• 한국의상디자인학회지
• /
• 제23권1호
• /
• pp.129-142
• /
• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• 한국의상디자인학회지
• /
• 제25권4호
• /
• pp.107-122
• /
• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• 복식문화연구
• /
• 제19권3호
• /
• pp.597-611
• /
• 2011

The purpose of this study is to propose a design method for one-piece dress patterns with high body fitness through an appearance evaluation of one-piece dress patterns with the application of the 3D Virtual Clothing System known as i-designer. Measures consisted of an optical illusion effect in visual imagery and mutual influence according to a change in the length and princess line, in a silhouette of a one-piece dress. The data was assessed by a t-test and a multi-way ANOVA and factor analysis using SPSS 17.0. The results were as follows; The design of the study pattern was done by modifying the ease of the bust circumference, ease of the abdominal circumference, ease of the hip circumference, the position of the side seam line, and the appearance of horizontality in the hem line, which received a low evaluation in appearance evaluations of a one-piece dress pattern. As a result of analyzing the visual image according to a change in the length and princess line, in the form of a silhouette of a one-piece dress, four factors were selected; the whole-body optical illusion factor, the upper-body optical illusion factor, the bust optical illusion factor, and the lower-body optical illusion factor. As a result of analyzing the effect of the interaction in the visual image according to the design variables, the influence of the main effect was found to be great in each factor. In the upper-body optical illusion factor, a significant difference was not noted in the two-way interaction between the length and the princess line. However, the influence on three-way interaction among the length, princess line, and silhouette was significant.

• 패션비즈니스
• /
• 제10권1호
• /
• pp.41-57
• /
• 2006

The purpose of this study were to provide dress forms and men's jacket blocks based on the analysis of their somatotype. As the result of the previous research, based on 1290 males of 20 to 54 year-old, the shapes of adult male were 20 and each body shape was classified by size factor, height and chest girth and master size was selected considering appearance frequency. Somatotype YS(master size: height 170cm, chest girth 91cm) and HD1(master size: height 170cm, chest girth 94cm) were selected to develop dress forms and men's jacket block in the study. The procedure and results were follows; 1. The dress forms of somatotype YS and HD1 were provide base on means of 61 body measurements and cross sections of shoulder, chest, waist, hip of subjects belong to each somatotype. 2. New men's jacket blocks of somatotype YS and HD1 were developed based on the body surface extracted by draping and the result of comparative investigation on the conventional jacket patterns by wearing test. Also the drafting methods of new men's jacket blocks were provided. 3. Wearing test by the sensory evaluation showed that the developed jacket blocks were estimated more highly than existing patterns.

• The International Journal of Costume Culture
• /
• 제3권1호
• /
• pp.61-68
• /
• 2000

In recognition of the necessity to research on dresses of the past to lead future fashion, this study is focused on plastron basque that has constructed or decorated upper garments in various forms from the ancient times to modern times. Especially through reproduction and restoration of Victorian dress with plastron basque, the study approaches the problem in positive manner, As a result, studied 1887∼9 day dress is a plastron of pouched style with pleats panel in front center connected to jacket style bodice by buttons: and it shows changes into modern day dress form by constructing fitted line with decorative effects. By actually making the plastron that was only seen in picture, we expect this study will be a valuable resource for developing patterns, sewing and decoration techniques.

• 대한가정학회지
• /
• 제18권4호
• /
• pp.41-45
• /
• 1980

We must identify the forms of dress devised throughout ages, when we wtudy, interpret and analyze the numerous resource material of costume. The study which depends on reference to actual artifacts is necessarily limited. Whereas items of contemporary dress are readily available, much from earlier eras has been destroyed or has deteriorated through time. Such as cottons, linens, silks, wools, leathers and furs are perishable organic materials. Few garments dated earlier than seventeenth century has survived except armor, jewelry. We have many sources of the information are available to study on costume of earlier eras. These sources are wall paintings, sculptures, painting, monumental brasses, manuscript illustration ceramics, coins, medals, mosaics, archives, literature. Wall painting and frescoes provided an useful source for costume study. Many wall paintings and frescoes were destroyed, were changed in color. It si advisable to interpret the dress detail, form color carefully. Sculpture would be useful to see the back and side views of dress. One of the most important points which should be made abut the use of sculpture as a source for costume study in early periods is that the sculptor's style will often change the character of a costume. As the painting si two-dimensional evidence for a three-dimensional costume, paintings must be accurately studied. What we must do, as far as we can, is to look at all visual representations in the light of other contemporary evidence in order to interpret the information correctly.

