• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.468-479
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• 2019

This study used a three-dimensional-analysis method to quantitatively analyze the change of clothing appearance according to a gusset added to bodice and sleeve patterns for men in their twenties. Comparing six different patterns, the study found that patterns P1 and P2 with little gusset did not have a large difference in the strain map, and pattern P6 had no gusset in the motion of raising the arm $28^{\circ}$ to the side (M1). When the arm was raised $45^{\circ}$ to the side (M2), the P1 pattern had the smallest deformation, and only the P5 pattern had a large deformation from the neck to the armhole area. In contrast, except for in the P3 pattern, large wrinkles formed in the front and back when the arm was raised above $158^{\circ}$ (M3) from the side of the waist to the armpit. In addition, P3 had the smallest change in the hem of the bodice and sleeves. However, the appearance of P2, P3, and P5 was excellent when the arm was moved forward (M4), and the P2 and P5 patterns were the smallest at the bodice and sleeve hem. The P6 pattern showed the least fitness in terms of function. In the case of raising the arm, there was a strong correlation between gusset size and motion function, but when the motion of the arm changed, the motion function did not improved just by changing the ease size.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.755-764
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• 2013

This study intends to use the basic patterns in 3oz bodice and 2oz sleeve padded jackets made for women in their 20s to research the proper ease of 2oz bodice and 2oz sleeve, 4oz bodice and 3oz sleeve padded jackets. The study also proposes a method of designing padded jacket patterns according to padding thickness. The results of this study are as follows: The 2oz bodice and 2oz sleeve padded jackets had the following sizes. The front and back bust, waist, and hip circumferences were calculated as B/4+2.5cm and B/4+3cm, W/4+2.6+3.3(D)cm and W/4+1.5+2.6(D)cm, and H/4+2.8cm and H/4+3cm, respectively. The length of the jacket was 62.4cm, and the sleeve length was calculated as 63.4cm. For the 4oz bodice and 3oz sleeve padded jackets, the front and back bust, waist, and hip circumferences were calculated as B/4+4cm and B/4+4cm, W/4+4.1+3(D)cm and W/4+2.5+3.6(D)cm, and H/4+4.3cm and H/4+4cm, respectively. The length of the jacket was 63.2cm, and the sleeve length was calculated as 64.2cm. The results of this study showed that padded jackets with thicker padding need more ease. For jackets with stitches, the decreased lengths must be added in the pattern length. The 2oz bodice and 2oz sleeve, 4oz bodice and 3oz sleeve padded jackets all scored 4 points or higher in the movement functionality assessment, thus showing outstanding movement functionality.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.953-970
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• 2004

The purpose of this study was to design men's jacket pattern for variable body types by employing the data of wearing evaluation from experimental basic bodices selected by male subjects in the 30's. As a result of sensory evaluation, functional test and clothing pressure test by each type of experimental basic bodices, the 3rd experimental basic bodice was chosen to be a basic bodice type in this research since it showed a high degree in fitness and function, but a low in the clothing pressure test. As a comparison of one item from conventional jacket and sleeve pattern with each somatotype, the type 2(the standard somatotype) indicated a great fitness in both basic bodice type and conventional jacket pattern, whereas the type 1 and the type 3 showed higher fitness and moving function in the basic bodice type. In the making of men's jacket, many corrections were made in the front interscye breadth, back interscye breadth, front and back length, and shoulder line as adapting each body type. Thus, the ease-amount of chest circumference at scye for clothes should be established differently according to the size of chest circumference at scye.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.1
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• pp.37-46
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• 1985

The study is undertaken to utilize the computer in pattern making for women. The automation by the use of computer provides the higher accuracy and efficiency in pattern making. GIGI Graphic Terminal is used for pattern making. The results are as follows: 1. Basic points which can be connected to depict basic pattern are represented on the X-Y co-ordinates. 2. Body measurements for bodice and sleeve pattern are as follows: For bodice pattern: center back waist length, bust girth, and shoulder width. For sleeve pattern: arm hole length, wrist girth, and sleeve length. 3. Grading of standard size was accomplished by using same method.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.744-757
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• 2021

This study aims to develop a bodice and a jacket in 3D of the late 19th to early 20th based on the pattern drafting book of Gordon S. S., which contains body measurement method and pattern drafting system. The findings of this research are as follows. First, female tops of the late 19th to early 20th century are categorized as outer, jacket, vest, and bodice. Of these, this study highlights the jacket, which can be divided into 4 types: 4 kinds of basic jacket, 2 kinds of riding jacket, bolero jacket, and newmarket jacket. Second, by referring to Gordon's pattern drafting system and book, a bodice was developed in 3D format based on the adherence to the following steps: analysis of the pattern drafting system, pattern drafting, 3D virtual simulation, 3D virtual fitting analysis, and the pattern correction. A bodice pattern corrected by 3D virtual clothing simulation results was proposed. Last, a basic sleeve and collar pattern for a basic jacket was drafted, which was followed by the correction and transformation of the bodice pattern. The jacket developed shows great fit except for the issues at the armhole line and shoulder, which were caused by the unique shape of the sleeves(big sleeve head) of the time. The study attempted to develop the past costumes in 3D, providing the basis for interdisciplinary research in the field of fashion history field and suggesting a new approach for the virtual restoration of costumes. Future studies should target to 3D virtual simulation in accordance to the 3D avatar pose in the developed virtual costume.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.59-71
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• 2011

