• 한국의류학회지
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• 제48권3호
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• pp.528-542
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• 2024

The aim of this study was to analyze and typify the body shape of tall women aged 20-69 using 3D measurement data from the 2020 8^th Human Dimensions Survey data with greater than 165.0 cm in height defined as large stature. Each body type's characteristics were examined to derive points of differentiation compared to women of average body type. The analysis showed that as height increases, body height, length, and generally body circumference, thickness, and width also increase. However, taller women were found to have thinner waists, indicating a wider, flatter waist area. Waist circumference was also smaller, albeit not at a statistically significant level. Body shapes of adult women over 165.0 cm tall were classified into three types. The following body types were analyzed: thick ankles and drooping shoulders, thin and short torso, tall and long, long torso and thick ankles, large body circumference, thickness and width, normal torso length, and short stature and thin ankles. To develop garments for adult women over 165.0 cm tall, a new drafting method was required set the waist, knee height, and shoulder width.

• 패션비즈니스
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• 제28권3호
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• pp.122-139
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• 2024

Image-generated AI is rapidly emerging as a powerful tool to augment human creativity and transform the art and design process through deep learning capabilities. The purpose of this study was to propose and demonstrate the feasibility of a new design development method that combined traditional design methods and technology by constructing image-generated AI prompts based on artists' formative elements. The study methodology consisted of analyzing Kazmir Malevich's theoretical considerations and applying them to AI prompts for design, print pattern development, and 3D digital design. This study found that the suprematist works of Kazmir Malevich were suitable as design and print pattern prompts due to their clear geometric shapes, colors, and spatial arrangement. The AI-prompted designs and print patterns produced diverse results quickly and enabled an efficient design process compared to traditional methods, although additional refinement was required to perfect the details. The AI-generated designs were successfully produced as 3D garments, thereby demonstrating that AI technology could significantly contribute to fashion design through its integration with artistic principles. This study has academic significance in that it proposes a prompt composition method applicable to fashion design by combining AI and artistic elements. It also has industrial significance in that it contributes to design innovation and the implementation of creative ideas by presenting an AI-based design process that can be practically applied.

• 패션비즈니스
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• 제28권3호
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• pp.34-47
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• 2024

This study aimed to enhance public awareness of the growing issue of automobile waste and promote environmental protection by developing visually appealing and innovative clothing designs. By leveraging successful examples of upcycled fashion design and products that could recycle automobile waste, this study proposed four garment designs utilizing various materials such as seat belts, leather seat fabrics, and airbags from automobile waste. Ultimately, two of these garments were produced as physical prototypes. Findings of this study are summarized as follows. First, the development of upcycled fashion products utilizing automotive waste opened new possibilities for sustainable fashion design. This approach demonstrates potential to meet demands of modem consumers who prioritize environmental values and social responsibility. Second, the study established an important foundation for understanding market acceptance and consumer perception of upcycled fashion products using automotive waste. As consumer awareness of environmental protection grows and demand for sustainable products increases, these upcycled products are likely to gain significant traction in the fashion industry.

• Nuclear Engineering and Technology
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• 제56권7호
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• pp.2570-2575
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• 2024

The study aims to develop a novel, lead-free, flexible and lightweight composite shielding material against ionizing radiation. For this, it was used bismuth oxide (Bi₂O₃) in RTV-2 silicon matrix. The shielding tests were carried out in both diagnostic X-ray energies and intermediate gamma-ray energy range of up to 662 keV to determine the radiation attenuation properties of this material in terms of attenuation ratio, half value layer, tenth value layer, mean free path and lead equivalency of samples in weight of 30%, 40%, 50% in Bi₂O₃. In the diagnostic X-ray energy range, half value layer, tenth value layer and lead equivalency (in mm Pb) of the produced samples were measured at 80 and 100 kVp narrow beam conditions according to the requirements of EN IEC 61331-1 standard. The results show that lead equivalent values of the produced novel sheets was measured to be 0.16 mm Pb, corresponding to a 6 mm thickness of the flexible sample when it contains 30% wt. Bi₂O₃ in RTV matrix. The experimental findings for durability and flexibility also indicated that this new RTV-based flexible, lead -free shielding composite can be used safely for especially for manufacturing aprons, garments and thyroid guards used in mammography, radiology, nuclear medicine and dental applications in practice.

