• Journal of the Korean Society of Costume
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• v.16
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• pp.173-185
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• 1991

We measured change of peripheral skin temperature and mean skin temperature when the upper arm and thigh pressured in order to know the effect of skin pressure applied by clothing on blood circulation. After release from pressure, we observed also recovery condition. At the same time, we examined relation between pressure and a feeling of tightness. Three physiques of healthy females, namely slender, standard and plump, served as subjects. We used intermittent method with skin pressure applied by experimental fabric at l-minute intervals. Besides we made a comparative study with results according to different restraint method (continuous method and intermittent method). As a result of this experiment, we obtained following findings. 1. The significant difference was marked at the pressure, measuring time, physique and measuring region with change of skin temperature under upper arm and thigh restraint by intermittent method. The peripheral skin temperature decreased with the lapse of restraint time. A remarkable tendency observed according to the. increase of restraint pressure. Recovery condition after release from pressure not yet recovered to original state, for all after a lapse of 10 min. The mean skin temperature decreased with the lapse of restraint time in case of upper arm restraint, it was not an obvious tendency except 60mmHg under thigh restraint. 2. Main factor affecting the evaluation of a feeling of tightness was restraint pressure, when the upper arm and thigh restraint by intermittent method. The respondence rate of 'very tight' grew larger according to the increase of restraint pressure. The value of pressure sensation declined after restraint ten times as compared with one time, but there was difference according to restraint pressure. 3. We reexamined change of skin temperature and feeling of tightness by different restraint method(continuous method and intermittent method). The results were as follows. 1) The skin temperature decreased more greatly during skin pressure by continuous method than intermittent method, especially in the peripheral. Without different restraint method, the skin temperature of slender plysique decreased more greatly than that of plump physique. 2) The value of pressure sensation by intermittent method was highly on both sites of upper arm and thigh.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.2
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• pp.197-206
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• 1993

We studied relation between the clothing pressure applied by foundations(waist nipper, girdle, body suit) on the waist of bodies and muscular activity, feeling of tightness. The main results were summerized as follows ; 1. Clothing pressure applied by foundations was high in order of girdle>waist nipper>body suit, also clothing pressure was higher back than front and side, sitting on the chair than standing posture, ventral flection than repose. Individual differences, even if size of body was equal, were shown in clothing pressure applied by foundations with subcutaneous fat's amount in measuring region. 2. The muscular activity of rectus abdominis than obliquus externus abdominis was more affected by foundations in all kinds of postures and motions. Amplitude of electromyogram was high sitting on the chair than standing posture, but there was little difference with motion variation. The wearing girdle strongly affected on the muscular activities of rectus abdominis and obliquus externus abdominis as compared with waist nipper and body suit. 3. The value for feeling of tightness by wearing waist nipper was higher than girdle and body suit. Also the case when sitting on the chair and ventral flection, the value for feeling of tightness was high. When the foundations were on the body, most tightened on the region of the body was anterior abdominal region.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.13-25
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• 1991

We measured change of peripheral skin temperature and mean skin temperature when the upper arm and thigh are pressured in order to know the effect of skin pressure applied by clothing on blood circulation. After release from pressure, we observed also recovery condition. At the same time, we examined relation between pressure and a feeling of thightness. Three physiques of healthy females, namely slender, standard and plump, served as subjects. We used continuous restraint method with skin pressure applied by experimental fabric for 10 min. As a result of this experiment, we obtained following findings. 1. The significant difference was marked at the pressure, measuring time and physique with change of skin temperature under upper arm restraint. The peripheral and mean skin temperature decreased with the lapse of restraint time. A remarkable tendency observed according to the increase of restraint pressure. Recovery condition after release from pressure not yet recovered to original state, for all after a lapse of 10 min. 2. The significant difference was marked at the pressure, measuring time and physique with change of skin temperature under thigh restraint, especially different physique was remarkable among them. The peripheral skin temperature decreased or decreased. Recovery condition after release from pressure was the same upper arm. 3. Main factor affecting the evaluation of a feeling of tightness was restraint pressure. The value of pressure sensation made remarkable declined after a lapse of 10 min restraint time. Individual differences, however, were shown in pressure sensation.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.3
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• pp.387-394
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• 1994

Journal of the Korean Society of Clothing and Textiles Vol. 18, No. 3 (1994) p. 387∼394 In this study, the restriction of slacks (blue jean) versus box pleats skirt was investigated, from the view point of peripheral blood flow at the toe according to motion variation and E.M.G. analysis of leg muscles after walking on the flat or going up and down stairways. Besides, the pressure of slacks on the lower extrimity was measured statically and dynamically. The main results were summerized as follows; 1. The clothing pressure applied by slacks was; each one of thigh and lower leg was 18.2 g/ cm2 and 22.1 g/cm2 in upright, 63.4 g/cm2 and 26.6 g/cm2 in sitting on the chair, on both sides of thigh and lower leg 272.0 g/cm2 over in squatting. 2. When the motion starts from upright, the dynamic clothing pressure reach their peak before the motions end. When the motion ends and the body comes to a still condition, the clothing pressure grow lower and indicate a constant value. but when the body starts moving again to return to upright, the pressures once grow higher and go to zero value after reaching the peak. The pressure on the knee show much greater than those on the hip. This can be because these pressures depend on the degree of skin stretching motion and of its curvature. 3. The surface E.M.G. in leg muscles M. rectus femoris and M. gastrocnemius were recoreded. In the case of wearing slacks, two muscles were activated much more than wearing skirt. 4. The peripheral blood flow at the toe by wearing slacks was lower than wearing skirt. Also the case when squatting, the peripheral blood flow at the toe was low.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.4
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• pp.560-575
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• 2015

