• The Research Journal of the Costume Culture
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• v.10 no.4
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• pp.392-403
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• 2002

The purpose of this study was to make clear reduction ratio due to the stretch ratio and to find out the ease for the patterns of stretch skirt according to fat body type to improve the aesthetics and wearing satisfaction. For this study, three college students were selected according to the fat body types; According to fat body types, 15 experimental skirt which were different each other in terms of the amount of ease on wait and hip, were made for the appearance test and wearing satisfaction test. The results from the study were as follows: 1. The results from the appearance test were as follows. For the ease on waist, W+2cm and W+0cm for fat body type were suggested for the best fit. For the ease on hip, H+2cm and H+0cm for fat body type were suggested for the best fit. 2. The results from wearing satisfaction test were as follows. W+2cm, H+2cm for fat body type were suggested for the best wearing satisfaction. 3. Based on the results from the above tests, the pattern reduction ratios for stretch skirt were as follows. pattern reduction ratio 0∼2.4% of waist, 1.9∼3.8% of hip for fat body type, were suggested for the appropriate reduction ratio for stretch skirt. 4. The result from this study for stretch skirt was as follows. For fat body type, W+2cm, W+0cm for waist and H+2cm, H+0cm for hip were appropriate for stretch skirt pattern. Therefore, different ease has to be applied to stretch skirt pattern according to the body parts, to make the skirt looks good, is appropriate for fat body type, and is satisfied with appearance and wearing satisfaction test.

• Fashion & Textile Research Journal
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• v.24 no.4
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• pp.372-385
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• 2022

In this study, the patterns expressed on nineteenth-century blue and white porcelain among Joseon white porcelain were selected as the material for the development of the car seat fabric design. It was intended to be applied to car seat design by incorporating Korea's own traditional patterns to fit modern sensibility. First, seven pieces of nineteenth-century blue and white porcelain were selected through the literature, and motifs were produced using adobe illustrator, a computer graphic program. Seven car seat fabric designs were developed according to the construction method and development method of the produced motif. Work 1 was designed to elicit a soft and feminine atmosphere using the peony pattern shown in Table 1-1. Work 2 aimed to express a luxurious atmosphere using the image of the mountain expressed in Table 1-2 as a design material. Works 3 was designed by freely arranging the letters of luck expressed in Table 1-3 to form a free and dynamic image. Work 4 was intended to express a stable and rhythmic atmosphere by horizontally arranging the images of the gently curved wings, tail, and rhythmical tail feathers of the phoenix expressed in Table 1-4. Work 5 was designed in a vertical arrangement using the patterns and silhouettes of the tiger's back expressed in Table 1-5. Work 6 was designed using the wave pattern expressed in Table 1-6 to replicate the rhythmic atmosphere. Work 7 was designed using the images of rocks, waves, and the sun in Table 1-7 to express a calm and antique atmosphere.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2011.05a
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• pp.69-70
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• 2011

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.3
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• pp.89-97
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• 2003

This study is to review the development of calico printing pattern design for fabric through historical perspective. Calico is a cotton cloth named from Calicut, a city of India. It was first brought to England by the East India company in 1621. Although the name is generally given and plain white cotton cloth, and in America it is applied to small-scale printed cottons, today it applies to indian cotton cloth, coarse or fine, woven with colored geometrical large-scale and small-scale patterns, painted or printed. Therefore this paper proposes the classification and feature extraction of calico printing pattern from the early of 16th century to 21th century. The results of this study can be effectively applied to develop competitive calico pattern design in domestic cotton textile industry.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.1-13
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• 2008

The purpose of this research is to study the cause of obstruction in various knit pattern structures by understanding the needs of the customers, and to develop knitted fabric goods that satisfy the individual taste of consumers and that reflecting the latest fashions. Actual conditions of the manufacturer's designing processes must be examined. In addition, a comparison analysis of fashion sensibilities and preferences between producers and consumers had been made in order to study developing knit pattern structures. Questionnaires and interviews had been used as research methods. The research involved two groups: one group consisted of 57 producers, which included designers, programmers, and merchandisers working for a knit manufacturer in Seoul, while the other group consisted of 74 consumers, which included students with knitted fabric design as their major and those who have working knowledge of knitted fabrics. For a more accurate evaluation, 28 out of 150 patterns have been selected through a preliminary study conducted by 24 designers. On the 28 knit patterns, a sensibility evaluation had been made through the use of the sense of sight and sense of touch, which was followed by a frequency analysis, cluster analysis, and t-test using SPSS 12.0. The results are as follows: the fashion sensibility evaluation on knit patterns showed that structures, such as racking II or lace II, are typically elegant ('elegance'), while structures, such as links I or racking I, are typically 'active.' Furthermore, a 'country' image was displayed in structures such as cable I, cable II, and miss II. Links I appeared as 'sophisticated'. Miss I and milano were said to have 'modem' images. Lace II was regarded as 'ethnic', while racking II was said to have a 'romantic' image. 2:1 rib and milano were generally thought to be manly ('manish'). The fashion sensibility scale for each knit pattern has been made based on the above results. Based on producer and consumer responses, the sensibility evaluation on knit pattern structures showed that the two groups had similar preferences in knit pattern structures. Therefore, the fashion sensibility scale developed in this study can be used as a basic data for structure development when designing knitted fabric goods.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.97-108
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• 2004

