• 한국의류학회지
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• 제36권3호
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• pp.346-359
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• 2012

This study provides basic guidelines to enrich lecture content and teaching methods for university lecturers about basic clothing construction (flat pattern making). The survey was conducted from October $13^{th}$ to December $20^{th}$ 2010 by mail and e-mail on 96 selected clothing departments in Korean universities to investigate the content, method and condition of the course of basic pattern making. A total of 63.3% of survey respondents were PhD graduates, 80 percent majored 'Apparel Science and Technology', average of total teaching experience was 12.84 years and 40 percent had studied abroad. The surveyed universities were 4 year universities (70%), 2-3 year tenure colleges (27%), and Cyber Universities (3%). The average number of students in a class was 28.08 and the lab space and equipment was evaluated positively only when the number of students was 20 or less. The type of measurements for basic pattern drafting were 'individual student's sizes' (62%), 'ready-made clothes sizing system' (25%), 'professor's experiential sizes' (5%), 'dress form sizes' (3%). In addition, the percentage of using 'ready-made clothes sizing system' increased 13% over the previous study (Lee, 2000). At a basic pattern drafting stage, 'the error of body measurements' in the case of using individual student's sizes, 'the poor results of fitting for students who deviate from standard body size' in the case of using ready-made clothes sizing system, 'the lack of education about fitting' in the case of using dress form sizes had been pointed out as shortcomings. A total of 66% of survey respondents carried out muslin fitting; however, a lack of students and teacher feedback about fitting & alteration of paper patterns remained a problem.

• 복식
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• 제63권3호
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• pp.78-94
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• 2013

In order to examine the influence of Anti-form in contemporary fashion focusing on 'signs of time', which illustrates the zeitgeist effects art and fashion, this study investigates both Anti-form movement in art of 1960s and 1970s and the fashion designs since 1970s when the signs of the influence of Anti-form in fashion began to appear. This was done by conducting literary survey as well as case analysis. Anti-form values the process and signs of time in that it visualizes the time and the process of making artworks. The emphasis on signs of time in Anti-form is observed in postmodernism fashion. Visualization of manufacturing process, visualization of signs of wearing, and continuation of wearing experience are all influences of the Anti-form in fashion. Visualization of manufacturing process exposes the techniques and the materials involved in garment construction such as linings, inside-out seams, interlinings, and unraveled hems, as well as the use of muslin, which is used in making garment prototypes. Signs of wearing is articulated in wrinkles caused by wearing, sings of alteration, reappeared designs of the past collections, reuse of vintage fabrics or garments, and the fabrics which assumes aged appearance. Continuous experience of a wearer is indicated in that the garment shape is not predetermined but changes continuously by the wearer's body shape and movement, which generates new and relative silhouettes continuously.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 한국의류학회지
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• 제39권6호
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• pp.826-837
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• 2015

This study analyzes the shapes of the adjustment of a Napoleon Collar which combines a stand collar with an upper collar. It established experimental conditions for fixing the conditions of Napoleon Collar components (lapel width, stand collar size and upper collar size) as well as varied the shape of the neckline, the length of the curve of a stand collar and the size of the drawing space at the center back. It produced 22 test clothes of muslin, which were dressed on dress form No. 8. The results indicate that: 1. Neckline shape determines the amount of stand and fall. Less curved neckline stands higher against the neck and a more curved neckline is laid lower onto the body. 2. A shorter curve length of a stand collar allows a longer roll line to fall farther away from the neck with more space between the neck and collar. However, the longer the depth of curve of a stand collar creates a shorter roll line that stands high against neck and closer to neck without any space between the neck and collar with a collar line matching the neck of the dress form. 3. The smaller the drawing space at the center back creates a shorter the style line of the upper collar. However, a narrower back width of the collar creates a bigger drawing space at the center back with a longer the style line and a more naturally placed back width of the collar. 4. A Napoleon Collar creates a longer depth of curve for a stand collar and a smaller drawing space at the center back that is tightly and stably stuck to the neck.

• 패션비즈니스
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• 제19권4호
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• pp.153-167
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• 2015

This paper proposes knit slacks patterns by lower body shape of middle-aged women. In addition, this paper aims to propose a design method for a prototype of nice knit slacks using the properties of knitwear. To select basic woven slack patterns which would be used in designing prototype of knit slacks for middle-aged women, two industrial slack patterns and two educational slack patterns were collected, and lab coats were prefabricated using muslin. Then, a shape test was performed by an evaluation board which consisted of eight experts who majored in Clothing Construction. Using blended yarn (1/17's) with 64% wool, 23% rayon and 13% nylon, 12G knit slacks in plain stitch were made. In terms of waist circumference of knit slacks, the front and the back were set to W/4+1+2(D) and W/4-1+2(D), respectively, with 1cm of difference using waist circumference (Omphalion) to cover the abdominal circumference. To make the front-back width of the side line even, the front waist circumference was increased by 1cm. The ease of hip circumference was set to 4cm in total with H/4+1+0.8 in front and H/4+1-0.8 in the back (0.8cm in difference). Crotch length was set by adding 3cm (width of waist belt) after deducting crotch height from waist height (Omphalion). The center front angle was shifted by 1cm while the center back angle was shifted from the center front to the side line by 5cm.

• 한국의류산업학회지
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• 제10권6호
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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.

