• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Fashion & Textile Research Journal
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• v.14 no.4
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• pp.607-613
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• 2012

This study develops a Hanbok Jeogori pattern for middle-aged women with a 3D virtual-twin and virtual-garment simulation system. The including criteria for subjects in this study was a focus on women in their 50s, and a total of 345 females satisfying them were enrolled for 3D virtual model. Comparative Jeogori pattern, Baik & Choi's(2004) pattern, was selected for the development of Jeogori pattern. The results were: first, a new Jeogori pattern considerate of middle-aged women was developed. The basic numerical formula were: Front and back bust girth B/4+1.5, armhole depth B/4, sleeve width B/4, goedae width B/10-1.5 and git width 5.5. Second, according to the results of the new Jeogori patterns appearance evaluation, the new Jeogori pattern scored higher than the existing pattern in silhouette and ease amount, this confirmed that the new Jeogori pattern is appropriate for middle-aged women. Virtual models of production through data from 3D body scan, pattern draft, and virtual garment digital program were applied to a prototypic design method to enhance the fitness of ready-made Hanbok garments. This study serves as important basic data for ensuing studies that may utilize 3D Virtual Garment Simulation System with 2D patterns and for the future 3D Pattern Production Program development of Hanbok patterns.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.245-254
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• 2011

The purpose of this study was to develop uniform pattern of obese junior-high school girls by using the virtual twin and 3D virtual garment simulation system. The results were as follows; first, by using 3D virtual garment simulation, new uniform pattern considered obese junior-high school girls was development. The basic numerical formula were as follows; bust girth=B/2+2.5, armhole depth=B/4, front waist girth=W/4+1.8, back waist girth=W/4+1, front hip girth=H/4+1, back hip girth=H/4+1, chest width=chest width+1.5, back width=back width+1 and back neck width 8cm. Second, according to the results of the new uniform pattern's appearance evaluation, it estimated more highly than existing pattern in silhouette and ease amount, confirming that new uniform pattern is appropriate for the obese junior-high school girls. Also, new uniform pattern was evaluated to allow proper space length of bust, waist, abdomen and hip. Virtual models production through 3D body scan data, pattern draft and virtual garment digital program were applied to prototypic design method so as to enhance the fitness of ready-made garments. This study is expected to serve as one of important basic data for ensuing studies that may utilize 3D virtual garment simulation system with 2D patterns, and also for future 3D pattern production program development.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.353-359
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• 2018

In this study, fused deposition modellig(FDM) 3D printing technology has been applied directly to polyester voil fabric to produce 3D printed lace/voil composite fabrics. A stereolithograpy(STL) file with a lace type 3D modelling under the various thickness were prepared and transformed into a g-code file using a g-code generator. The extrusion conditions for FDM 3D printing were controlled by 50mm/s of nozzle speed, $235^{\circ}C$ of nozzle temperature, $40^{\circ}C$ of heating bed temperature. 3D printed lace/voil composite fabriscs manufactured by 3D printing based on FDM using a thermoplactic polyurethane(TPU) filaments were obtained. To evaluate the mechanical properties and washability of the fabricated 3D printed lace/voil composite fabric, KES-FB system test, washing fastness test and dry cleaning resistance test were conducted. As 3D printing thickness increased, KOSHI, NUMERI, and FUKURAMI of 3D printed lace/voil composite fabric increased. From the results of the primary hand value test, 3D printed lace/voil composite fabrics were confirmed to be applicable to women's summer garments. As a result of the washability and dry cleaning resistance test of the 3D printed lace/voil composite fabrics, all samples were graded 4-5.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.343-352
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• 2018

The objective of this study is to investigate the market of fitness compression wear as well as to design an optimal fitness compression wear by analyzing the muscle and movement characteristics of the elderly women in Korea. In this regard, research for functional garments is needed to increase muscle activity of elderly people during physical exercise. Firstly, we investigated the brand, design, size, material, and pattern of fitness wear based on the market survey. Secondly, we identified preference, evaluation items, evaluation method, and pattern design method based on the literature review. Finally, in addition, the motion type, range, angle to improve the muscle strength of the elderly were investigated and the maximum muscle strengths of each motion were analyzed by using 2007 Size Korea data (n = 386). It is also designed for muscle fatigue through exercise and rapid fatigue recovery after exercise. The evaluation methods for fitness compression wear were classified as motor functionality, physiological comfort, pattern and material suitability evaluations. The muscle strength at leg (pushing force) and waist (lifting force) of the ages of 60 to 69 years old showed 239.3 N and 274.5 N, respectively, which were the lowest forces compared to younger age groups. By applying these results to the design process of fitness wear, it is anticipated that the fitness wear will have a proper fit to the body shape of elderly people in South Korea as well as it can increase muscle efficiency to promote physical capability and healthy life for senior people.

