• 한국의상디자인학회지
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• 제13권2호
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• pp.163-173
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• 2011

The objective of this study is to examine the current status of manufacturing formal knit jackets for middle-aged women. Fifteen manufacturers specializing in formal knitwear brands were chosen as the study subjects, and interviews and questionnaires were used with patterners and designers. The questionnaire was composed of 27 items and began with general questions, such as how the jackets were manufactured. Specific questions, such as materials and sewing method, were also considered further on. The results are as follows: First, as for the structure of the knit jacket manufacturer, seven out of fifteen manufacturers directly manufactured knit jackets in their own factory, while the manufacturing was comprised of 20% woven jackets and 80% knit jackets for all manufactures. Second, as for the type of yarn mostly used in knitting the fabric for the jackets, satin yarn and wool were used mostly for F/W with Plain and Half Milano rib stitches as the type of knit with a gauge of 12G and 7G. Third, as for the margin between the product size of the target brand and the size of the body at the time of designing a knit jacket pattern, the investigation of the actual state of manufacturing showed that the margin at the bust was B+4.8cm, the waist was W+6.9cm, and the hip girth was H+5cm. Therefore, the bust and hip girth of the knit jackets were designed to be smaller than those of the bust and hip girth lines of non-flexible woven jackets. On the contrary, the waist measurement of non-flexible woven jacket was designed to be smaller than the knit jacket. It was found that the side line of the knit jacket was expressed with greater give as compared to that of the non-flexible woven jacket.

• The International Journal of Costume Culture
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• 제12권2호
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• pp.179-196
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• 2009

This is a follow-up study to "An Analysis of the Fitting of Plus-sized Women's Formal Jackets in On-line Shopping Malls", in which we compiled basic sizes of formal jackets sold in online retailers for plus-sized women and compared specific measurements of the jackets from each retailer. Emphasizing a comparison of age groups 20-39 and 40-59, fit evaluations and analyses were conducted in order to provide data to help manufacturers develop formal jacket patterns that reflect physical characteristics of plus-sized consumers and offer better physical fit. The surveys and evaluations were conducted between October 2007 and May 2008. and the compiled data were analyzed using the SPSS 17.0 statistics program. The results were summarized as follows. The two age groups gave different evaluations of the fit problems in the women's formal jackets sold in online retailers. Whereas the age group 20-39 felt that the main problems were in the shoulder, armscye, upper arm, waist, abdomen and hip areas, the age group 40-59 said that they found more problems in the armscye, upper arms, sleeve length and jacket length. Modifying the shoulder area, armscye depth and jacket length severely compromises the jacket's balance, and attention to these areas must be given during pattern design.

• 한국의상디자인학회지
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• 제17권4호
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• pp.161-172
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• 2015

In this study, characteristics of modern fur fashion were reviewed and aesthetic characteristics shown in fur fashion were analyzed. The results of this study are as follow. Aesthetic characteristics shown in fur fashion between 1980s and 2000s are conspicuousness, sensuality, elegance, activity, humor and abnormality. Conspicuousness was displayed in oversized fur coat in vivid leopard pattern, mink coat trimmed with rich fox fur or leopard patterned fur jacket in hot pink. Sensuality was displayed in white and gray soft mink coat worn over mini dress, soft mink jacket which is short enough to expose legs or soft fox best accentuating chest and arms. Elegance was displayed in soft fox coat in silver, luxurious mink coat with slim silhouette that flows with body line or silver bolero made of mink and silk with slim silhouette. Activity was presented in mink pullover with loose silhouette or rabbit jacket that emphasized functionality by having zippers or hem made of rubber. Humor was presented in unique and humorous patterned fur jacket or exaggerated and unique form of fox bolero. Abnormality was presented in mink jacket made of combining alien material with deformed proportion and form or outer that emphasized vague form by using long and big fox fur.

• 한국의류학회지
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• 제26권3_4호
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• pp.390-401
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• 2002

본 연구에서는 기성복의 맞음새와 치수체계에 따른 문제점을 제시하기 위하여 현재 시판되고 있는 여성복 재킷을 중심으로 사이즈별 각 패턴의 치수 및 공극량 분석을 실시하였으며 결과는 다음과 같다. 1. 재킷에 대한 관능검사(self sensory test)결과, 패턴 B의 점수가 가장 낮았으며, 동일한 사이즈의 의복임에도 불구하고 재킷의 착용감은 유의적인 차이가 있는 것으로 나타났다. 2. 패턴 계측 결과 각 브랜드간의 패턴 그레이딩 량은 차이를 나타내어 동일한 사이즈임에도 불구하고 여유량이 서로 다르게 나타났으며, 수직방향보다는 수평방향의 증가량이 큰 것으로 나타났다. 3. 3D scanner를 이용하여 인체 및 착의인체를 스캔한 결과, 3차원 입체 형상으로 의복의 착의상태를 볼수 있으므로 2차원 정보를 얻을수 있는 사진촬영 결과에 비하여 활용성이 높으며 촬영거리에 따른 피사체의 왜곡이 없으므로 정확도가 높은 것으로 나타났다. 4. 패턴별 평균공극길이에 대한 유의성 검증 결과, B88사이즈의 허리부위를 제외한 모든 부위에서 유의성이 인정되지 않았으며 사이즈별 평균공극길이에 대한 유의성 검증결과에서는 품, 배, 엉덩이부위에서 유의성이 인정되어 사이즈가 커질수록 이들 부분의 여유량 설정에 신중을 기하여야한다.