• 복식문화연구
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• 제25권6호
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• pp.913-927
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• 2017

This study is based on the results of the $7^{th}$ Korea Human Size Survey (Size Korea). The standard body shapes of Korean women between 25 and 34 years old were analyzed and used to develop a prototype princess line for wedding dresses. or this purpose I conducted a literature review and a survey of the actual situation of domestic ligaments. In order to select suitable ligaments for the standard body type of 25~34 year-old Korean women, I collected the most representative ligaments from around the world: Stock man from France, Superior from the USA, KIIYA from Japan, and Pig and Nonno from Korea. They were then compared and analyzed. In the form of a formal wedding dress, a prototype princess line was developed by a draping technique in order to finely implement the human body fitting. To develop the prototype of the princess line, I made test garments with muslin. 25 to 34 years old Korean female standard body type Three human subjects close to the average measurement value were selected as subjects. An exterior appearance evaluation questionnaire was created with 28 questions focusing on the main parts of the prototype princess line. The clothes were evaluated three times. In this study, aesthetic and functional elements were considered for the development of princess line prototypes for wedding dresses. In addition, the amount of spare area was given differently. This study is significant in the achievement of a dress line closest that closely matches the human body line of the standard Korean female body type.

• 한국의류산업학회지
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• 제23권2호
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• pp.247-260
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• 2021

While it is an important element of clothing construction, research has so far been very limited on the similarities between virtual and real clothing in terms of the type of neckline. The purpose of this study is to verify the similarity, accuracy of virtualization, and actuality of neckline, which all play an important role in individual impressions and image formation, and require considerable modification when fitting real samples. A total of 5 neckline models were selected through the analysis of dress composition textbooks. The selected designs were then planned and manufactured in muslin. The specimen clothes were then tested on a female model in her 20s. 2 kinds of virtual bodies were created in order to compare the real and the virtual dressing. The first virtual body was made through an Artec 3D Eva scan of the model, and the other was made by entering the model's measurements in a CLO 3D program. A visual image of the front, side, and back image of both the real and virtual dressing were subsequently collected. The collected images were then evaluated by 20 professional fashion workers who checked the similarity between the real and the virtual versions. The current study found that the similarity between the actual and virtual wearing of the five neckline designs with reality appeared higher with the virtual wearing image using the 3D-scanned body. The results of this study could provide further information on the selection of appropriate avatars to clothing companies that check the fit of clothing by utilizing 3D virtualized programs.

• 한국의류산업학회지
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• 제20권6호
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• pp.713-721
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• 2018

This study aimed to develop a draping manual for the basic bodice to be available in colleges and industries. For this, draping methods mentioned in six different textbooks were comparatively analyzed. As for the research method, draping methods were compared by using training textbook, and basic bodices designed with muslin were assessed using the 5-point Likert scale. First, the draping methods of basic bodices were comparatively analyzed. The main baselines were set as the center front line, the center back line, the bust line, and the shoulder blade line. The position of dart was suggested based on the princess line, in both the front and the back. The value of dart was classified as a fixed size with any associated excess. The length of dart was set based on the bust point and shoulder blade point or a fixed size. The amount of ease was randomly set based on the fixed size, bust circumference, waist circumference, interscye length, armholes and shoulder lines, or the worker's intuition. Second, according to the appearance evaluation of the patterns, the following patterns obtained the highest scores: A pattern 2.5cm away from the B.P point of the waist dart and shoulder dart in the frontal appearance, a pattern of 0.6~0.7cm ease for the front armhole, a pattern with an ease of 1.2cm in the bust and 0.6cm in the waist. As for back appearance, the pattern in which the point of waist dart is 2~3cm from the bust line received the highest score.

• Asian-Australasian Journal of Animal Sciences
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• 제32권6호
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• pp.776-782
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• 2019

Objective: Fasting may lead to changes in the microbiota and activity in the rumen. In the present study, the effects of fasting on rumen microbiota and the impact of fasting on in vitro rumen fermentation were evaluated using molecular culture-independent methods. Methods: Three ruminally cannulated Holstein steers were fed rice straw and concentrates. The ruminal fluids were obtained from the same steers 2 h after the morning feeding (control) and 24 h after fasting (fasting). The ruminal fluid was filtrated through four layers of muslin, collected for a culture-independent microbial analysis, and used to determine the in vitro rumen fermentation characteristics. Total DNA was extracted from both control and fasting ruminal fluids. The rumen microbiota was assessed using denaturing gradient gel electrophoresis (DGGE) and quantitative polymerase chain reaction. Microbial activity was evaluated in control and fasting steers at various intervals using in vitro batch culture with rice straw and concentrate at a ratio of 60:40. Results: Fasting for 24 h slightly affected the microbiota structure in the rumen as determined by DGGE. Additionally, several microorganisms, including Anaerovibrio lipolytica, Eubacterium ruminantium, Prevotella albensis, Prevotella ruminicola, and Ruminobacter amylophilus, decreased in number after fasting. In addition, using the ruminal fluid as the inoculum after 24 h of fasting, the fermentation characteristics differed from those obtained using non-fasted ruminal fluid. Compared with the control, the fasting showed higher total gas production, ammonia, and microbial protein production (p<0.05). No significant differences, however, was observed in pH and dry matter digestibility. Conclusion: When in vitro techniques are used to evaluate feed, the use of the ruminal fluid from fasted animals should be used with caution.