This study developed brassieres using a suspension system with the elastic panel on the inside of the brassiere cup to replace the wires for 20s women with large and elongated breasts. The following results were obtained by analyzing clothing pressure and a subjective evaluation of brassieres with elastic panels at the bottom or side of the various reduction ratios and with the shoulder straps of the brassiere. Brassieres with dual panels (rather than with only the bottom panel) lowered clothing pressure as well as improved wearing comfort and function. Compared to brassieres with a panel of 10%, brassieres with a panel of 15% lowered clothing pressure and provided superior wearing comfort. In this case, the higher the reduction ratio of the side panels increased clothing pressure on the shoulder, but provided superior well-fit, bust-up, and vibration restraint. To reduce the reduction ratio of the side panel decreased clothing pressure on the shoulder and decreased support functions. Therefore, the reduction ratio of the side panels should be determined by preferable functions such as wearing comfort that depend on the needs of the wearer. It is suggested that a brassiere with a dual elastic panel can replace the brassiere wire.

• Journal of the Korean Home Economics Association
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• v.40 no.4
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• pp.201-210
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• 2002

The purpose of this study was to extend the social teaming and imitation theory in an attempt to examine the effect of star-entertainer imitation behavior on clothing behaviors in relation to adolescents' age and gender variables. The research was a survey and the subjects were 895 adolescents in Taejon, Korea. The measuring instruments was serif-administrated questionnaire consisted of star-entertainer imitation behaviors and clothing behaviors. The collected data were analyzed using factor analysis, ANOVA, Duncan's multiple range test. Results were as fellows: 1) The results of analysing the response of star-entertainer imitation behaviors showed that adolescents had very positive attitudes and high psychological need to identify self with star-entertainers, however, their actual identification behaviors were not very noticeable because of parents' restraint and school regulations on students' appearances and clothing behaviors. 2) The results of analysing the response of clothing behaviors showed four factors such as 'fashion$.$clothing interest', 'psychological dependency on clothing' , 'clothing exhibition', and 'clothing conformity'. 3) Star-entertainer imitation behaviors had significant effects on clothing behaviors; the group with more star-entertainer imitation behaviors showed more fashion$.$clothing interest, higher psychological dependency on clothing and clothing exhibition, and lower clothing conformity than the group with less star-entertainer imitation behaviors. 4) Clothing behaviors showed the differences according as adolescents' age and gender; the female adolescents showed more fashion$.$clothing interest and clothing exhibition than male, the high school and cortege age groups showed higher psychological dependency on clothing than other age groups. It is concluded that the results of this study support social teaming and imitation theory since TV media give strong influence on the TV viewers through presenting various modeling stimuli to adolescents' lives.

• Journal of Fashion Business
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• v.6 no.1
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• pp.102-115
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• 2002

The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue's clothing in the light of linked solution, and to compare the characterizations of style of Greek statue's clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue's clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue's clothing. The internal meaning of style of Greek art and Greek statue's clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue's clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.

• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.14-25
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• 2005

The objective of this study is to understand bodily extension and identity in contemporary fashion art through the analysis of 'the fashion acting on the body' among the fashion theory excluding body and the conspicuous works on the opening and covering images as a fashion art as a body-space'. This study also investigated identity problems where there are poles apart in opening and closure their bodies and body-space in which its clothing types were distorted by being de-bodilization out of the traditional and ideological expression method in contemporary fashion art from a opening and closure point of view. Image of opening and closure among body-space in fashion art can be classified into opposing structure of opening and closure. Destroying the boundary between bodily opening and closure for a primary function of clothing and dismantling the role and boundary between body and clothing, opening body-space in appearance as a reemergence of body image or the border between inner and outer are being ambiguous because of transparent material. Being representative work of this study opening body-space was expressed as an opening space image using transparency. On the contrary, closure body-space was isolated from external environment and confined in the certain space, which could limit or restraint body- action. Excluding boundary of body and clothing on the whole or in part, boundary of work becomes body-space. However, these were appeared to be a work inducing unlimited curiosity and meaning from the audience. The interpretation of artistic and body-space in fashion art are indicating the role and function of the fashion art exceeding the suggestible dimensions in the every day life of fashion. The body-space of fashion art showing similar aspect of body art today could be understood that it is substituted into an metaphorical, critical space by seeing it as a symbol system connected with social space. Therefore, contemporary fashion art should be interpreted as an equivocal space looking at the body-space with open mind.

• Fashion & Textile Research Journal
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• v.14 no.3
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• pp.438-447
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• 2012

This study investigates the effects of appearance-relative behaviors of adolescent female consumers on their awareness of heath harmfulness and skinny jeans purchasing behaviors and identifies the influential variables on the wearing satisfaction of skinny jeans. A survey was carried out with middle and high school female students and 386 responses were analyzed using descriptive analysis, factor analysis, a reliability test, and regression analysis. The results of this study were as follows, 1) From the results of the factor analysis on appearance-related behaviors and clothing benefits of skinny jeans for female adolescents, each of the variance assessments clearly showed factorial structures. 2) As a result of looking at the influences of appearance-relative behaviors on the clothing benefits of skinny jeans, respondents who paid more attention to their appearance tended to consider hygiene and activity comfort less important. In addition, respondents who had higher fashion concerns tended to consider aesthetic, practicability, desired trend, and activity comfort more important. 3) Respondents who had higher fashion concerns and considered activity comfort more important among skinny jeans benefits showed a higher level of satisfaction when wearing skinny jeans. However, respondents who thought aesthetic and health hygiene more important when buying skinny jeans showed a lower level of satisfaction when wearing skinny jeans. Female adolescents showed less satisfaction when wearing skinny jeans, as they perceived harmfulness about skinny jeans more.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.1
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• pp.98-115
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• 2017

This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.