• Journal of Fashion Business
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• v.10 no.5
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• pp.159-179
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• 2006

This research checked about the necessity for the development of men's dress forms in the first investigation for the educational circle and the men's wear industry. Somatotype characteristics were analyzed in the second investigation of body measurement with the subjects of 200 male adults in their twenties residing in Busan. The following are the results of the present research to develop male dress forms for patternmaking: 1. In the group analysis for the characterization of front body types, three somatotypes were found and named H, Semi X, and Y. In the cluster analysis of side body types, four types were identified: D, I, d, and q. In the combination of front and lateral body types, four kinds were chosen: semi X-I, semi X-q, semi Y-I, and Y-q. 2. Through the comparison of plane figures by the plaster method as well as horizontal and vertical cross sections by the sliding gauge method, semi X-I was finally chosen as the standard somatotype for male dress form development. 3. Compared with the sliding gauge method of the present dress forms, the research dress form reflected better the shapes of the parts of the back and hips and the position of the waist, especially for males in their 20's. In addition, the dress form in the current research had superior points in all the items of clothing evaluation. Based on the above results, the sizes and models of the men's dress forms for patternmaking were developed.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.39-52
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• 2003

This study was classified according to types added ‘Seon(선)’ to the dress of Chosun Dynasty and analyzed them into formative characteristics. the results were as follows ; 1, ‘Seon’ is divided into three types of the standard, the decoration and the application. According to three types, the types of the standard are subdivided into Jemul Seon(the shape put the right side into lining) and the different color Seon. The types of the decoration are subdivided into Stitch, Surround, Gild and Embroidery form. And the types of the application are subdivided into Piping, Fur, Braid and Metallic form. 2, It showed as the different color Seon and Jemul Seon in the case of men dress and as the different color Seon and Gild form in that of women dress. 3, Its application showed in the ceremonial dress and ‘Po(袍)’ types of men dress and in the ceremonial dress and as accessories of women dress. 4, It was used as complementary color tone in both men and women dress. 5, It was used as its surface in men dress and as its reverse side in women dress according to Seon of style. 6, It was used as ‘Sa(紗)’ in men dress and as ‘Dan(緞)’ in women dress according to Seon of texture. 7, Seon of an aesthetic characteristics was distinguished according to Seon of forms, that is to say, Jemul Seon standed for calm beauty, Two color Seon standed for dynamic beauty, Stitch, Surround and Piping form standed for delicate beauty, Gild and Embroidery form standed for brilliant beauty and Fur, Braid and Metallic form standed for solid beauty.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.80-92
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• 2010

This research aims at developing the dress form for the aged women based on their body shapes using the three-dimensional body scan data with the body shape categorization(according to the previous research). To accomplish this goal, the sample group of representative body shape of the 50% of median was selected by using the high frequency proportion range of each type of body shape of the aged women, and the sample group of representative body shape of each type was averaged in a three-dimensional way by using the morphing method of a three-dimension reverse-engineered software. RP in the form of torso was produced based on the shape data of the final model and the data was formed into an actual object, by which an aged women's dress form model was drawn out. The differences of the girth of the bust, hip and waist between the developed dress form model and the existing dress form model were examined. The result showed that the developed dress form had a bigger size of waist girth than that of bust and hip girth, compared to the existing dress form, which shows that it reflects the aged women's tendency of abdomen obesity, so it's expected to be more proper for the human bodies of the targeted age group than the existing dress form. These research results may help design the clothing suitable for the body shape of the aged women so that their demand for the clothing of good fit will be satisfied in the future.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.137-149
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• 1993

The concept of style including the external form and internal meaning provides a useful structure to clarify the historical phenomenon on dress. The purpose of this study was to explore surrealism related to the external form and internal meaning and the stylistic change of surrealism through 1930 and 1988 according the linked solution proposed by Brodsky. The results were as follows; 1. In terms of double roots including the external form and the internal meaning on the surrealism of dress, first, the external form was founded to be that each objects having symbolic meaning was dislocated from its original place to dress. Second, the aspects of internal meaning intended to represent not rational and external world but irrational as well as to reveal other nature of object or dress itself. 2. The change of surrealistic style on dress was characterised as "linked solution" change theory than cyclical change theory through the historical data from 1930 to 1988 of documentary sources.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.129-144
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• 2002

Kyung(경, 경의), Which is Wedding ceremonial head dress, Veil. Ancient China, When dynasty is changing, wedding head dress form is different. Old china, Kyung(경) was sleeves attached dress form. But, after Dang(당) and Song(송) Dynasty changed square formed clothes, which is put on from head to the shoulder, and another is sleeves attached dress form. Ancient Korea have been face covered clothes. Myunuei(면의). from Buyo(부여) to the south Silla(남국신라) Dynasty. Koryo(고려) dynasty. likeness of the Song Dynasty square formed head wear, Mongsu(몽수), and Kedu(개두). When Chosun(조선) Dynasty, Kyunguei(경의), which was square formed 12 chuk size head wear of the blue colored veil. When King and Queen finished wedding ceremony in the another palace, Queen following the King, so to the palace. who put on the wedding veil, Kyungui(경의) , in the papanquin. and take out of the veil by another mother. before the hapkun(합근) ceremony. also Chosun dynasty has been another Queen's wedding ceremonial veil 'myunui (면의)'. It has been put on the head dress with ceremonial dress Juckui(적의) . And, take out of the veil by another mother, before the hapkun(합근) ceremony. also. common people has been put on the head dress with ceremonial dress Youmui(염의). And. take out of the veil by another mother. before the hapkun(합근) ceremony. also common people has been put on the Mongsuui(몽수의,장의). head dress with ceremonial dress round neck dress. And, take out of the veil by another mother, before the hapkun(합근) ceremony.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.1-14
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• 2004

