the end of the 20th century, body conscious style of black dress expressed sensual images of women. Modem black dress has design characteristics of the form: simple, close, exposure type and of the materials: matte, transparent and dazzling etc. Simple type emphasizes feminine elegance, while close type and exposure type disclose woman body curve to express erotic images. Matte materials made black dress express feminine elegance while transparent materials and dazzling materials made black dress express erotic and sensual beauty. The aesthetic characteristics of black dress were as followings: Sensualism expresses sexual attractiveness of women-close type and exposure type black dress and see-through materials and dazzling materials made black dress. Simplicity of extreme decoration effects are expressed through black dress having temperate and simple form. Femineity expresses traditional femineity to emphasize chaste, modest and elegant women images-the black dress, which is made of simple form, velvet and satin materials. Modernism combines black colour, which is called modem colour, with simplicity and function factors and pursues simple form. Ascetic practice controls mental and physical desire of the individuals, simple form without decoration covering up woman body and box type silhouette of black dress. Therefore, the study on image of the black dress, which have made appearance at modern fashion, is thought to help develop fashion trends and design, through which modern women express themselves and their beauty.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.708-715
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• 2016

This study researched the sizing system of dress form for apparel manufacturing in the domestic market. It aims to be used as basic data for the development of a dress form that could be used by manufacturers of senior men's clothing. Research focused on the sizes presented on the homepages of 17 dress form manufacturers in the USA, France, Japan, and Korea. Body measurement was made for senior men in their 50's over men (n=134). Six items were measured by the 'Standard body measurement of Size Korea'. The type of dress form in the domestic market can be classified into half-body type (upper body type and lower body type), torso, and whole-body type; in addition, each type is divided into upper arm, arm, crotch, and thigh. Korean dress form manufacturers produced/sold diverse kinds (size 7-9) for women; however, they used large/small sizes or product sizes for men without defining sizes. The chest size (93-105cm) has not been standardized while the rates of waist circumference, hip circumference and shoulder length (in accordance with the chest size) were all different. Global dress form brands manufactured reflecting body dimensions by the state organization USA ASTM. Japan JIS. For this reason, most domestic clothing businesses depend on imported dress forms. Especially, there were no dress forms for senior men. With the growing market for seniors, it would be necessary to produce senior dress forms for clothing production that reflect the body shapes and sizes of seniors.

• Fashion & Textile Research Journal
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• v.20 no.6
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• pp.722-732
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• 2018

This study was to develop a dress form that is highly representative of the body shapes of senior men in their 50s and 60s. And this research was compared the measurements and forms of three different dress forms available in the market, in order to analyze the body type and suitability and provide a standard for developing and utilizing the dress forms. After extracting the body shapes of the senior men's 3D shape, the body type that is curvature on the back prevalent among senior men, was chosen. The dress form was created as follows: 3D modeling and rendering, printing with a FDM-type 3D printer. The dress forms were 3D-scanned and the 3D data was analyzed - classification drop value, area deviation, compared horizontal section and vertical section. The results were as follows: This suggested that the area deviation amount at the chest and hip circumference levels was larger in the commercial products than in the dress form in this study, while that at the waist circumference level was larger in the dress form in this study. The vertical length of the lateral shoulder point-waist circumference was smaller, the side shape showed severe curvature on the back, and the waist circumference was larger in the senior men dress form than the commercial products. The dress form developed in this study reflected the body type of senior men and, therefore, were suitable for fitting when creating clothes for senior men.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.4 s.44
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• pp.357-369
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• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• Fashion & Textile Research Journal
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• v.7 no.6
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• pp.601-608
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• 2005

This research investigated the present state of the dress forms used by clothing manufacturers and proposed procedure to bring out the standardized body type and figure for women in twenties. The result of questionnaire showed chief pattern maker's thoughts that dress form should be differently made for each age group and should be more reflected the standard body than the idea body. The standardized body type was made from the standardized posture and size which were analyzed from the interquartile range(IQR) of 314 subjects. The standardized size could be verified as for the balanced body shape of twenties through making the standard dress form. The standardized form(S form) was compared with three kinds of forms(A, K and P) for investigating the suitability of forms. K form was very similar to S form, Educational P form and manufacturer's A form had quite big differences from S form at the important areas for making clothing. The side shapes of A, K and P forms showed differences at back bending, neck angle and hip shape from S form. A form was comparatively smooth and flat. This results could be used as the practical standard to improve the suitability of size and shape in the dress forms of manufacturers and educators.