• 대한전기학회:학술대회논문집
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• 대한전기학회 2007년도 심포지엄 논문집 정보 및 제어부문
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• pp.281-282
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• 2007

We address a new representation of DCT/DFT/Wavelet matrices via one hybrid architecture. Based on an element inverse matrix factorization algorithm, we show that the OCT, OFT and Wavelet which based on Haar matrix have the similarrecursive computational pattern, all of them can be decomposed to one orthogonal character matrix and a special sparse matrix. The special sparse matrix belongs to Jacket matrix, whose inverse can be from element-wise inverse or block-wise inverse. Based on this trait, we can develop a hybrid architecture.

• 복식문화연구
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• 제31권5호
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• pp.640-650
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• 2023

This study aimed to suggest a suitable collar pattern by visually evaluating the appearance of the amount of collar drape by the starting position of the lapel line of a double-breasted tailored jacket using a 3d virtual fitting program. It created an avatar based on the mean size of women in their 20s (the 8th Size Korea) using clo network (double fastening: 10cm, collar width: 4.5cm, collar stand: 3cm, and lapel width: 8.5cm). The starting of the lapel twist line was waistline level, the 1/2 level of bustline and waistline, or bustline level, and collar laying amount was 4.5, 5.5, 6.5, or 7.5cm. It was evaluated by garment construction experts using 5, 6, and 4 items on the front, sides, and back, respectively. Descriptive statistics, F-test, Duncan-test, and reliability analysis were conducted using SPSS 22. When collar laying amount was 6.5cm, it was best rated regardless of the starting point. Under waist line, when collar laying amount was 6.5cm, it was best rated regardless of the starting point. When collar laying amount was large, the collar's outline length increased, resulting in unnecessary wrinkles from the neckline to the lapel, affecting the overall collar appearance. When collar laying amount was the smallest, the collar was lifted and the width was narrowed, exposing the seam connecting the collar and neckline. The length of the collar's outline varied depending on collar laying amount, which was important to make the outline sit comfortably on the body.

• 한국의류학회지
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• 제27권8호
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• pp.969-980
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• 2003

The aim of the study is to develop a jean jacket and pants of easy-to-move for schoolgirls of 11 years old. The research was carried out as follows; 1. Using a manufacturer's pattern, a jean jacket and pants were made. 2. Based on the survey of 108 schoolgirls, interviews with 4 designers of children's wear, and wearing test, three trial garments were developed. -Certain areas such as knee, elbow, and hip should be altered to have better extensibility. -The weight of the garment would be better to be reduced. 3. Three trial garments were developed using following techniques, which were found in fashion magazines for kids very often. -Alter the location and the shape of the seam line so that the areas mentioned above can adjust the movement of the body better. -Match stretchable material at the areas which require better extensibility. -Use various trimmings to make the garment more size adaptable and easy-to-move. 4. These garments were tested by 26 schoolgirls, and they answered the questionnaires focused on the design preference and easy-to-move. 5. From the results of the wearing test of three trial garments, more effective techniques were selected. Using these techniques, prototype garment was developed. The prototype garment was approved by the wearing test of 26 schoolgirls.

• 복식문화연구
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• 제9권3호
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• pp.485-500
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• 2001

The purpose of this study is to develop the formal wear for social activity of dwarf. Second investigation for choices of designs based upon data from the first questionnaire investigation, led us to make proposals for design, pattern production, garment-cutting and dressmaking. The effect of wearing the made-up garments was carefully evaluated in order to establish principles for the development of clothes for dwarf. Conclusion is as follow. Dwarf felt uneasy in conventional street dress. When buying clothes their most important criteria was design wanted clothes that would help them to look taller. Analysis of design preference to complement perceived physical weak points revealed: 'a pink ensemble' comprising of a high-waist, one-piece dress, and a black slacks suit comprising of a striped, single-breasted, tailored jacket, and straight-type slacks and blouse. It was found that a bolero jacket and a high-waist, ankle-length, one-piece dress helped create an optical illusion of increased height, for both the wearer and an observer. A pastel ton-pink, one-piece also created this effect on small bodily types, as well as offering a silky, mellow attractiveness. A suit of a striped, single-breasted tailored jacket, and straight-type slacks and blouse, created the two fold illusion of disguising hip imbalance with the length of the jacket and drawing an onlooker\`s gaze to the wearer\`s face through the tailored collar, they also looked taller due to the stripes.

• 복식
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• 제58권7호
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• pp.151-163
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• 2008

This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

• 한국의류산업학회지
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• 제14권6호
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• pp.952-959
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• 2012

This study looks into the changes in collar patterns in tailored jackets with different numbers of buttons. The study discusses the pattern design method of tailored colors in 4 different styles, such as the effect of the number of buttons of tailored jackets on collar width and length, lapel width and length, and angle of lapel and overall balance in design. Through the first dress experiment, patterns were adjusted and corrected. The second dress experiment was conducted with the modified experimental clothes. The results of comparison and analysis are as follows. The 1 button tailored jacket was most preferred for its beautiful expression and overall balance of upper color and lapel when its lapel width was 7.5 cm. The second most preferred one was the 2 button tailored jacket with lapel width of 8 cm, and the 3 button jacket showed relatively good balance when its lapel width was 7.5 cm. The 4 button tailored jacket showed a bad balance in collar and button. Also, its overall silhouette was disappointing and thus was less preferred than others. For smaller number of buttons, the angle of lapel's break line increased, thus displaying a more refined and slim silhouette. On the other hand, the angle of lapel's break line decreased for greater number of buttons, thus displaying a dull and fat image. As a result, the jacket with many buttons was less preferred.