• The Korean Journal of Community Living Science
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• v.25 no.4
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• pp.549-556
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• 2014

This study evaluates the thermal insulation and evaporative resistance of a waterproof and breathable garment system and determines the factors influencing its thermal performance. The experimental garments were composed of underwear (shirts with 100% wool and 100% polyester) and outerwear (jackets and pants with a vapor-permeable membrane and a vapor-impermeable membrane). Data on clothing insulation in a dry condition ($10^{\circ}C$) and a wet condition ($10^{\circ}C$, 40% R.H.), evaporative resistance ($34^{\circ}C$, 40% R.H., and $10^{\circ}C$, 40% R.H.), and microclimate vapor pressure were collected and analyzed. According to the results, the thermal insulation of the experimental garment system ranged 1.27~1.40 in the dry condition and 0.40~0.89 in the wet condition at $10^{\circ}C$. Evaporative resistance ranged $41{\sim}525m^2Pa/W$. A decrease in thermal insulation by wetting underwear ranged 31~67% in the cold condition ($10^{\circ}C$). The breathability of the outer garment influenced the decrease in thermal insulation by wetting. The type of underwear fiber influenced the decrease in thermal insulation only when it was used with breathable outerwear. The vapor-permeable outerwear sample with polyester underwear (P_Perm) showed a larger decrease in insulation than that with wool (W_Perm). The evaporative resistance of the vapor-permeable ensemble showed no effect of underwear in the warm condition ($34^{\circ}C$), but polyester underwear showed lower evaporative resistance than wool in the cold condition ($10^{\circ}C$). The vapor-impermeable ensemble showed no difference in evaporative resistance between polyester underwear and wool underwear in both conditions. Future research should consider various clothing ensemble combinations and environmental conditions and evaluate wear comfort by using human subjects.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.26-38
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• 1998

This paper is based on a survey of consumers 'opinions on underwears. The questions in the survey dealt with what materials were used to manufacture underwears, which underwears were worn together in combinations, and how comfortable underwears were. In addition, the respondents were asked about how many pieces of different underwears they posses. Through such research, this paper aims to provide a guide to manufacturing domestic underwears that are competitive against foreign bands. 336 women in their twenties, thirties, forties and fifties from Seoul and it's suburbs were surveyed. Statistical analysis was performed by calculating the average, frequency and standard deviation, and through one-way analysis and the Duncan test. The following are the results of the study : 1. Consumers were moderately satisfied with Korean-made underwears. In order to complete with foreign brands, products with high consumer-satisfaction levels must be produced. 2. Upper garments usually consisted of brassieres with shoulder straps and sleeveless shirts. For lower underwears, most people tended to wear panties under girdle, with garlets on top. This is most likely the resut of more people wearing slacks than skirts. 3. Consumer in their twenties had anaverage of 1.71 slips, while those in their thirties had 3.07, those in their forties and 3.25, and people in their fifties had 3.88 slips. Thus the number of slips a consumer possesses increases as age increases. for socks, people in their twenties had 7.4 pairs on average, those in their thirties had 5.5, those in their forties had 6.7, and those in their fifties had 5.3. Thus, those in their twenties possessed the most number of socks. Consumers in their twenties also had the largest proportion of socks among all the types of hosiery combined, with 47.1% of their hosiery being socks. 4. Consumers did tend to prefer cotton underwears, but according to the type of underwears, producting using mixed fabrics of cotton and synthetic fibers were also frequently worn. 5. The shape and form of underwear that consumers prefer in a ceratin time frame varies according to the latest fashion in outer wear. Therefore, planning design of underwear products by predicting the future trend of outer wear fashion is necessary.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.129-144
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• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.44-55
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• 2006

The purpose of this study is to examine the characteristics of man's boots in the Joseon Dynasty and compared them with those of the Ming and Qing Dynasty to find the influential relationships between them. Boots in the Joseon Dynasty are divided into several kinds such as Heukgwejapihwa, Hheuksapihwa(黑斜皮靴), Heukpihwa(黑皮靴), Mokhwa(木靴), Hyeopgeumhwa(挾金靴), Suhwaja (水靴子), Jeonpihwa, Gijahwa(起子靴), and Baekhwa(白靴). In addition, Jeong(精: footwear) was put inside boots. They tend to be named according to their materials or ornaments on them. First, Jeong put inside the boots is regarded as footwear for the comfort of the feet or protection against cold. Mokhwa appears in literature around the 19th century. As shown by remains and paintings of those days, it is considered to have become the common name of boots as it underwent many changes. On the other hand, a book in the era of King Gojong includes pictures of Suhwaja. Compared to Hukpihwa in the same book. The topside seems to have been raised in order to make the wearer who put on a military uniform feel comfortable when walking, since the bottom piece is hard. Baekhwa is worn not only with funeral garments but also with Sibok(時服), one of official uniforms. Boots in the Joseon Dynasty had been made following the design of the Ming Dynasty since official uniforms were conferred upon King Gongmin in the late Koryo Dynasty. But turning the late Joseon Dynasty its detailed design changed little by little. The topside of the boots became more round, the entrance part became wider, height of the shoes became taller, and the bottom piece became parallel to the ground.