• Journal of the Korean Society of Clothing and Textiles
• /
• v.37 no.8
• /
• pp.1029-1043
• /
• 2013

The pearl is a highly valuable gem that has historically represented wealth and power. Pearl necklaces have developed intro various types and represent an essential status item for modern women. This study first examines the symbolic and various meanings of pearls. Second, this study examines wearing types and pearl necklace patterns based on historical figures and modern fashion icons famous for personal displays of pearls. This study examines and analyzes various specialty publications about jewels, history of costumes, fashion magazines, academic research data, and internet search results. The conclusion of this study is as follows. Pearls have various symbolic meanings that are unlike other gems. Pearls represent purity, innocence, marital fidelity, an intimate relationship with the moon, frozen tears of God, solitude, triumph over adversity, wisdom, and sensual attraction. The societies and people traditionally famous for pearls were the Roman Empire, Queen Cleopatra of Egypt, Queen Theodora of the Byzantine Empire, Queen Elizabeth I, Queen Marie Antoinette, Empress of Eugenie Napoleon III, and Queen Alexandra. They showed a special affection for pearl necklaces and various wearing patterns unique to the time. Their pearl necklaces became a historic and symbolic legacy. Reestablished through the costume jewelry of cultivated pearls designed by Coco Chanel in the $20^{th}$ century, the pearl necklace has showed a variety of fashion trends in addition to a traditional symbolism of wealth and power. Josephine Baker, Louise Brooks, Marilyn Monroe, Elizabeth Taylor, Jacqueline Kennedy, Queen Elizabeth II, Princess Diana, Michelle Obama and Sarah Jessica Parker have worn notable pearl necklaces and established an individual style that utilizes the adornment of fashionable and stylish pearl necklaces. They have worn pearl necklaces while applying various fashion trend motifs to symbolic pearl features of that have changed the perception of the pearl and themselves.

• Journal of the Korean Society of Costume
• /
• v.50
• /
• pp.5-22
• /
• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Fashion & Textile Research Journal
• /
• v.9 no.4
• /
• pp.418-424
• /
• 2007

The purpose of this study is to propose a standard of converting 3D shape of men in twenties to 2D patterns. This can be a basis for scientific and automatic pattern making for high quality custom clothes. Firstly, representative 3D body shape of men was modeled. Then the 3D model was divided into 3 shells, front, side and back. Among them, the front shell was divided into 4 blocks by bust line and princess line. Secondly, curves are generated on each block according to matrix combination by grid method. Then triangles were developed into 2D pieces by reflecting the 3D curve length. The grid was arranged to maintain outer curve length. Next, the area of developed pieces and block were calculated and difference ratio between the block area and the developed pieces' area is calculated. Also, area difference ratio by the number of triangles is calculated. The difference ratio was represented as graphs and optimal section is selected by the shape of graphs. The optimal matrix was set considering connection with other blocks. Curves of torso upper front shell were regenerated by the optimal matrix and developed into pieces. We validated it's suitability by comparing difference ratio between the block area and the developed pieces' area of optimal section. The results showed that there was no significant difference between block area and the pieces' area developed by optimal matrix. The optimal matrix for 2D developing could be characterized as two types according to block's shape characteristics, one is affected by triangle number, the other is affected by number of raws more than columns. Through this study, both the 2D pattern developing from 3D body shape and 3D modeling from 2D pattern is possible, so it's standardization also possible.

• Journal of the Korea Society of Computer and Information
• /
• v.25 no.11
• /
• pp.167-178
• /
• 2020

This study attempted to find out the difference in the patterns of jeogori between commercially available Shinhanbok brands by comparing and analyzing the patterns of the changing Shinhanbok jeogori in consideration of material characteristics, fit, and fastening. After purchasing and disassembling 6 products, analysis was conducted with the disassembly pattern. As a result of analyzing the shape of the jeogori, the 1st, 3rd and 6th brands showed no darts. In the case of the 5th brand, the three-dimensional effect of the human body was expressed with a princess line. As a result of the appearance evaluation, the 5 brands were evaluated as the highest in most items except for the space of the front width and the group wrinkles of back sleeve armhole, and the appearance was analyzed to be the best. As a result of evaluating the clothing pressure, it was analyzed that the chest circumference of the first brand was smaller than that of the other brands, and the shoulder width and shoulder length were also shorter, and pulling occurred even after wearing. As the demand for new hanbok increases, it is believed that it is necessary to establish a size system for ready-made clothes.

