• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.163-179
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• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.

• International Journal of Costume and Fashion
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• v.3
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• pp.89-105
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• 2003

The purpose of this study is to classify sleeves that play an important role in upper-garment designs and that can be presented in diverse shapes by meaningful era. Also, characteristics and trends of sleeves are analyzed to provide a basis for development of design on modem woman's dress. To examine formation and construction of sleeves, literature review and empirical examination were conducted, focusing on patterns of woman's dress presented in literature. This study is to concentrate on the period, the Renaissance to the 19C. In this study, characteristics of sleeves are analyzed by each era according to its shapes and construction. By analyzing the shape of sleeves and the characteristics of the construction of sleeves, the following conclusions had been reached. 1) Sleeves evolved from single, draped garments into dimensional shapes which were manipulated to reflect the changing trends. Considering the comfort and ease of movement have always been very important in clothing design and the construction of sleeves throughout the ages has consistently been able to provide the comfort that wearer demanded. 2) Shape of sleeves varies a little in each period, but recurring trends in fashion led to similar design in sleeves being repeated. Also, instead of a dramatic change in the construction of sleeves, each period had its own unique technique to add freshness by using a variety of ornamentation.

• Proceedings of the Korean Society for Technology of Plasticity Conference
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• 1998.06b
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• pp.60-66
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• 1998

The horizontal cold chamber pressure die casting produces a variety of net shape, complicate-geometry castings with desired mechanical properties. dimensional tolerance, and surface finish. However, top quality castings can be achieved only when optimal performance of thecold chamber (shot sleeve )and plunger is maintained druing the molten metla injection phase of the process. Unforturately, inreality , shot sleeves deteriorate fast and sometimes fail catastrophically due to incorrect design. These early and unexpected failures of shot sleeves cost die casters money and productiivity. To prevent promature failures of shoe sleeves major faulure mechanisms were investigated. with the aid of analyticla solutions robust design criteria for shot sleeves have been developed. The data directly obtained from failed shot sleeves in the die casting industry for automotive parts, support a strong correlation between design and filures. by applying these design criterial we expected premature faulures of shot sleeves can be avoided in die casting industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.811-820
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• 2002

The physical responses and subjective sensations of different cleanroom garments were compared in order to discover which cleanroom garment design could minimize pollution of the working environment by dust from the worker, maintain a pleasant microclimate and provide effective thermoregulation. A. Coverall with non-detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice B. Coverall with detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice C. Separate top with non-detachable hood, kimono sleeves (front), raglan sleeves (back), raschell net on the bodice D. Coverall with non-detachable hood, set-in sleeves, raschell net on the bodice E. Coverall with non-detachable hood, raglan sleeves (back), l00% cotton inner wear (upper body) The results of the experiment were as follows. Because the hood covered the shoulder and the chest areas, the chests temperature of the worker wearing garment E was quite higher than those wearing other garment designs. For fabric that has been coated in order to prevent dust, layered designs should be avoided in order to prevent skin temperature from rising. Compared with layers of underwear, it would be more effective to attach a see-through raschell net which clings to the body. Thermal sensations were also highest in garment E, reinforcing the finding that layered designs should be avoided. Through the experiment, it was found that a new material coverall with a non-detachable hood was effective in minimizing dust, suppressing skin temperature increases, maintaining a superior microclimate and providing pleasant subjective sensations.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.225-229
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• 1999

The purpose of this study was to trace and to identify the origin and meanings of the word ho-su(胡神) that is found in historical documents of Chosun dynasty period. Historical documents, books, and other written materials from Korea and China were used for this research. The word ho-su(胡神) of Korea was originated in Chinese. At the first, ho-su(胡神) was a name of a kind of sleeves. It is long and wide round sleeves with narrow wrist parts. The character ho(胡) means a jaw, lower part of a jaw, a jaw hung down, hing down and lower part. Thus, the word ho-su(胡神) is a compound word made with character ho(胡) and character su(神) sleeve. The direct meaning of ho-su(胡神) in characteristic shape of the sleeves. The second meaning of the ho-su(胡神) is the name of a dress with long and wide round sleeves with narrow wrists. The name of the ho-su as a name of a dress was taken from the name of the ho-su(胡神), a kind of sleeves.

• The Transactions of the Korean Institute of Electrical Engineers P
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• v.60 no.4
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• pp.206-213
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• 2011

Line sleeves, which used to connect ACSR cables when transmission lines were constructing, sometimes cause power transmission failure due to deterioration and corrosion. Therefore, power transmission line should be inspected regularly to prevent national disaster. Current inspection tool detects insertion length of transmission line on line sleeves, the inspection tool includes enormous error by operator. Moreover, the system is not controlled remotely, negligent accident would be caused while inspecting. To deal with those problems, KEPCO reviewed several ways to inspect line sleeves and proposes new method to inspect line sleeve by measuring magnetic flex which penetrate junction of steel and aluminum sleeve. The developed inspection tool is reliable enough to detect eccentric sleeves. Also, the developed inspection device was applied on actual transmission line and verified its effectiveness.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.25-43
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• 2003

