• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.679-685
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• 2011

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Power suit in 1980s and the images of the Power suit styles shown in 08/09 F/W, 09 S/S, 09/10 F/W and 10 S/S collections. The results of this study are as follows: 1) The aesthetic values of the Power suit in 1980s are authority, sexuality and luxury to express the power, body and wealth. Authority is represented in wide and hard shoulders with pads and dark colors with stripe and no patterns. Sexuality is represented in tight waist jacket and tight skirt. Luxury is represented in luxurious fabrics and handicraft ornaments. 2) The Power suit styles shown in collections are expressed in classic, romantic, avant-garde and ethnic images: Classic images appeared in jacket which exaggerated shoulders with pads, mini skirt, tapered pants, dark colors with stripe and check patterns, rough materials and a waist belt. Romantic images are represented in the skirt with an asymmetric hem, pastel and splendid colors, lace and silk, romantic details made with gathers and flounces and fantastic accessories. Avant-garde images appeared in the deformed jacket, unperfected skirt, special materials and exaggerated accessories. Ethnic images are represented in big silhouette forms with wide shoulders jacket and wide pants, ethnic patterns, gold, orange and other vivid colors and ethnic accessories.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.286-292
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• 2009

The purpose of this study is to analyze the pattern of the present flight suit, to select variables of human body and key dimensions for making pattern of the flight suit, and to decide the most appropriate size of human body and rate of ease for designing an overall flight suit. For analyzing the pattern of flight suit, we used "M95Special" (men ; chest circumference 92-97 cm ; height : above 177 cm), which was indicated as the standard of the Ministry of National Defense. We analyzed general appearance and the actual dimensions of the pattern of the flight suit. As a result of analyzing the pattern, flight suit was front-opened overall style which had a flat collar with rounded edges, two-pieced sleeves with lower height of the sleeve's cap, 3cm-width belt on the waist and 8 pockets. To decide the most appropriate size of human body, we selected 20 variables of human body in the 359 variables of the Size Korea by referring the previous studies. The 20 variables of human body were 9 circumferences (chest, waist, hip, neck, armscye, wrist, thigh, knee, and ankle), 9 lengths (stature, back interscye fold, waist back, crotch height, crotch, body rise, arm, outside leg and total), and 2 breadths (biacromial and chest). We drew out the size of 20 variables from the Size Korea and US Army anthropometry data and decided the most appropriate values from the drawn data for applying to the pattern of flight suit.

• Journal of Fashion Business
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• v.9 no.4
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• pp.145-160
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• 2005

On the subjects of the female adults in their 20s who love to wear jeans, the wearing reality of basic jean pants and engineered jean pants was examined while pattern comparison and the evaluation of appearance and functions were made to reach the following conclusions: 1. Wearing reality of engineered jean pants Among the examined subjects, 74.8% were found out to favor engineered jean pants. Those who have engineered jean pants turned out to pursue well-known brands more than practicality. 2. Pattern comparison analysis of basic jean pants and engineered jean pants Though similar sizes existed in pants tips and belt width, engineered jean pants showed bigger values in waist circumference, crotch circumference, hip circumference, knee circumference, thigh circumference and so on. There were no big differences in the front part except for the items like crotch circumference and crotch length, but engineered jean pants had bigger sizes in the rear part. Engineered jeans in the rear contained the outward curved silhouette of the legs, curved tips, and a dart design instead of a back yoke. 3. Evaluation of appearance and functions In the scores of appearance, basic jean pants were higher at 3.65 in the order of front > side > back. On the contrary, engineered jean pants were excellent in the order of side > back > front. In the items of functions, engineered jean pants were higher at 4.23 in the order of hips > thighs> waist > abdomen > knee > crotch. On the other hand, basic jean pants showed the order of knee > crotch & thighs > abdomen > hips > waist. In every movement, engineered jean pants revealed higher functionality. In particular, the bigger physical movement led to the greater functional differences between the two kinds of jean pants.

• Journal of Fashion Business
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• v.22 no.5
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• pp.96-112
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• 2018

This study developed the pants pattern, that improved appearance and gesture functions in clothes to resolve inconveniences in case of activities with being adequate in fitness of slim-fit pants for obese adolescents. The slim-fit pants pattern was developed through the fitting test after designing and making the pattern of the experimental clothing A(c/pu; 99/1%) with the primary commercial clothing as basic prototype, through the fitting test and implementation of the experimental clothing, modified and supplemented secondarily, and through the fitting test of the second experimental clothing, modified and supplemented tertiary. In terms of findings, first, as a result of analyzing the commercial slim-fit pants, it is interpreted to have projected an optical illusion, that appears to be slim due to being narrow in width of the front panel when observed from the front of the pants. Second, in the fitting test of the first experimental clothing, the prototype of commercial clothing was understood to have improved butt, crotch, waist and femoral regions. Third, pattern design of the second experimental clothing was allowed to decline abdominal pressure, in case of the sitting position, by making the crotch line in the front panel short and by handling it with a yoke belt, and was processed a difference between waist and hip circumference in the back panel, with a rubber band in the whole waist part. Fourth, in the gesture function test of the third experimental clothing, high evaluation was received in every item excluding the knee region.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.6
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• pp.873-886
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• 2014