• Journal of the Korea Society of Computer and Information
• /
• v.26 no.8
• /
• pp.113-125
• /
• 2021

This study aimed to develop a new Hanbok Jeogori prototype based on design extracted through a preference survey on new Hanbok Jeogori. This study was conducted based on K-patterns selected as excellent patterns in prior research and utilized the SPSS 27.0 program for analysis of appearance evaluation. As a result of the first appearance evaluation and garment pressure evaluation, the shoulder area was required to be modified, so the shoulder end point was moved within 1cm to rearrange the armhole line. Modification of sleeve length and circumference was also required, reducing sleeve length by 1.5cm and sleeve circumference by 0.5cm at both ends. As a result of the second evaluation, the length of Jeogori, hem circumference, and sleeve length were required, reducing the length of the front and back Jeogori by 1 cm and reducing the sleeve length by 1cm. The hem circumference was reduced by 0.2cm each in the princess line, which was highly evaluated in the final evaluation. In future research, it is thought that pattern studies by material, length, and age should be conducted and corrections should be derived through actual wear experiments.

• Fashion & Textile Research Journal
• /
• v.18 no.4
• /
• pp.498-508
• /
• 2016

The purpose of this study is to develop an aesthetic and functional bicycle wear for new senior women in their 50s and 60s. Based on the results of the survey, we developed bicycle wear that is friendly to bicycling posture and reflects the preference of new senior women. The results are as followed: First, emphasis is placed on the simple and functional design of the experimental wear consisting of jacket and pants. Jacket is different from the color scheme with the armhole princess line in order for the waistline to look slim. Pants are designed to hold the leg muscles tightly in order to help reduce the muscle fatigue on the bicycle ride. Second, cutting lines and coloring materials are used for the wearer to look slim and the safety of the wearer is planned to secure by inserting the reflective material along the cutting lines on the bicycle ride. Third, the pattern of the experimental wear is designed in consideration of the riding motion of the bicycle. Jacket is designed to have back length longer than front length as compared to the bicycle wears available on the market. Sewing lines in the armpit are designed to be eliminated in order to move the arms smoothly on the ride. Pants are designed to minimize the seam line in consideration of the movement of muscles and ligaments and the experimental wear is produced by combining the material with the functions of cool comfort and stretch.

• Journal of Fashion Business
• /
• v.12 no.2
• /
• pp.117-133
• /
• 2008

In this research, female adults in ages 25 to 34 that reside in Shanghai, China, have been polled from 29th of December, 2007 to 2nd of February, 2008 in accordance with simple random sampling method. 210 women have been selected and polled. Of these, 10 who responded in appropriately were excluded and the remaining 200 were used in the final analysis. The questionnaires used in this poll were made up of ones that are about how they wear tailored suits and how much they are satisfied with them, and questions about demographical characteristics. SPSSWIN 12.0 Program was used as the analysis method in getting statistics and descriptive statistical analysis, t-test, and $x^2$ analysis have been performed. The summary about the Chinese female adults is as follows: 1. They prefer jackets with design, style, and quality that better fit them to the ones with a name brand and a lower price. 2. They prefer shoulder princess style jackets with short lapel color lengths and slacks with a basic style in waistline. 3. When wearing jackets they feel uncomfortable in all regions and were not satisfied. 4. All responded that they have an experience of having the jackets mended after purchasing them and a high frequency of mending was shown along the waistline, hips, and leg lengths.

• Fashion & Textile Research Journal
• /
• v.20 no.6
• /
• pp.713-721
• /
• 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.

• The Research Journal of the Costume Culture
• /
• v.23 no.3
• /
• pp.439-453
• /
• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.