• 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.

• 한국의류산업학회지
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• 제10권6호
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• pp.947-954
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• 2008

The purpose of this research is to find out related factors to obtain the best collar pattern of the women's tailored jacket by analyzing the difference of the shapes between the drafted pattern and that of being stitched. The experimental conditions established are as follows. The position and angle of its break point, the notch and the width of the collar and lapel are kept unchanged. The collar decrease in neckline edge and the top collar larger than the under collar. The crossing point of gorge line is changed to make the collar's roll line straight. When the pattern is changed to make the outline of the lapel straight, the amount of cloth is changed too. According to the experimental conditions, The experimental clothes using muslin were made to. put on the manikin and the suitable methods of making the collar pattern were decided. In order to find out the influence of fabric materials on the jacket' shapes, Three kinds of wool fabrics were used and the results were evaluated. Summary of the research is as follows. When 0.5cm of the neckline edge is shortened, the standing part of the collar has less wrinkles, and its position looks natural and lastly, the material has slightly affected the collar's condition. It is desirable to make the top collar 0.2cm longer than the under collar. But the length should be different according to the fabric material. It it is thick cloth, the length has to be extended. To make the roll line straight, 0.4cm of the crossing point of gorge line should be corrected. The thick cloth needs more correction. To make the lapel's outline straight, it needs outwardly round 0.2cm more and materials make little difference to affect the shape.

• 한국운동역학회지
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• 제12권1호
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• pp.63-87
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• 2002

The purpose of this study was to analyze the kinematic variables when Uchi-mata(inner thigh reaping throw) performing by Kumi-kata(engagement position, basic hold) types A, B(A: grasping part-behind neck lapel, B: chest lapel) in Judo with three dimensional analysis technique DLT method by videography. The subjects were four male judokas who have been training in Yong-In University(YIU), on Korean Representative level and Uchi-mata is their tokui-nage(favorite technique), the throwing form was filmed on two S-VHS 16mm video camera( 30frame/sec. Panasonic). Kinematic variables were temporal, posture, and COG. The data collection was performing by Uchi-mata. Six good trials were collected for each condition (type A, B) among over 10 trials. The mean values and the standard deviation for each variable were obtained and used as basic factors for examining characteristics of Uchi-mata by Kumi-kata types. The results of this analysis were as follows : 1) Temporal variables The total time elapsed(TE) by Uchi-mata of types A, B were 1.45, 1.56 sec. respectively. Types A shorter than B. 2) Posture variables In performing of Uchi-mata, the range of flexion in type A, left elbow was $45^{\circ}$ and B was $89^{\circ}$ from Event 2(E2) to Event 6(E6). Type A and B were quite different in right elbow angle in Event1(E1). Left shoulder angle of type A was extended and type B was flexed in E4. Both types right shoulder angles were showed similar pattern. Also both hip angles(right/left) were showed similar pattern. When type A performed Uchi-mata the knee-angle of supporting foot showed $142^{\circ}$in the 1st stage of kake phase[KP], and extended to $147^{\circ}$in the 2nd stage of KP. And the foot-ankle angle of supporting foot showed $83^{\circ}$in the 1st stage of KP, and extended to $86^{\circ}$in the 2nd stage of KP. moreover, The knee angle of attacking foot showed $126^{\circ}$in the 1st stage of KP, and extended to $132^{\circ}$in the 2nd stage of KP, and the foot-ankle angle of attacking foot showed $106^{\circ}$in the 1st stage of KP, and extended to $121^{\circ}$in the 2nd stage of KP. When type B performed Uchi-mata the knee-angle of supporting foot showed $144^{\circ}$in the 1st stage of KP, and extended to $154^{\circ}$in the 2nd stage of KP. And the foot-ankle angle of supporting foot showed $83^{\circ}$in the 1st stage of KP, and extended to $92^{\circ}$in the 2nd stage of KP. moreover, The knee angle of attacking foot showed $132^{\circ}$in the 1st stage of KP, and extended to $140^{\circ}$in the 2nd stage of KP, and the foot-ankle angle of attacking foot showed $103^{\circ}$in the 1st stage of KP, and extended to $115^{\circ}$in the 2nd stage of KP. During Uchi-mata performing, type A showed pulling pattern and type B showed lift-pulling pattern. As Kumi-kata types, it were different to upper body(elbow, shoulder angle), but mostly similar to lower body(hip, knee, ankle angle) on both types. 3) C. O. G. variables When the subjects performed Uchi-mata, COG of type A, B up and down in vertical aspect was 71cm, 73.8cm in height from the foot in the 2nd stage of KP. As Kumi-kata types, it were different on medial-lateral direction aspect but weren't different in Kuzushi phase on vertical direction aspect.

• 복식
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• 제64권3호
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• 한국운동역학회지
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• 제12권2호
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• pp.143-157
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• 2002

본 연구는 6년 이상의 유도경력 소유자인 Y.대학교 유도전공자를 대상으로 맞잡기 타입과 받기신장에 따른 허벅다리걸기 동작시 3차원 영상분석법을 이용하여 운동학적 변인의 특성을 분석하는데 그 목적이 있다. 유도 맞잡기 타입과 받기신장에 따른 허벅다리걸기 동작은 비디오카메라 2대를 사용하여 촬영(30frame/sec.)하였으며, 분석을 위한 운동학적 변인들은 시간, 자세, 중심변인이며, 실험 결과에 대한 분석과 논의를 통하여 다음과 같은 결론 및 제언을 얻을 수 있었다. 허벅다리걸기 동작의 맞잡기 타입에 따른 유의한 차이는 3국면 소요시간, 걸기1단계 공격둔부각, 걸기1단계 공격무릎각, 걸기2단계 공격무릎각, 걸기2단계 지지무릎각, 걸기1단계 공격발목각, 걸기2단계 공격발목각, 걸기2단계 지지발목각에서 유의한 차이(p<.05)를 보였으며, 타입에 따른 걸기2단계 지지둔부각에서만 신장이 큰 받기에 대해서 A, B타입 모두 유의한 차이(p<.05)를 보였다. 종합해보면, 허벅다리걸기를 수행할 때 맞잡기와 상대신장이 허벅다리걸기 기술에 영향을 미친다는 것을 알 수 있었으며, 상대의 신장이 작을 경우 목 뒤를 잡는 타입 A가 시간이 단축(<.05)되었다. 따라서 경기 중 상대의 신장이 작다면 목 뒤를 잡는 것이 유리하다. 이러한 사실들을 종합해 볼 때, 유도 경기 중 허벅다리걸기를 수행할 대 맞잡기가 많은 영향을 주었다. 또한 기술의 핵심단계인 3(걸기)국면에서도 받기신장에 의한 차가 더 크게 나타나 받기신장 역시 많은 영향을 주었다. 단계별 변인들의 변화량에 있어서는 전체적으로 모든 변인들이 변화량에서 큰 차이를 나타내지는 않았다고 할 수 있다. 따라서 맞잡기와 받기신장은 상당한 관계가 있음을 알 수 있었으며 유도 경기 중 상대에 따른 다양한 잡기와 신장을 고려한 기술이 요구된다.