• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.88-99
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• 2008

This study aims to analyze product samples of convergence of fashion and technology, as convergence is a major trend in the age of digital paradigm, and to propose desirable directions of development for technology convergence in fashion design in the future. With bibliographic research as well as internet search of the cases of development and commercialization of convergence of fashion and technology from the 1960s, when wearable computers were first introduced as an early development form of convergence, to the present, it becomes possible to classify these cases into three groups: functionally oriented one, aesthetically oriented one, and one that combines function and aesthetics. The pros and cons of each group of these cases are discussed and an evolutionary trend is observed from the earlier stage of convergence with functionally oriented cases which tried to achieve specific purposes of the time to the later stage of convergence with emphasis on both function and aesthetics which reflects the sensitivity of the general wearers. When three groups are plotted in the positioning map with one axis of function-aesthetics and the other of industry-fashion designer, however, all three are located outside of the two axes, suggesting these elements are not very well combined. In order for the products of the fashion-technology convergence in the future to receive favorable response from the consumers, it is necessary for the fashion industry to develop a close collaboration with companies of digital technology and the convergence products not only will have to provide functional benefits of the new technology but also to satisfy the aesthetic demands of the wearers.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.719-730
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• 2001

The purpose of this study is to develop the basic patterns of adult womens brassiere therewith, provide for some basic data useful to the brassiere manufacturing which are both functional and fitting. For this purpose, 220 adults women(aged between 20 and 59) were sampled to be measured for their body sizes and tested for their brassiere wearing. The collected data were statistically processed using the SAS 6.12 for Means, Standard Deviation, etc. The results of this study can be summarized as follows; 1. In order to develop the basic patterns of adult womens brassieres, 75A size was selected out of 12 size combination(3 women per 75A size) and then, their brassiere fitting was tested. As a result, the fronts of the basic patterns were found to have such problems as undone front center, poor levelling of upper cups bottom line or lower cups top line, poor shape of upper cups outside top line and shoulder strip position. On the other hand, n the rear side of the basic patterns, the central part of the wing was slightly lifted, while the wing width and straps interval did not befit the full-cup brassiere. The result of this first brassiere fitting test showed that the functionality and aesthetics of the basic pattern brassieres were more or less satisfactory, and thus, the problems were address for the second test. In the second test, the aesthetics, breast-shaping effect and functionality of the basic pattern brassieres were much improved. 2. The basic patterns of adult womens brassieres were characterized by a round cup wired as well as a full cup embracing the entire breasts. Each basic pattern which consisted of upper and lower cups was shaped \"straight(-)\". The basic sizes adopted at the first design stage (see fig. 1-2) was 75A of which was designed as upper foundation basic pattern. At the second stage, the upper body foundation pattern were used to design lower cup, upper cup, front panel and wing in their order.(see fig. 3-5, fig. 8)5, fig. 8)

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.821-832
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• 2002

The purpose of this study was to develop grading method of the basic brassiere patterns therewith, provide for 12 size's brassiere patterns and prove fitness of their's and shape. The collected data were statistically processed using the SAS 6.12 for Means, Standard Deviation, etc. The results of this study can be summarized as follows; 1. The basic sizes adopted at the first design stage (see fig.1-2) were 75AA, 75A and 75B each of which was designed as upper foundation basic pattern in reference to the cup size. At the second stage, each of the upper body foundation basic pattern was used to design lower cup, upper up, front panel and wing in their order(see fig.3-6). At the third stage, the other sizes were graded in reference to the three brassiere patterns (75AA, 75A and 75B) to produce 12 brassiere sizes(see Tab. 7-8). In order to develop the basic patterns of adult women's brassieres, 33 women were selected per 11 size combination(3 women per size combination), and then, their brassiere fitting was teated. As a result, the fronts of the basic patterns were found to have such problems as undone front center, poor levelling of upper cup's bottom line or lower cup's top line, poor shape of upper cup's outside top line and shoulder strip position. On the other hand, on the rear side of the basic patterns, the central part of the wing was slightly lifted, while the wing width and straps'interval did not befit the ful1-cup brassiere. The result of this first brassiere fitting test showed that the functionality and aesthetics of the basic pattern brassieres were more or less satisfactory, and thus, the problems were addressed for the second teat. In the second test, the aesthetics, breast-shaping effect and functionality of the basic pattern brassieres were much improved. 2. We were to present the final brassiere sizing system to extend the interior length of breast and the exterior length of breast on the basis of fitting test. Thereby, 75B$.$80A$.$80B$.$85A$.$85B's the interior lengths of breast were enlarged to 0.7cm, the rest size was enlarged to 0.5cm and the exterior length of breast was enlarged to 0.5cm regardless of sizes. 3. The upper foundation basic patterns of 75AA and 75B were presented and and the basic brassiere pattern and grading pattern were presented through to.

• Korea Science and Art Forum
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• v.19
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• pp.293-305
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• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.