This study was conducted to examine the marking efficiency of a dress pattern in order to reduce textile loss by pattern marking. A basic one-piece dress pattern saved to the Yuka CAD System was graded with different sizes and arranged for industrial purpose to calculate the marking efficiency in different conditions. Condition of marking experiment is made it a rule to use 150cm textile width and apply 44, 55, 66 pattern size for three pieces of a dress patterns. The results of the study indicated that the marking efficiency rates of the dress pattern with a separate facing was higher than the one with a self facing. In the dress pattern with a separate facing, the separated seam at center back was appeared to have a higher marking efficiency than the extended seam. It was also found that the efficiency rate was higher in the pattern with a seam at center back when comparing with the dress pattern without a seam. When the marking with a horizontally-loaded collar was compared with a vertically-loaded collar, the efficiency rate was higher for the collar loaded horizontally, The result of the study showed that the type of facing, the location of a seam, and the direction of collar loading were the factors directly related to increasing marking efficiency. The dress patterns marked efficiently in terms of a type of facing, seam, and collar treatment can reduce fabric loss and also shorten the time needed for marking process.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.433-446
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• 2001

Recently, according to changes in fashion trends, the importance of stretch fabric stands out. A lot of studies on non-stretch woven fabrics have been made, but few studies on stretch fabrics has been made yet. Especially, the study on ease for the patterns, according to body types, of stretch has not been made at all. The purpose of this study was to make clear reduction ratio due to the stretch ratio and to find out the ease for the patterns of stretch skirt according to standard body type to improve the aesthetics and wearing satisfaction. Therefore, fundamental data for aesthetic and functional patternmaking of the stretch skirt can be suggested. The results from the study were as follows: 1. The results from the appearance test were as follows. For the ease on waist, W+0㎝ and W-1㎝ for standard body type were suggested for the best fit. For the ease on hip, H+2㎝ and H+0㎝ for standard body type were suggested for the best wearing best fit. 2. The results from wearing satisfaction test were as follows. W+0㎝, H+2㎝ for standard body type were suggested for the best wearing satisfaction. 3. Based on the results from the above tests, the pattern reduction ratios for stretch skirt were as follows: pattern reduction ratio 3.0∼4.6% of waist, 2.1∼4.3% of hip for standard body type were suggested for the appropriate reduction ratio for stretch skirt. 4. The result from this study for stretch skirt was as follows: For standard body type, W+0㎝, W-1㎝ for waist and H+2㎝, H+0㎝ for hip were appropriate for stretch skirt pattern.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.929-938
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• 2007

The purpose of this study was to explore the consumers' purchasing pattern and dissatisfaction with the quality of the jean pants. A total of 695 men and women completed the questionnaire. The questionnaire for the survey measured consumer's jean pants purchasing pattern and dissatisfaction for quality. The results of this study showed that men bought higher priced jeans. Women in their twenties purchased and worn jeans frequently and men and women in age 20s mainly bought jeans at wholesale stores or department stores; but, majority of subjects in their thirties bought jeans at discount stores. Consumer's dissatisfaction with the quality of jean pants was significantly different among the groups by age, gender or their pursuing buying benefit. The men and women in age 30s were dissatisfied with harshness of the denim fabric. The subjects, who highly concerned on the aesthetic value, were dissatisfied with the inconsistence color of the jean pants after washing. Men and women who valued the functional performance of jean pants, were dissatisfied with low sweat absorbancy of jean pants material. The results of this study showed that the consumer's buying pattern for jean pants were differentiated by their age and gender. These results imply that jean pants manufacturers should develop jean pants to meet the needs of their target market. The jean pants, which were manufactured for discount stores, should be made of fabrics with good sweat absorbancy and soft hand. The fashion jean pants, which were targeted for women seeking aesthetic values, should be improved to maintain color consistency of the fabric.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.947-954
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• 2008

The purpose of this research is to find out related factors to obtain the best collar pattern of the women's tailored jacket by analyzing the difference of the shapes between the drafted pattern and that of being stitched. The experimental conditions established are as follows. The position and angle of its break point, the notch and the width of the collar and lapel are kept unchanged. The collar decrease in neckline edge and the top collar larger than the under collar. The crossing point of gorge line is changed to make the collar's roll line straight. When the pattern is changed to make the outline of the lapel straight, the amount of cloth is changed too. According to the experimental conditions, The experimental clothes using muslin were made to. put on the manikin and the suitable methods of making the collar pattern were decided. In order to find out the influence of fabric materials on the jacket' shapes, Three kinds of wool fabrics were used and the results were evaluated. Summary of the research is as follows. When 0.5cm of the neckline edge is shortened, the standing part of the collar has less wrinkles, and its position looks natural and lastly, the material has slightly affected the collar's condition. It is desirable to make the top collar 0.2cm longer than the under collar. But the length should be different according to the fabric material. It it is thick cloth, the length has to be extended. To make the roll line straight, 0.4cm of the crossing point of gorge line should be corrected. The thick cloth needs more correction. To make the lapel's outline straight, it needs outwardly round 0.2cm more and materials make little difference to affect the shape.