This study is to classify the types of Jikryung and to look into formative . periodic Characteristics. Results of analyzing can be described as follows. 1. Jikryung in the Chosun Era was classified according to whether it had a side hem. Jikryung which had side hem was reclassified according to the position of the side hem into inside, inside and outside and outside fold types and backward leaning type. Jikryung with no side hem was reclassified into types of closed and opened sides. 2. Concerning formative Characteristics, the type of inside fold was coexisted with the types of short front and long rear, the same front and rear, and narrow sleeves, bean chaff typed sleeves. Inside and outside fold type was used the type of short front and long rear, narrow sleeves. Outside fold type was used the type of same front and rear, bean chaff typed sleeves. Backward leaning type was used the same front and rear, wide sleeves. The types of closed and opened sides transformed from double Sup to single Sup and from narrow sleeves to bean chaff in its form and wide sleeves. 3. Concerning periodic Characteristics, the 1st period of Jikryung with side hem showed up the type of inside and outside fold, the 2nd period did the type of outside fold, The 3rd period did the type of backward leaning. Regarding Jikryung with no side hem, its 1st and 3rd periods saw the type of closed side, while its 2nd period coexisted with the types of closed and opened sides.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.5
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• pp.915-929
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• 1996

The purpose of this study is to investigate the visual illusions and image of the combinated collars and sleeves which are combinated by the computer simulation. The detail object of this study as follows; 1) to know the visual illusions of the clothing as the collar and sleeves are combinated 2) to constract the clothing image using sementic differential scales 3) to know the differet image of the clothing as the collars and sleeves are combinted 4) to know the interaction effect of the collars and sleeves of the clothing The detail method of this study is as follows; In the first experiment, there are two groups; the first 8 groups are the combination of the same collar and the different sleeves. The second 8 groups are the combination of the same sleeve and the different collars. The second experiment has done for the 32 clothings which are the combination of the 8 collars and 4 sleeves. For the 14 clothing the image has tested by 13 semantic differential bi- polar scale. The subjects were 50 female students majoring in clothing and textile. The data analyzed by Kendall cofficient of concodance, Factor analysis, Anova and scheffe's test. Briefly the image of the clothing is much influenced by the varing of the collar than that of the sleeve. Thus, we also can conclude that the recognition of the clothing are much more dependent on the collar than sleeve.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.8
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• pp.1216-1227
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• 2002

The objective in the part H of this study was to investigate the effects of materials, sleeves, trimming, and perceivers gender on impression formation. Stimuli consisted of 13 color photographs of a female model wearing a wedding dress which were manipulated according to clothing cues. A semantic differential sale of 4 dimensions was used. These were attractiveness, neatness, femininity, and prettiness. Samples were 312 males and females. For the effect of sleeves, there were significant main effects in attractiveness, femininity, neatness, and prettiness. Three-quarters lace ruffled sleeves increased the perception of positive attractiveness, femininity, and prettiness. Flounced sleeves had a positive effect on the perception of neatness. Long-tight sleeves had a negative effect on the perception of attractiveness, femininity, and prettiness. Sleeveless dresses increased the perception of negative neatness. There was an interaction effect between sleeves and the perceivers gender on neatness. For the onぉ of material, there were significant main effects in neatness, femininity, and prettiness. Solid cloth had a positive effect on the perception of neatness and negatively on prettiness. The combination of lace and solid cloth increased the perception of positive femininity and prettiness. lace had a negative effect on the perception of neatness. Satin increased the perception of negative femininity. There was an interaction effect between material and perceivers gender on prettiness. The main effect of trimmings was its effect on prettiness. Ribbons increased the perception of positive prettiness. Not having any trimmings had a negative effect on the perception of prettiness. There was an interaction effect between timings and the perceivers gender on neatness. The results of this study confirm that image perception of wedding dresses becomes different according to the materials, details, and perceiver's gender.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.235-247
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• 2000

This study was conducted to consider the formation of sleeves from the point of view that dress is one of expressive arts. The formative meaning of a sleeve and its chronological formation according to its formative changes as an evidence showing the Internal changes of social culture were examined, centering around day dress of England in the 11th to 19th centuries. Then, sleeves were formatively classified and their aesthetic values were considered to help do formative, aesthetic expression of dress design in the present times. Literatures and references concerning the history of domestic and foreign dress were used as a method of study. The results of this study are summarized as follows. 1. In the women's dress, the formation of the sleeve focuses on aesthetic decoration. This means that in the androgentric society the status of women are subordinate socioculturally. 2. Sleeves were classified into a fitted shape and a extension shape according to the aesthetic formation. The fluted shape expressed the beauty of body with emphasis old natural body, whereas the extension shape represented aesthetic expression of decoration. 3. The formation of a sleeve has influence on forming an image of dress by making the silhouette of dress natural or distorted, expresses the harmonious beauty of the whole dress, and produces the expressional beauty that gives a distinct characteristic to a dress.