• Fibers and Polymers
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• 제7권4호
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• pp.442-445
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• 2006

The purpose of this study was to compare the subjective fabric hand evaluation and wear comfort of PET treated by Ultraviolet and to evaluate the subjective results from the investigation of microclimate temperature. The subjective hand evaluation was performed by 20 subjects (age: 20-25) with 5-point scale questionnaires to investigate the change of PET knit fabrics treated for different times, specifically, 0, 30 and 90 minutes. The questionnaires were composite with 8 questions; roughness, smoothness, wetness, stiffness, coolness, touch, preference, and comfort. In order to evaluate sensations of wear comfort, we made garments with UV treated fabric and five female students were tested. They walked at the speed of 6.7 km/ hr for 15 minutes in an environment, which was controlled at $29^{\circ}C,\;75{\pm}5%$ RH. Before and after exercising, the microclimate under clothing and subjective wear comfort was measured. The results of subjective evaluation of fabric hand were that untreated and treated for 30 minutes PET were recognized as similar and have a good evaluation on comfort, preference, and touch. According to the result of wear comfort, clothing treated by UV for 90 minutes had the lowest value on the thermal and humidity sensations. In addition, the value of tactile and comfort sensation was the highest on the clothing treated by UV for 90 minutes. In the case of objective evaluation, PET treated for 90 minutes was the lowest on microclimate humidity. PET irradiated by UV for 90 minutes was more 'cool' in thermal sensation and more 'dry' in wet sensation. Accordingly, it was consistent with the result of subjective wear comfort.

• 복식문화연구
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• 제16권5호
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• 한국의류학회지
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• 제12권1호
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• pp.81-91
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• 1988

The purpose of this study is to investigate the physiolosical responses and subjective wear sensation to the clothes with different cellulose composition. The experimental garments were four types of cellulosic fabrics, respectively composed of $100\%$-cotton, $100\%$-Rayon, cotton/Flax 85/15, and rayon/Flax 85/15 (weft blended), were sewn in blouses with half-length sleeves. Four healthy women were chosen for this experiment. The condition of the experimental room were in two environments: Temp., $25{\pm}1^{\circ}C$, R.H. $60{\pm}3\%$ and Temp., $30{\pm}1^{\circ}C$, R.H. $70{\pm}3\%$, and air velocity was maintained at 0.25 m/sec. The results are as follows. 1) At $25^{\circ}C$, rayon blouse showed the pleasantest feeling because of its excellent humidity sensation and tactile sensation. At $30^{\circ}C$, rayon and flax blended blouse showed most comportable sensation. In both environments, blouse of $100\%$ cotton showed the least pleasant because of high vapor pressure inside the blouse and bad tactile sensation. 2) Vapor pressure inside the blouse and tactile sensation play the most impotant role in comfort. Consequantly the blouse made of $100\%$-cotton which bring low air permeability, moisture regain and water vapor permearbility showed more unpleastness than rayon blouse because it raises temperature, relative humidity and vapor pressure inside the blouse under the hot circumstances In the conditions with much sweat, rayon and flax blended blouse with high stiffness increases comfort better than $100\%$ rayon because the former prevents sticking to the skin.

