• Journal of Fashion Business
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• v.24 no.4
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• pp.1-18
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• 2020

The purpose of this study is to identify the design features appropriate for the altered physical characteristics of pregnant women and formulate the direction of future design and development of maternity wear. A Delphi research method based on a panel of experts and pregnant women was used and the survey was conducted to determine the suitability of maternity wear. The survey found that A-line silhouette outerwear with round necklines, with wide sleeves and snap-button fastening on the front with a formal and decent look was considered appropriate as maternity and postpartum wear. Shirts and blouses long enough to cover the hip area to complement women's curvy and full figures, especially around the bust, waist, and hip areas during the later stages of pregnancy were found to be appropriate. Calf-length pleated skirts were comfortable to wear during pregnancy due to the abundant freedom of movement and space offered by pleats. Ankle-length straight leg pants were rated appropriate in terms of comfort and style both during late stages of pregnancy and at work postpartum. Dresses decorated with pleats from the armholes all the way down to the knees were found to provide high levels of comfort at the abdomen, chest, and hips, and considered appropriate. Based on this study results, a follow-up study will be conducted to examine the design of maternity wear during pregnancy as well as at work after pregnancy.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.2 s.27
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• pp.145-158
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• 1988

The purpose of this study was develop a skirt pattern drafting method for pregnant women on the basis of their physical characteristics. The study procedures and results were as follows; 1. One hundred and one women who were 7,8 or 9 months pregnant were measured on 29 items. The result was computed to obtain descriptive statistics and correlation coefficients between each items. 2. Two new skirt patterns were developed based on the data analysis. 3. The sensory evaluation was applied to evaluate the new patterns for pregnant women by comparing them with the Japanese MOONHWA method skirt pattern for pregnant women. Sensory evaluation for appearance: According to the result of Mann-Whitney test among the three skills the skirt A was most satisfactory, and the next was the skirt B followed by Japanese MOONHWA method Skirt. Sensory evaluation for comfort; The result of Mann-Whitney test showed that the skirt B was comfortable, and the next was the shirt A followed by Japanese MOONHWA method skirt.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.131-151
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• 2011

The study alms to identify how the symbols and images of Greek Roman myths in contemporary fashion have been reflected in respects of meaning and forms, and to find out the organic course from meaning to forms by using Durand's classification. The results define the significance of Greek Roman myths in contemporary fashion, and systematically suggest a direction of imagination for more creative design. In the diurne regime, the symbolism of purity, heroism and fear appeared. In the nocturne regime, the symbolism of maternity and sensuality appeared. In the dramatic regime, the symbolism of androgyny appeared. The characteristics of designs contained in each symbolism are common. In this regard, it is possible to trace organic relationships in the creation of images through the verbal scheme. In addition, the verbal scheme creates archetypal images that lead to images and symbols in the socio-cultural context, so it is possible to analyze the relationships between archetypal images and the format of garments. The study examined how the archetypal images that appeared in the mythical images were expressed in garments through the verbal system.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.