• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.94-101
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• 2020

This helps plus-size consumers purchase ready-made clothes and improves fitness by analyzing the upper body shapes of abdomen-obese adult males; in addition, it creates a size system based on each size interval of obesity shapes. The criteria for the 572 male subjects surveyed were over 25 kg/㎡ of the BMI, over 90 cm of waist, and over 0.85 waist hip ratio. The results were as follows. First, the higher the age group, the higher the degree of abdominal obesity in each age group. The degree of obesity decreases age increase; however, was the risk of abdominal obesity increased. Second, Compared to standard body types, the average body size of Abdomen-obese males is significantly larger, especially in the waist area than in the chest area. Third, to propose a size system for abdominal obese adult males, 16 sections with a final 2% rate of appearance were finally adopted as suit-tops size system for abdominal obese adult males by applying a 3 cm dimension gap between each designation as specified in the KS standard. The coverage ratio for the 16 sections was 72.6% and the coverage effienciency was 4.5%. The results of this study can be used in a various clothes; in addition, the activation and segmentation of the plus-size market are also believed to be significant.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.164-172
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• 2000

The purpose of this study was to investigate the most appropriate arm-hole depth in 9 positions of arm movements. This subjects were four females, college students aged 18 to 23 years old. The clothing size 55 was used for this study. In the experiments for the investigation of the arm-hole depth, the evaluations were performed for aesthetic view, clothing adaptability to arm movements, and quantity of materials pulled up by 9 movements of arm. The results of this study were as follows: 1) In the aesthetic evaluation, there were no significant differences in arm-hole depths. 2) In the evaluation of clothing adaptability to arm movements, the experiment clothes, in which-arm-hole depths were raised, had more positive evaluations especially with the increasing the angle of arm movements. 3) In the evaluation of clothing adaptability to each body areas, there were no significant differences in all body areas except upper arm circumference blade. 4) In the evaluation of quantity of materials pulled up by arm movements, the clothes of B/4-2 arm-hole depth had the least amount pulled up by arm movements, which showed the highest adaptability to arm movement.

• Journal of Fashion Business
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• v.22 no.5
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• pp.113-124
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• 2018

This study is to find ways to use fast-fashion wedding dresses continuously which usually have worn three or four times and just wasted, which is an current interesting issue over the society. Among clothing from the 19th Century, three styles of Empire, and Crinoline were analyzed from their underwear styles to outwear styles through library and museums and are made for rental service. Based on 8-year-old girls' physical dimensions, openings and closing methods of each size were applied to develop and make rental dress designs. It will be a good opportunity to study history and develop creativity if children can try different styles of dresses from different cultures and times and also experience difference wearing ways as they also have such desire. Underwears were designed to be worn by adjusting cloth rings, rubber bands, or hook and eye to fit different dimensions. The final products are as follows. First, empire dress doesn't need underwear to wear. Depending on the purpose of the rental dress, the back side of upper clothes have lace up by using cloth rings like empire style. Skirt was cut to use hem lace suitably from wasted dress. Second, Crinoline dress is usually configured of Crinoline, Petticoat, Two Piece on Drawers, Chemise, and Corset. It was designed by flat front, bigger sides and backs by Crinoline and Petticoat.

• Journal of Fashion Business
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• v.3 no.3
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• pp.39-48
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• 1999

The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.68-79
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• 2009

It is inevitable to have cutting line to get the 2D pattern from 3D body surface. In this paper the efficiency of curvature plot as a cutting line in the process of flattening 3D surface was investigated. As reference, basic clothing construction line was adopted to divide the 3D surface into small blocks to make the flattening process easy. Female dummy as well as human body were scanned and surface of the upper body was segmented using curvature plot and basic constructing line. 2D tight-fit pattern was developed using three software, the RapidForm 2004, 2C-AN and Yuka CAD. Gap between clothes and body, and the clothing pressure on the body was observed to determine the fit of the clothes. As results, clothes constructed with blocks divided by curvature plot displayed a similar level of tight fit as compared with those by basic construction line. It was found that curvature plot is effective method as a segmentation of the 3D surface even for the actual body which does not have any previous reference line. It is expected that application of curvature plot will be expanded in 3D apparel technology.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.392-402
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• 2012

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.

• Journal of Fashion Business
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• v.3 no.2
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• pp.85-90
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• 1999

A shroud is clothes for giving a dead person a bath and being finely dressed:though our routine clothes have been western, putting on a shroud has been kept comparatively well as a tradition of a conventional ceremony garments. This study is about the current using of dressing a shroud, and for presenting foundations of a way about dressing a shroud in order to make the most of this by everyone, therefore this research will be worthwhile to preserve the traditional custom of giving a dead person a bath and being finely dressed. 1. We must confirm the death of a person before we do Su-Si for controlling rightly a corse. Su-Si is ways of changing a clean clothes after bathing the dead person, tieing up hands, feet and ankles with a string, filling up a mouth, a nose and ears with a wad of cotton, laying down the dead person with his head toward east, and setting up a screen after covering the dead person with a bed sheet. 2. Here are processes of putting on a shroud. After the day of death, first of all, you must untie the string to control rightly a corpse, take off the clothes, and give a dead man a bath. You trim the dead person's fingernails and toenails, put them in O-nang, then put his hands and feet in five pouches, finally put feet in korean socks and wrap with Ak-su. You put a underwear in a overwear in order to put on the clothes easily, and then put on an upper garments after putting on trousers. And put on Sb-sin After you wash the dead person's face and his hair, you put gems and raw rice in his mouth, wrap head with cotton fabrics, and put hairs into five pouches, then put on a headgear which is filled with five pouches. 3. You tie up with hem cloth the dead person dressed a shroud after wrapping with Dae-ryum-km and So-ryumkm. 4. After you encoffin the dead person, you weave coffin strings with cotton fabrics in order to lift up the coffin easily, and lay down a red fabrics having white letters about the dead person's name or social position onto the coffin, then cover the coffin with a coffin cover : finally you leave the coffin at the former place and set up screen.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.346-359
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• 2011