The purpose of this study is to provide specific size data for developing a standard dress form for Korean Females between the ages of 18 and 29. Differences in sizes between dress forms used in 18-24 year-old target brands and 25-29 year-old target brands and the human body were ascertained through direct anthropometric measurements. In the 18-24 year-old target brands. 83.0-83.8cm is suitable for the bust circumference of the dress form, while in the 25-29 year-old target brands, 85.0-86.0cm is suitable. The waist circumferences of most dress forms are similar except for the Japanese C form, and there is no difference between the two groups. For hip circumference in the 18-24 year-old target brands, about 90.0cm is suitable while the 25-29 year-old target brands use additional dress forms of 91.0-92.0cm. The center front length, neck tc waist length, and front interscye breadth is 1cm shorter and the back interscye breadth is 1cm longer than indicated by the 1997 National Anthropometric Survey data.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.157-175
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• 2015

The study was aimed to develop a torso-type dress form representing body features of the female fashion models in Korea. To fulfill this purpose, 5 female fashion models aged between 20 and 26 having the average body measurements of professional fashion models in Korea were selected and their 3-D whole body scanned data were analysed. The 3-D whole body scanning method enabled to generate a virtual female fashion model within the CAD system by measuring the subjects' body shapes and sizes. In addition, the virtual model's body data led the development of a standard female fashion model dress form for the efficient fashion show preparation. In order to manufacture the real dress form for female fashion models, 3-D printing technology was adopted. The consequent results are as follows: (1) the body measurements (unit: cm) of the developed dress form were: biacromion length, 36.0, bust point to bust point, 16.6, front/back interscye lengths, 32.0/33.0, neck point to breast point, 26.0, neck point to breast point to waist line, 41.5, waist front/back lengths, 34.5/38.5, waist to hip length, 24.0, bust circumference, 85.0, underbust circumference, 75.0, waist circumference, 65.0, hip circumference, 92.0. (2) the body measurements differences between the developed and existing dress forms were highlighted with the body measurements of neck point to breast point and waist to hip length. (3) the body shape features of the developed dress form showed that bust, shoulder blade, shoulder slope, abdomen and back waist line to hip line parts were more realistically manufactured.

• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.445-454
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• 2008

The existing baseline taping methods were not applicable sometimes according to the body shape of dress form and they were often dependent on the personal ability and knowledge of modelist. It is very important to suggest the standardized baseline taping method which is applicable to various dress forms which have different body size and shape. It helps to communicate about clothing design and patternmaking between designer and manufacturer, and it also makes students to understand draping easily. So this study was performed to suggest the standardized baseline taping method which is easier and has consistency of taping result regardless of body shape of dress form. First, the existing 7 baseline taping methods were compared with 3 kinds of dress form which are reflecting different body shape and different age. Especially the location of baselines and landmarks which are important for draping are analyzed. Second, the new baseline taping method was developed with reference to the existing baseline taping methods, the standard body measurements of 2004 Size Korea and flat patternmaking. The standardized method for 12 landmarks and 11 baseline was suggested. Third, the appraisal group has performed baseline taping with both the existing method and new method on 2 kinds of dress form. The new method was superior to the existing method in uniformity of taping results as well as the degree of difficulty of taping. Development of the standardized baseline taping method which is applicable to various dress forms would make draping easier and be useful for both apparel industry and academia.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.1-19
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• 2002

Kyung(景, 景衣), Which is Wedding ceremonial head dress, Veil. Ancient China. When dynasty is changing. wedding head dress form is different. Old china, Kyung(景) was sleeves attached dress form. But. after Dang(唐) and Song(宋) Dynasty changed square formed clothes, which is put on from head to the shoulder, and another is sleeves attached dress form. In Japan. after Edo Dynasty, Wedding veil, which was sleeves attached dress formed, head dress cloth. Mouei(帽衣). and Piuei(被衣). Ancient Korea have been face covered clothes. Myunuei(面衣). from Buyo(夫餘) to the south Silla(남국신라) Dynasty. Koryo(高麗) dynasty. likeness of the Song Dynasty square formed head wear, Mongsu(蒙首), and Kedu(蓋頭). When Chosen(朝鮮) Dynasty, Kyunguei(景衣), which was square formed 12 chuk size head wear of the blue colored veil. When King and Queen finished wedding ceremony in the another palace, Queen following the King, go to the palace. who put on the wedding veil, Kyungui(景衣), in the papanquin.