• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.33-40
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• 2013

This paper focused on investigating the seam strength by cutting direction depending on the fabrics and weave by comparing the tensile strength and elongation of bias, warp and weft of 4 kinds of find cotton fabrics and combining 6 kinds of seam cutting directions. The cutting directions are selected the warp direction, weft direction and 45-degree bias direction. Then, three kinds of directions, the warp/warp direction, the weft/weft direction and the bias/bias directions, and the three different kinds of directions, the warp/weft direction, the warp/bias direction and the weft/bias directions, were finally selected. The results are as follows: The tensile strength of all fabrics was higher in the order of warp, bias and weft direction and tensile elongation was higher in the order of bias, warp and weft direction in almost all fabrics. 100's and 150's cotton fabrics showed the highest seam strength when they were cut in the bias/bias direction. The seam strength of the fabrics cut in the same direction was the highest in the fabrics cut in the bias/bias direction. Four kinds of fabrics demonstrated the similar seam strength. However, for the seam strength of fabrics cut in the different directions, 100's cotton fabrics had the difference of seam strength by direction and weave, but 150's cotton fabrics didn't have any difference in seam strength by direction and weave. As described above, the seam strength was influenced by the cutting direction of fabrics. Accordingly, the seam strength can be improved by changing the cutting direction of seam when making the clothing.

• Journal of Fashion Business
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• v.11 no.1
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• pp.26-37
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• 2007

Madeleine Vionnet(1876$\sim$1975, France),the most prominent figure of the 20th century draping, started her apprentice in France in 1888 and expressed feminity of adult products through her various works until she closed the house in 1940. The feminine designs of the adult style appeared in 1930s, whose characteristics were silhouette and details that emphasize the body, and bias designs. Not only Vionnet, but also Chanel and Schiaparelli were the representative female designers at that time. The preliminary researches of Vionnet designs were mostly focused on her cutting methods. This paper purports to examine Vionnet's bias cutting method, to compare Vionnet with female designers of Chanel and Schiaparelli who led the mode of 1930s with feminine designs for the adult products in that period, and then to attempt creative designs by use of bias cutting.

• Journal of Fashion Business
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• v.14 no.2
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• Journal of the Korean Society of Costume
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• v.33
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• pp.217-228
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• 1997

The purpose of this study was to investigate influence of the construction method of the circular skirt on drapability and shape of static silhouette and length variation. In made 24 types of skirts giving the variations (six kinds of peach skin-like finished fabrics two types of cutting method two types of machine stitch method of hem), The results were as follows: 1. Analysis of drapability In the cutting method thre was similarity between warp direction and true bias direc-tion. In the machine stitch method of hem there was similarity between blind stitch and blind stitch machine. According to the fabrics analysis of drapability was excellent in the order N/P 80/20(fabric 1)>P 100(fabric 5)>P 100(fabric 6)>P 100 (fabric 2)>P 100 (fabric 4)>N/C 50/50(fabric 3). 2. Analysis of the characteristics values of static silhouette shape In the cutting method shape of static sil-houette became wide in the warp direction. In the machine stitch method of hem shape of static silhouette became wide in the blind stitch. According to the fabrics shape of static silhouette became most wide in the N/C 50/50(fabric 3) and shape of static sil-houette become most narrow in the P 100(fabric 2,5) 3. Analysis of the length variation In the cutting method the true bias direc-tion was longer than the warp direction. In the machine stitch method of hem there was simi-machine stitch method of hem there was simi-larity between blind stitch and blind stitch ma-chine. In fabrics the P 100(fabric 6) showed the longest the N/C 50/50(fabric 3) showed most slight. Interaction between the cutting and messure-ment part of skirt lengh. In the warp diretion parts that showed longest length variation were C. G, K, O in the true bias diretion parts that showed most slight length variation were A, E, M, I.

• Fashion & Textile Research Journal
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• v.4 no.3
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• pp.261-265
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• 2002

To propose a basic material that can improve the crumples in the knee area and can be applied as an element of garment design, the present study examined the elongation rates of the samples by differentiating the number of cutting lines according to the direction of the fabric, and then determined the puckering phenomenon by judging the conditions of the seams based on the looks of seam lines after bi-axil elongation. After the subjective evaluation on the knee areas of both the standard and modified trousers, the following conclusion was drawn : The elongation rates of the samples are: warp (3.98%)cross-legged (-0.2)>squatting down (-0.4); those in the modified trousers feel more comfortable when sitting on a chair (0.2)>cross-legged (0)>squatting down (-0.6). In the cross-legged posture, the modified trousers (0) has higher scores in the subjective evaluation than the standard ones (-0.2). The evaluation on the looks of needleworks in the samples with cutting lines along the direction of the fabric: weft2 (5.0)