As an exaggerated-shoulder becomes a growing trend women's clothing, the crescent shaped sleeve with parallel style lines in the arm hole is a highly used women's sleeve pattern. This study develops and provides an applicable method for making the crescent shaped power shoulder sleeve. An efficient basic method for making the 2 piece crescent shaped sleeve was developed and the sensory appearance test was carried out with experimental clothes. There are two principles for making the crescent shaped sleeve: having a style line in the sleeve and pasting part of the cut arm hole of the bodice to the sleeve. The latter would be more convenient for a 2 piece sleeve, mostly used for jackets. The crescent shaped sleeve used in power shoulder jackets should set the shoulder angle as you wish to extend and raise the shoulder point of the bodice and sleeve to the same height. For a stronger power shoulder image, a 3 piece sleeve has a better appearance. Also, the height of the shoulder has to be enhanced with a shoulder pad for a more stable sleeve.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.1
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• pp.105-115
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• 2000

This study was intended to find body pattern of middle aged women and make new experimental basic pattern for upper-half of the body for them. This experimental pattern on the idea of body pattern analysis was prepared. For experimental pattern, the prototype basic model was chosen with the best qualified D model from the four meaningful existing patterns. After several steps of correction experimental pattern was made. Comparing with basic D model, the new experimental pattern composed of additional bust girth by 1cm, wider back waist by 0.5cm than front waist and additional armhole by 0.5cm keeping the same size for back and front widths. Making a shoulder line up by 3cm the armhole became deeper accordingly and the room for girth has been transferred to length. Front neck girth became deeper downward but back neck girth risen a little bit. Side line of the bodice formed with inward slope taking from the waist line by 2cm. Instead of dart, modified side line slope was more practical by its function and appearance. Abdominal girth which is lower than waist girth by 8.5cm kept in same size with bust girth. Then abdominal girth became more comfortable. New experimental pattern with changes has been examined in function and appearance. In conclusion, the new experimental basic pattern for the middle-aged women has been proved more practical for both in bodice and sleeve than other existing ones in terms of function and appearance.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.60-74
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• 2015

It is considered that jacket was widespread in the 19th century due to its simple and convenient production technique. This study aims to explore the western women's jacket in the late 19th century, which is the basis of modern women's outwear, and we focused on the patterns and construction, the technical aspect of the jacket. We researched pattern books and preserved costume materials, and the study methods are as follows: First, we analyzed the pattern of the jackets from the pattern books and preserved costumes. Second, we analyzed the construction of the jackets from the preserved costumes and compared it to previous researches. The study results are as follows: 19th century jacket consisted of a bodice, a back bodice, a side panel, two-piece sleeve and a collar. The front bodice had cuttings and a dart to make the jacket fit the shape of the body and the two-pieced leg of mutton sleeve, puffed at the shoulder. Various styles of collar and neckline existed. The pattern suggested diverse ways of designing a jacket, such as cutting with partition, dart and pattern expansion that focused on three-dimensional effect at that time.

• The Research Journal of the Costume Culture
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• v.1 no.2
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• pp.131-144
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• 1993

Even though it has been to research on the variance of clothing pressure and on its effect of human body, it has not been available to evaluate the clothing pressure as an objective standard ta for the determination of an extra quantity of bodice' basic pattern. In this paper the basic pattern(the close adherence original shape) is determined by a drawing of plane figure after detaching an unweaving clothing from the inside of the gypsum, and the extra quantity is figured by a extension quantity when is formatted with 0.5, 1.0, 1.5 cm extra quantity longitudinal-cross section figures. With our experimental method, review the variance of clothing pressure according to difference of the extra quantity which was figured with subjects wearing experimental clothing including the extra quantity. The difference of the extra quantity was able to calculate with data form the subjects when anatomical position and five movements, then compare with subjects wearing non-extra quantity experimental clothing. The results of experiment as the follows : 1. There is only few body portions with the significant variance according to the increasing of he extra quantity at he body portion and the sleeve portion. 2. The clothing pressure of the sleeve portion was higher than the clothing pressure of the body portion. The difference of clothing pressure according to the variance of the extra quantity at the sleeve portion is more significant than the body portion. 3. Consider several important pressure points which wil be the No. 1 at the front of body portion. No. 17, 18 at the back of body portion and No. 21 at the sleeve portion. 4. It is important to have plane figure of gypsum when format an basis pattern.

• Journal of the Korean Society of Costume
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• v.50
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.