• 한국의류학회지
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• 제36권6호
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• pp.592-600
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• 2012

Social reactions to body exposure in American leisure wear (bathing suits, shorts, and halters) in the 1930s were analyzed to provide an understanding of the process of adopting more abbreviated and less-occasion specific styles of garments in women's fashion. The research questions were as follow: How did women expose their bodies in leisure wear during the 1930s? How did the social reaction to women's body exposure in leisure wear change throughout the 1930s? How did the body exposure in women's leisure wear play a significant role in the history of women's fashion? Primary sources were collected from issues of The New York Times published in the 1930s. Topics including dress, fashion, ethics, social ethics, and sexual ethics, were reviewed in The New York Times indices. The findings were analyzed and interpreted with reference to secondary sources that included books and research papers. The results showed that the body exposure of the styles as well as the place where these styles were worn was a public issue. Women were criticized and regulated for body exposure as well as for wearing bathing suits, shorts, and halters on the streets. However, the social regulations that restricted bathing suit styles almost disappeared by the end of the decade. This represented the change of social expectations toward body exposure in the 1930s. In addition, reports of laws that forbade the wearing of bathing suits, halters, and shorts outside of beaches, pools, and parks indicated women's increased attempts to expose their bodies in public places. However, reactions to women's body exposure in leisure wear changed to accept more flexibility in the social customs throughout the decade. These phenomena were a partial step toward the popularization of less occasion-specific styles - sportswear - that took place in the 20th century.

• 복식문화연구
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• 제19권6호
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• pp.1193-1204
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• 2011

As designs that simulate man's five wits are important, all five senses used are complex. Tactil value by Bernard Berenson means that the object in fine art makes the spectator feel like his or her finger is touching something, although the spectator is distant from the art piece. Especially as costumes have a relationship with the flexible skin and moving body, tactile modality and tactile value is more important. In order to analyze how Madeleine Vionnet realized a new femininity through the application of the principal of tactile value to dress design and in order to define tactile value in the field of fashion, this study examines the theory of tactile value, sculpture, painting, contemporary art, and product design as well as the design of Madeleine Vionnet from 1925 to 1937 because she was in the fashion business enlarging dress shops in New york during this period. The shape of Madeleine Vionnet's dresses made the concealed body alive through organic curves pressed against the body from cuts and dissections based on the anatomy of a supple body with curves and movement. In the garments, soft physical characteristics or the glossy touch of silk or pile textile imitated smooth skin while colors similar to a woman's eye, hair, and skin color continue the impression of the dress extending to the body through these design elements, Madeleine Vionnet's dresses reinforce the will to touch female body hidden under the dress by tactile values, not by the body's modification or visual exposure.

• 복식
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• 제63권8호
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• pp.76-89
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• 2013

This study is about 'asymmetry triangle-Mu' Jeoksam and Hansam in the early days of Joseon Dynasty. A study was done regarding the records of Jeoksam and Hansam in literature, the present state of the excavated 'asymmetry triangle-Mu' clothing Jeoksam and Hansam, and finally a deduction of the reason for the appearance of the 'asymmetry triangle-Mu' clothing Jeoksam and Hansam. The width of front length of 'asymmetry triangle-Mu' clothing in the early days of Joseon Dynasty is 29.5~35 cm and the width of one breath of the sleeve is 29.5~35 cm. The width of 'asymmetry triangle-Mu' is 9.5~16 cm and it is relatively big. Comparing to the width of one breath of the sleeve, it is almost 1:2.2~3.6 ratio. Therefore, when the sleeve was cut, the Mu was linked in order to save fabric the gusset of sleeve had to be folded and turned, and finally it became asymmetric. As a result of the above consideration, since the width of upper garments of $16{\sim}17^{th}$ century was big, the wearing of short tops of Jeoksam or Hansam without side vent as a small 'triangle-Mu' was uncomfortable. Because of this reason, the size had no option but to become bigger. So, during the $16^{th}$ and $17^{th}$ century, a period where mass production of fabric was difficult, the 'asymmetry triangle-Mu' type was considered to be a reasonable cutting method. After the middle of $17^{th}$ century, it can be estimated that 'asymmetry triangle-Mu' clothing disappeared according to the narrow aspect of clothing type.