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.6
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• pp.776-783
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• 2004

The purpose of this study was to identify the reasonable gathering conditions as consider of effect of gathering and variation of silhouette made by gathering conditions. The experimental design consists of four factorial design: (1) three kinds of different weight and different thickness fabrics (2) three kinds of different stitch densities (3) five kinds of different ratio of gathers (4) three kinds of different angles. Therefore one hundred thirty five (135) samples were made. Data analysis utilize SPSS WIN 10.0 Package. The results of this study were as follows: 1. In the aspect of fabrics, it is shown the visual propriety that it is as thin as the small stitch, and as thick as the big stitch. 2. As stitch densities, it shows the different stabilized nodes. 3. In the aspect of ratio of gathers, it is shown the visual propriety that a few was small stitches, which help formations of nodes, and a lot were big stitches, which help increased the effect of gather. 4. In the aspect of angle of bias, the drape appearance was excellent as a sample of cutting by 0 angle(0$^{\circ}$) of bias. The big stitches that help formations of stabilized nodes, and a case of cutting by 45 angle(45$^{\circ}$) of bias was small stitch.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.69-79
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• 2006

The purpose of this study is to find the proper width of fabric which can bring high efficiency on productivity. We focus on the marking method by comparing and analyzing the marking efficiency of A-line skirt. This study employs 4 criteria to mark the A-line skirt, which are cutting method, angle, width, and direction, respectively. There can be 2 different cutting methods(fold pattern and add seam pattern at the front and back center line), and 2 different angles(warp angle and bias angle). Also, width of the fabric can be classified into 2 groups(110cm, 150cm), and marking direction can be grouped into 2(one direction marker and one direction per each size marker). These 4 criteria make 16($2^*2^*2^*2$) cases for this study. Main findings are follows. First, the skirt with folded at the center line had higher efficiency rate than the skirt with add seam at the center line. Second, the skirt with the 150cm width has higher efficiency rate than that of 110cm. Third, fixing the warp angle has higher efficiency rate than that of fixing the bias angle at the front and back center line. Finally, one direction per each size marker has much higher efficiency than the one direction marker.

• Journal of the Korean institute of surface engineering
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• v.31 no.6
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• pp.400-406
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• 1998

Tool life characteristics were investigated for the TiN coated (PVD) tungsten carbide cutting tools to improve the tool life Experimental variables for Tin coating were coating time and cathode bias voltage and cuting variables were cutting speed and feel rate. As a experiment result, TiN coated tool was extended about from 2.14 to 2.7 times than that of not coated tungsten carbide tools. Also, coating thinkness is much affected to tool life.

• Journal of Fashion Business
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• v.4 no.4
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• pp.1-16
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• 2000

The purpose of this study is to investigate the formative beauty, changes in fashion and aesthetical sense that can be seen in the bias drapings of Madeleine Vionnet and her influences on modern fashion since she used draping as a new fashion means to represent the new feminine images which modernism of the early 20th century and social changes from the two great World War's generated, and to provide proper data to encourage designers' creativity that is wanting in the circle of Korea fashion. Bias draping led women to respect worship their body from the heart with seductive modernism enriching the material's texture to the utmost through geometrical patterns of triangle, quartered plane and quardrants and simple cylindrical cuts and with an attribute adapting itself to the wearer's body. Bias draped wear consisted of light and transparent materials and overall surface decoration revealed women's movements and sought the extension of environmental movements and demonstrated its eroticism. On the other hand, biased daywear gained anonymity through cutting true to body line and psychological protective quality as of cape, and this went well with the independent femininity accepting difference as well as pursuing revolution from the inside. The great inflation and the 2nd World War gave birth to escape from reality like surrealistic artistic tendencies and Hollywood films and increased romanticism. Bias draping once underwent unpopularity except in expensive clothes due to knit wear boom and the utilization of new elastic materials, however, it began to receive lights again from pluralization waves and retro tendencies and to be introduced in many designers' collections. A young genius of England, John Galliano improved functions of Haute Couture through creation of new styles and fantastic shows to promote profits in the fashion markets. Bias draping fitted in human body line provides us comfort and aesthetic qualities through careful choice of material and elegance by delicate cutting.

• Science of Emotion and Sensibility
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• v.7 no.2
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• pp.157-161
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• 2004

The clothing by bias-cut fabric are outstanding in their shilluettes mainly due to their high level of drapability. The clothing, however, need a specific cutting process for being even trimming line skirts. The 3-D trimming system developed in the study has been successful in making high-quality skirts with extremely even trimming line. The system is expected to make quality apparel in shorter manufacturing time.