The purpose of this study was to examine students' reasons and standards for purchasing their casual upper garments through online shoppin. A questionnaire composed of 26 items in five-point Likert type (14 items for measuring reasons, and 12 items for measuring standards for their purchase) was administered. The subjects were 422 male and female students attending middle schools, high schools and colleges located in the metropolitan region of Daegu. For a statistical analysis, a $3{\times}2$ two way ANOVA design (3 levels of schools: middle school, high school and college and 2 sexes: male and female) was involved, and Turkey's HFD multiple comparisons were made. The results showed that the reasons for students' purchasing casual upper garments through online shopping malls were as follows: quality, availability of discount coupons and points, other benefits such as special promotions, gifts, the easy return of goods and refunds, and also no trial of wearing shirts even at off-line stores. Significant differences in purchasing reasons through online shopping were found among middle schoo, high school and college students. There were also significant differences between male and female students mostly found in three variations of purchasing reasons: ease of availability of garments in contemporary fashion, convenient shopping without any restriction on time, and the decision to purchase with help from consumers' recommendations. Significant differences among middle school, high school and college students were found in the following standards for the students' decision to purchase their casual upper garments through online shopping: affordability, color, design, style, payment safety, and ease of maintenance (cleaning and ironing). Differences between male and female students were found to be significant in the following categories: affordability, fashionable, brand name, free delivery, product quality, coordination with other clothes, and consumers' recommendations on the products concerned.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.305-323
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• 1996

The purpose of this sty is to forecast the tendency of clothing colors, to provide materials useful for making the color plan for a better costume, and suggest new information in the apparel industry. To achieve these purposes, this study was carried out by suggesting vogue colors of recent apparel, along with the 20 standard colors of Muncell to 350 men and women in their 20s residing in Taegu.. We analysed and compared their preferred colors in suits vidual factor ;age, sex, education ,skin color, and body shape, and additionally classifying their interest in clothing colors, cause for color selection , degree of interest in color of clothes, color satisfaction of apparel market, and color combination of clothing, color satisfaction of apparel market, and color combination of clothing. We compared these elements according to their age, sex, and education. The results of this study is summarized as follows; 1. It was shown that both men and women in their 20s preferred warm colors the first colors mentioned being the most popular ; Pastels, Red, Blue and Black. They disliked dark and sordid colros in the order of Mauve, Khaki and Red. They preferred wearing Pastels and Yellow in the Spring, White, Blue, and Pastels were the favorites for summer, Beige in autumn, and black, Gray, and Beige in winter. The repugnated colors they chose two wear were Black, Red, Mauve, Khaki in spring and summer. Mauve, Red, Yellow were favorites for autumn, and Blue·White, Yellow·Green, and Pastels in winter. 2. The preferred colors for T-shirts were Yellow, Pastels, White in spring. White and Pastels were summer favorites, Beige an Red for autumn, and Black, Red, Beige in Winter. As for suits, the preferred colors in spring were in the order of Pastels, Beige and Yellow. The preferred colors of upper garments in summer were in the order of White and pastels. for lower summer garments Pastels, White and Blue were favorites. In autumn, Beige was shown to be highly preferred, and in winter, the order of preferred colors was Black, Gray and Beige. 3. On of those individual factors showing the greatest difference was sex. 4. Those factors having the greatest impact on the selection of clothing color were the season and their preference color. 5. The in vogue color of men in their 20s was at a higher level than hat of women. The groups that had an upper college level education showed a significant difference in their choices thant hose who were highschool graduates and technical college student and graduates. The consideration of inteterest in color of clothes, holding clothes during new purchasing, body shape and skin color was higher for women than men. In buying and wearing accessaries, women tend to take into consideration the harmony with the garment, and there was shown a significant difference between highschool graduates and the groups above the level of college education.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.117-130
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• 2000

The purpose of this thesis is to offer basic data for clothing design which is intended to apply appropriate shape and capacity to clothes. The following are the analyzed results of an investigation which was conducted to characterize the upper half of the female body of 193 women whose ages are 18 to 25, taking part in this investigation. According to the results of analyzing young women's bust, I came to find a large individual difference of the wide varying factor numbers at the items of the side feature, the body stance, and the dart quantity. For the analysis of the female's upper body, 11 factors are used. The are as follows: Factor 1. width of the bust Factor 2. height of the bust and length of the arm Factor 3. side thickness of the bust and the upside type Factor 4. length of the bust on the front Factor 5. length of the bust on the back Factor 6. salient ratio of the breast Factor 7. width of the neck. the armhole, and measurement of the droop Factor 8. length of the shoulder Factor 9. flat ratio of the bust Factor 10. inclination of the shoulder factor 11. form of the back The shape of young women's upper bodies can be divided into four groups. The character ization of each group are as follows : Group 1 . 28.5% of the women who take part in this investigation belong to Group 1 These women have the shortest body, with a longer length of the front than the back and more thickness on the front than the back. Group 2. 21.1% of the women who take part in this investigation belong to this group. They show a longer length of the back and more thickness of the back than the front. In addition, this group is bent forward. Group 3. This group is the mast common type, showing the shortest and thickest character. 37.8% of the women who take part in this investigation have this bust character Group 4. 12.4% of the women belong to Group 4. They possess the highest and fattest character, skewing smaller necks, armholes, and waists than the other groups. This group also shows the drooping shoulders.