This study conducted a survey on jean pants that targeted males in the 20s in order to select preferred brands for skinny jean pants. Preliminary data for the pattern development of skinny jean pants was presented through functionality evaluation, appearance evaluation and pattern analysis. The results were as follows. 1. The result of survey targeting males in the 20s to select the design and brand name of jean pants showed that skinny jean pants were selected as the most favorite type of jean pants to wear; in addition, non-brand products and brand names such as Uniqlo and Levi's were also preferred. 2. The result of functionality evaluation showed that L brand received a high score in all items except for items regarding the knee circumference and mid-thigh circumference, S brand received a high score as well as a low score, and N brand received a low score in general. The result of appearance evaluation showed that L brand for the waist height and waist circumference, N brand for the brand crotch circumference, posterior crotch length and knee circumference, and S brand and N brand for the length of pants were preferred. 3. The result of pattern measurements analysis from the result of functionality evaluation showed that L brand provided a large pattern measurement for the waist height, L brand provided less ease due to small pattern measurements for waist circumference; in addition, N brand for the knee circumference and mid-thigh circumference were preferred. 4. The analysis result shows that a ease of 5cm based on the belly band which is 3.5cm below the belt width is proper for the waist circumference when designing a skinny jean pant pattern and 4cm for the hip circumference and 32.5cm for the ease of crotch circumference are proper, -0.4-0cm for the ease of mid-thigh circumference and knee circumference in consideration of human body measurements; therefore, 80.1-80.5cm for inseam as the length from the crotch height to the leg length, 25.7cm for vertical hip length and 53.0cm for crotch length are proper.

• Journal of the Korean Home Economics Association
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• v.18 no.2
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• pp.1-13
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• 1980

When we design a dress, we should not only consider the esthetic sense and the relationship between movements of the body and the type of dress, but also the combination between the qualities and proper uses of textiles. recently the sale of ready-made clothes has been booming but I wonder whether they have been made in accordance with research concerning body movements and dresses. I would like to make the following observations on dresses, because I have personally suffered the inconvenience of restricted arm movements when wearing ready-made clothes. I have made four types types of foundations with muslin and Jersey, with these foundations I measured the degree of tension or how much the waist-line was drawn up then the arm was moved in increments of 45 degree angles and there by covering the entire span of vertical and horizontal movements. I have intended to experiment with sleeves of differing height in several ways. Concerning the movement factor, I have determined that with excessive activity vertical movements are twice as uncomfortable as horizontal movements. Concerning the faburic, I have found that because jersey has more elastic qualities than muslin, it has proven to be more responsive to body movements. concerning dresses, I have fund that the higher the height of the sleeves, the more uncomfortable it is to move the arms and the greater the degree to which the waist-line is drawn up. As a result this experiment I have made the following observations. Firstly, the vertical movement of the arms to a 180 degree angle has the most extreme influence on the breadth of movement of the waist-line. Secondly, because jersey permits freer body movements than muslin, it should be the preferred material for use in making sportswear. Thirdly, the formula A·H/4+3 of the sleev's cap height is suitable for making street dresses and formal wear. The formula A·H/5 and A·H/6 are properly used when making working clothes and sportswear, and the formula A·H/8 is proper for a sleeping garment and clothes for patients. Fourthly when deciding to any garments, it is important to consider the amount of arm movement anticipated and the relationship between the material and the degree to which the waistline is drawn up. In nder-blouse, when we raise our arms to the most extreme position, we should at that point still have 20∼25 cm of material remaining under the waist-line which includes the maximum of 14.1cm plus part of the blouse and breath of skirt's belt. In the case of the over blouse it is proper for us to have the length of 17∼20 cm remaining below the waist-line.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.5-17
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• 2002

This study aimed to investigate the relationship between ideal images of women and women's clothing fashion England between 1820s and 1850s. The age was divided into two periods, which were 1820-1836 and 1837-1850. During the first period, the ideal images of women were those of fairy, spirit, and angels, which were expressed by tight waist belt, wider and shorter skirt, top expanded sleeve, wide and flat pelerine collar, feather decoration, elaborate and curly hair style, narrow and light ballerina shoes etc.. During the second period, the ideal images for women were those of lady with modesty, quietness, and weakness. They were expressed by long and full skirt, tight or bulge over the lower arm sleeve, dropped sleeve, poke bonnet, body wrapping large shawl and sober color etc.. The result shows that the ideal images of women in 19th century England were concretely expressed by various clothing fashion including hair style, shoes, and decoration. This study sheds light on psychological, historical, and theoretical approaches to clothing.

• Journal of information and communication convergence engineering
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• v.6 no.4
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• pp.411-416
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• 2008

When compose magnetic field curer by belt and band style and need by magnetic field ripple last month, produce self-discipline roof. Bred in muscle disease (lumbago, backbone disease, corpulence) back. Result that study, manufactured various variableness band style - magnetic field probe firstly. Can establish self-discipline treatment pulse price by disease secondly. Could seek correct variableness band punishment, - magnetic field probe relationship implementation and property in waist, and so on, shoulder, neck, arm, leg, ankle, wrist etc. by third. Could find variableness band style energy value that need in-magnetic field Probe's treatment by fourth. This research could design pulse of self-discipline in band form and apply each according to disease.

• International Journal of High-Rise Buildings
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• v.5 no.3
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• pp.213-220
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• 2016

The "China Zun" tower in Beijing will rise to 528 meters in height and will be the tallest building in Beijing once built. Inspired by an ancient Chinese vessel, the "Zun", the plan dimensions reduce gradually from the bottom of the tower to the waist and then expand again as it rises to form an aesthetically beautiful and unique geometry. To satisfy the structural requirement for seismic and wind resistance, the structure is a dual system composed of a perimeter mega structure made of composite mega columns, mega braces, and belt trusses, and a reinforced-concrete core with steel plate-embedded walls. Advanced parametric design technology is applied to find the most efficient outer-perimeter structure system. The seismic design basically follows a mixed empirical and performance-based methodology that was verified by a shaking table test and other specimen lab tests. The tower is now half-way through its construction.