• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.989-996
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• 2008

The purpose of this study is to provide the basic knowledge for the pattern development of a flared skirt. Two flat pattern (FP) methods, the concentric circle method and the corrected concentric circle method, and a draping were used for pattern making. Using these patterns, skirts were made with lengthwise grain in the centerline. The influence of pattern making method on the silhouette of the flared skirt was evaluated by the hemlines formed at the skirt worn in a dress form. Moreover, the combined influence of pattern making method and cutting direction on the silhouette of the flared skirt was examined with the draping pattern (DP) skirt and a FP skirt with $45^{\circ}$ bias grain in the centerline. The DP skirt had more uniform nodes and formed a stable wave form than the FP skirts throughout the whole hemlines. The number of nodes was reduced with lining in the two FP skirts, whereas the number of nodes was not changed in the DP skirt. The unit wave form of all the skirts by three patterns showed long loop form, and the slope angles of the unit wave form of the two FP skirts were higher than that of the DP skirt. The silhouette of the flared skirt was highly influenced by the shape of the waist circumference line in patterns. The DP skirt with lengthwise grain in the centerline showed good silhouette with uniform nodes and high marking efficiency, compared to the FP skirt with $45^{\circ}$ bias grain in the centerline.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• Journal of Fashion Business
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• v.14 no.2
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.1027-1039
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• 1995

Clothing fitness is strongly required in the apparel industry, and draping is an effective tool to increase fitness to the wearers. A more sophisticated and systematic information of the somatotype, accordingly, is necessary for better cress form design. This study was performed to provide fundamental data on middle aged women's upper torso for dress form designers and pattern makers by classifying the somatotype based on each individual's lateral view, and analyzing the characteristics of their somatotype. Data were analyzed by factor analysis, cluster analysis, analysis of variance. Factor analysis was used to 23 items from photometric measurment and cluster analysis was applied for classification of upper torso forms. Through cluster analysis using 5 factor scores, 3 somatotypes were categorized from th lateral view 1) Type I was straight somatotype in which the plumb line passes throught the lobe of the ear, the shoulder joing and the mid abdominal region laterally. This type of woman was slender and shorter than average. 2) Type II was bending somatotype in which the upper portion of upper torso is bent forward. This type of woman was taller and fatter than average. 3) Type III was swayback somatotype in which the upper portion of protruding point on the back is bent forward but the lower portion of protruding point had characteristic of turning over somatotype. This type of woman had storter length on the front and longer lenght on the back, slender type and flat chest.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.148-159
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• 2006

The purpose of this study is to understand continuity and discontinuity of the neoclassic style in early twentieth century fashion modernism. Researching relations in fashion between eighteenth to nineteenth century and twentieth century, the theory of 'linked solution' suggested by Kubler and Broadsky has been accepted. The results of this study are as follows: In early twentieth century fashion, continuity of the neoclassic style is considered as presentation of geometric form based on anatomical truth of the human body and moderation of decoration. Also simple construction to present practical purpose of the dress in honesty were continued. On the other hand, discontinuity of the style is found in the imitation of men's classic tailored suits and standardization of sizes and styles. These are considered to reflect such early twentieth century sociocultural contexts as equality of the sexes and mechanical aesthetics. Hopefully this study will contribute to the broadening of insight in fashion connecting traditions.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.339-353
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• 2004

Purposes of this study were to analyzed coat types and characteristics of coat of young persons, and search whether fashion trend is reflected on coat. Data collected pictures that they are wearing dress in street of Daejeon city 3 places that there are much the rising generations at November, 1999. This study target was from teens latter half to 20 opening part, 154 women. Data analyzed content analysis, frequency analysis, crossing and the result is as following. First, classification standard of coat was textile fabric, form of detail and ornament. Second, coat could classify in three types, type 1 was traditional duffle coat style that is distinguished by form of detail and ornament(hood and button). Type 2 was classified property of textile fabric that used leather, padding, fur etc., and type 3 was classified by collar detail of woolen fabric coat. Specially, ornamental fur of woolen coat perceived visually strong. And design detail of coat showed significant difference in coat type. That is, duffle coat type was designed patch pocket and toggle, woolen fabric coat type was hidden button and seam pocket. Third, fashion tendency of coat was proved that is reflecting part of predicted fashion trend.

• Journal of the Korean Society of Costume
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• v.24
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• pp.103-120
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• 1995

The Xinjiang Uighur Autonomous Region to from the most of Eastern turkistan is located at North-wetern part of China, and it is the center to form the famous silk-road historically. In th exinjiang Uighur Autonomous Region there are 47 nationalities. In this study, the researcher studied the historical background, and the traditional culture about dress sand ornaments of 4 nationalities (that is Uighur, Kazakh, Kirgiz and Tajik). The results of the present study are as follows : In the basic structure of traditional costume by races, there is not big difference. Then , in men , the trousers and the shirts of funic type become the basis with the style which is convenient to act. And , to wear vest , or jacket , or chanban, over it makes a little difference . In women also, same structure shows with the form to wear vest or outerwear, on the basis of one piece. But , in a small hat, heat wear, color contrast, and decoration element etc. , strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion , and life habit etc. But, the discrimination is made in the detailed side. So , it can be said that they show the conservative nature of nationalities, and have preserved the unigue identity of their own culture.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.155-171
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• 2007

Exaggerated expressions of contemporary fashion have exceeded historical precedents in volume. The purpose of this study is to understand the aesthetic characteristics of expanded form In contemporary fashion. To take dresses beyond their flat shapes into three-dimensional forms, it was investigated into volume of dresses by using the void and the mass. The void Is rarefied space and the mass is densified space. The void of dresses could be constructed from the boning such as panier and stiff textiles as organza lining. The mass could be constructed from padding. Fold, pleats, twist, and the layering of fabrics show features of both the void and the mass. Contemporary fashion designers relied on the void rather that the mass to make the enormous volume because of the weight of the mass. X-silhouette and the expansion of skirt and sleeve were dominant as the result of accentuating the body with a waistline. However, many of expanded dresses were so voluminous that they obscured the body's outlines. Some forms were strange and shocking. Many designers explored the void and there were a multitude of methods to construct the void: compartments of air, architectural techniques, technical textiles, fold such at origami. The aesthetic consciousness of expanded dresses could be classified into 7 categories, the giant, the dynamic, the deconstructive, the historical, the comedic, the rhythmical, and the technical character.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 1992.10a
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• pp.136-144
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• 1992

Recently, Silicon Nitrde ceramic is regarded as the representative engineering ceramic with the excellent mechanical properties and many functions for mechanical components and parts among various kinds of ceramics in the mechanical industry. But, during the manufacturing of engineering ceramics, there is many volumetric shrinkage coupled with a distortion of the parts which is produced. Due to the requirement for high accuracy of size, form, and surface finish of the components, machining is needed surely. Nowdays, grinding with a resin bond type diamond wheels has been generally applied to machining of the engineering ceramics in the whole world because that it can be conveniently proceeded for workers to dress of tool and made with high reliability in producing factories among many bond type super-abrasive wheels yet. It is important task for attaining prescribed mechanical components with high reliability to observe the grinding mechanism of ceramics as like generation of cracks and chipping of material during process. Because they considerably effects on the strength characteristic of machined mechanical components. In this study, various surface grinding experiments using resin bond type diamond wheels are carried out for Silicon Nitride ceramic. Grinding mechanism of ceramics is observed experimentally and the relationship with various conditions is also attained. Form this experimental study, some useful machining data and information to determine proper machining condition for grinding of Silicon Nitride ceramic is obtained.