• Fashion & Textile Research Journal
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• v.16 no.3
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• pp.406-420
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• 2014

The goal of this study is to support the children's pants construction methods that secure clothing size and fit appropriateness through proposed improvements of denim pants construction method focusing on 4-year-old boys. Depths interview on the actual condition, measurements and calculations for positions and ease of the clothing points corresponding to the body points actually worn were conducted for 47 denim pants of nine boys. "Characteristics of the areas worn" and "physical characteristics of lower body" were analyzed, and improvements of 4-year-old children's denim pants construction method were proposed. As the results, the different figures in "characteristics of the areas worn" between the existing children's pants construction methods and children's actual wearing habits were found, and identification of distinct children's lower body from adults' supports that we should avoid tracing adults' methods without reasons. Children's pants construction method on basis of actual wearing should be devised to solve fit problems. Improvements of children's method were proposed such as ease of girth by different area worn, ease of "elastic waist girth", the difference between "elastic waist girth" and "pattern waist girth", and the difference between "pattern waist girth" and "pattern hip girth" as considerations of pants girth items, and appropriate position "clothing waist girth" "pants hip length" level, "pants crotch length" level, "clothing knee length" level, and "pants outside length" level for pattern making as considerations of clothing length items.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.271-286
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• 2015

This study presented functional designs for development of functional compression wear for men in their forties based on body muscles as well as designed 2D patterns using 3D standard body form data of men in their forties. Patterns with an optimal stretch rate were proposed through a comfort evaluation. Different material was used for different areas such as the sports ability strengthening areas including body parts that often move for sports (such as the shoulders, abdomen and lower arm), areas that require ventilation for perspiration (such as the chest and back center, and armpits), and stable form areas (such as the chest, waist and elbows). The front and back surface areas of the developed pattern was an average 102.4% size compared to the body surface area. The results indicated that the 90% reduction pattern showed changes in pressure value according to area of movement, had the best breathability when worn, and had the best, most comfortable fit compared to the other subjects. The clothing pressure values of the pattern were around 22.1-23.4mmHg for the arm area (which has a big movement range and has many muscles) and 10.4-11.8mmHg for chest and abdomen areas related to major organs and breathing, indicating appropriate clothing pressure. A compression wear top pattern with pressure appropriate to the target age range and excellent appropriateness for the body form will be developed for men in their forties. A study method will be proposed to develop design technology for ergonomic compression wear tops with excellent fit and comfort.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.733-745
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• 2016

This paper provides a review of wearable textile strain sensors that can measure the deformation of the body surface according to the movements of the wearer. In previous studies, the requirements of textile strain sensors, materials and fabrication methods, as well as the principle of the strain sensing according to sensor structures were understood; furthermore, the factors that affect the sensing performance were critically reviewed and application studies were examined. Textile strain sensors should be able to show piezoresistive effects with consistent resistance-extension in response to the extensional deformations that are repeated when they are worn. Textile strain sensors with piezoresistivity are typically made using conductive yarn knit structures or carbon-based fillers or conducting polymer filler composite materials. For the accuracy and reliability of textile strain sensors, fabrication technologies that would minimize deformation hysteresis should be developed and processes to complement and analyze sensing results based on accurate understanding of the sensors' resistance-strain behavior are necessary. Since light-weighted, flexible, and highly elastic textile strain sensors can be worn by users without any inconvenience so that to enable the users to continuously collect data related to body movements, textile strain sensors are expected to become the core of human interface technologies with a wide range of applications in diverse areas.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.480-487
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• 2019

This study used 3D technology to develop a multi-functional sports brassiere with increased comfort and fit that can be worn as a base layer during exercise or as underwear. A 75A size industrial lingerie figure was used to develop a standard pattern. 3D tools for scanning and pattern making, such as Vivid 910, Geomagic Design X, 2C-AN and Yuka CAD were used. The sports brassiere was designed as a tank top style with dual structure and linings attached to a pad utilized with a sport brassiere mold cup. 3D outer and lining's pattern was differently developed in consideration of the body's curvature with pad's shape and structure. Shoulder and neck part reduction rates were adjusted to increase the neck areas fit that considered the nude pattern's structure due to uncomfortableness felt by wearers who were uncomfortable with the neck areas fit on existing brand products. The reduction rate was also set differently on each part. For example, the reduction rate on outer side panel was set strongly to increase the breast's volume. Two products, developed by a 3D sports brassiere and previously released product, were worn on 8 subjects in their 20's to evaluate fit, comfort, and purchase preferences. The evaluation proved that newly developed 3D products were superior to comparative products. The results of the clothing pressure measurement indicate that the newly developed sports brassiere's front part had less pressure on upper bust and shoulder areas compared to comparative products as well as showed less pressure on the back side, which shows improved wearing comfort compared to comparative products.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.807-818
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• 2009

This study is to present a female high school summer blouse with high movement functionality and satisfying appearance, surveyed the students for their understanding of summer blouse. Experimental study's research method was questionnaire survey. By using questionnaires, the satisfaction and comfort of each region of the current worn summer blouse was analyzed. The results of this research are as follows. After surveying 371 high school students in the Daejeon region on the currently worn summer blouse comfort levels, 48.4% showed dissatisfaction about the width of the sleeves and the armpits and over 93% wanted the use of elastic materials as an alternative. After investigating the summer blouses' mending state, 41% of students that mending their clothes chose the alternation of reducing the overall silhouette of the blouse in all areas. This reflects the female high school students' mentality that thin body shape is the ideal.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.167-179
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• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.778-792
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• 2003

This study is to review, in the social and cultural context, the main causes for the sportism that prevails in modern fashion, and to analyze the typical expressions in the domestic fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time and abundant opportunities, new fashion materials resulting from new technologies, emerging youth culture and increasing preference for such culture, and the postmodernism. With this background, sportism, which has been appearing in the domestic fashion, falls into 5 categories as follows based on the type of its expression. “Urban Street Sportism” is affected by the new sports culture of urban young people, which is characterized such that body line is disregarded with over-sized garment in layered style without considering T.P.O. concept. “Romantic Sportism” applies colors, fabrics and details of romantic images to sporty items, or culminates the feminine and elegant sportism by using the sporty fabrics and details along with romantic items. “Vintage Sportism” is characterized by its well-refined, high quality expression of naturally worn for long time, which is affected by the postmodernism. “Urban Utility Sportism,” which is developed with such design factors as fabrics, styles, details and colors with emphasis on their utility and functionality, explicitly accommodates the changed modern life styles particularly in urban areas. Lastly, the military image, which was developed during the Iraq War along with simultaneous anti-war activities, and the peace messages, which deliver the mankind's hope for the world peace and social wellness, formulate the “Military Sportism”.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.