• 복식
• /
• 제31권
• /
• pp.47-60
• /
• 1997

As we analyzed the formalities of court dress during King Soonjo's rule through the characters depicted in $\boxDr$Wangseja Chulgungdo$\boxUl$(The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) the results were as follows: People wore their appropriate full dress ac-cording to the ceremonial procedures. In the case of a Crown Prince normally the wore Gongjungchaek(a hat) (after the coming-of-age ceremony Iksunkwan) and Gonryongpo(imperial clothes) to show his status as a Crown Prince. He wore chugkumbok(a Coat) to indicate a Crown Prince as being a student. on an occasion of celebration a Crown Prince wore Wonyugwan and Gangsapo to provide him with prestige and as a sign of respect for the occasion. The teacher of a Crown Prince also wore Gongbok and Sangbok accoding to the dress requirements of the ceremonies. We can confirm that the Gongbok system of all government officials had been main-tained in the late Chosun dynasty. We know that the form of ceremonies be-came simplified in the late Chosun dynasty. it was recorded that students had to wear Chungkumbok. but we knew from the painting that students actually wore Dopo(a traditonal korean coat). We knew through this painting that the court dress rules of the late Chosun dynasty varied that previously known. As we concluded above research on the his-tory of costume by analyzing paintings both supplements our knowledge of the topic and confirms the deficiency in the study of the his-tory of costume based solely upon literature and books.

• 복식
• /
• 제54권4호
• /
• pp.85-95
• /
• 2004

The Purpose of this study was to find a phase of clothing in Korean proverb. The results of the analysis of this research was as follows： In the case of headgear, was expose that symbolize handsomeness, conduct of life, personality that display charm and position which is not usage as only head protection. Upper wear was expressing aspect and person's similarity, and was symbolizing conduct of life by meaning of dress and its ornaments according to a person that dress displays that change. Trousers(bottom wear) was expose that it means aspect or conduct of life(a 4 case, 40％) through site. Overcoat showed that overcoat that is clothes that is symbolizing wearer's situation, aspect and wear most on face because is involved with behavior that is not right in clothes usage is used by standard that foretell personality. Underwear can know that expressed being involved with right behavior, nature by the basic clothes. I was able to know that I express an attitude of a life or a form through shoe, and the accessories won an minor order but that I have a large influence on a character or the appearance of a person. Silk fabrics expresses Position, and hemp cloth expressed by symbol that display ability. Also, silk fabrics had meaning that hint person's background. Dress and its ornaments that is used in proverb by these result can know that have function as symbolic symbol that display Person's nature or situation, aspect that is wearing clothes that is not function as only simple clothes.

• 패션비즈니스
• /
• 제12권3호
• /
• pp.136-152
• /
• 2008

The purpose of this study was to provide dress forms and jacket blocks for adult males based on the analysis of their somatotypes. As the result of the research conducted for this study that was based on 1290 males of 20 to 54 years-old, the shapes of adult male were 20 and each body shape was classified by size factor, height and chest girth. Also, master sizes were selected considering appearance frequency. XS type (master size: height 165cm and chest circumference 88cm), Yd type (master size: height 170cm and chest circumference 91cm), YI and AD2 types (master size: height 170cm and chest circumference 94cm) were selected to develop dress forms and their jacket blocks in this study. The procedure and results were follows; 1. The dress forms of XS, Yd, YI and AD2 types were produced base on means of 61 body measurements and cross sections of shoulder, chest, waist, hip of subjects belong to each somatotype. 2. New jacket blocks for XS, Yd, YI and AD2 types were developed based on the body surface developments through draping and the results of comparative investigation on the existing jacket blocks by wearing test. Also the drafting methods of new jacket blocks were provided. 3. The sensory evaluation by wearing test showed that the developed jacket blocks were estimated more highly in terms of chest's allowance, the front width's allowance, neck wrinkle, front allowance and overall appearance's fitness items than existing jacket blocks.

• 한국의상디자인학회지
• /
• 제8권1호
• /
• pp.111-125
• /
• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.