• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.660-667
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• 2008

The purpose of this study was to modify a Flared Skirt for women according to the somatotype of lower body. The subjects for the wear test were 3 students, who were in $mean{\pm}1{\sigma}$ each somatotype. The results of this study are as follows: First, the Flared Skirt pattern was modified according to each type. The front waist line rising measurement proposed for type 1 and type 2 were 0.5cm, because of lower front silhouette with waist shape. The back waist line rising measurement proposed for type 2 was 1cm and type 3 was 0.5cm, because of lower back shape with hip. Second, the wave-height of nodes were regular at front and back in type 1. Also, the wave-height of nodes were evenly distributed side and center. The variation ratio of wave-height of back nodes were lower than existing pattern in type 2 and type 3. It means the variation ratio of wave-height of back nodes were regular in modification pattern. Altogether, modification patterns were more regular and lower than existing pattern in the number of nodes, the distribution ratio of nodes, the wave-height of node, the variation ratio of wave height of nodes.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.11
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• pp.1510-1519
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• 2007

This comparative study analyzes and compares tight skirt sewing methods which are found in the clothing configuration reference text books available in contemporary universities and which are used in commercially-available domestic consumer products. The study samples included 15 text books and 12 tight skirt consumer products of different brands on sale at three department stores in Seoul each of which had a belt, a back-centered zipper, and back double slits. The findings of the study are summarized as follows: First, text books mainly show very basic sewing methods of using zippers on both sides of the straight-lined waist belt. This indicates that it is necessary for such methods to be complemented so that they cover a recent variety of designs, materials, and sewing machines. For consumer products, the main sewing method is to use a curved waist belt and a console zipper in silhouette running across half the hipbone. Second, consumer products employ three different types of cutting and sewing methods for putting an inseam on the center of the back slit part: to leave the whole inseam hemmed in the back center, to cut the left side of the inseam to the upper part of the back slit, and to cut the inseam to both the upper parts of the back slit. However, a method shown in most of the sampled text books is to cut the inseam of the back center to both the upper parts of the back slit. Third, the way of finishing a bottom edge hem in the text books is to do slip-stitch, herringbone stitch, and slinting hemming, in order after doing over-lock stitch, or to cut the hem on the bias and then slip-stitch, while for the consumer products the most frequently used sewing method is to finish the bottom edge hem by doing secoui-stitch. Finally, while in the text books the method of stitching darts and tucks is used for lining, the main lining method used in consumer products is to make tucks only. Also in the way of stitching the side seams of lining or the seams of the back center, there is a difference between the two sample groups of text books and the consumer products: while the former suggests using both open seams and over-lock stitch, the latter is found to finish the seams using an over-lock stitch only.

• Journal of Power System Engineering
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• v.3 no.1
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• pp.16-22
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• 1999

The purpose of this study is to prevent the stick, scuffing, scratch between piston and cylinder, is to contribute the piston design such as piston profile, clearance by calculating reaction force by over-lap of piston skirt, as measuring the temperature distributions of cylinder wall. The experiment has been peformed to obtain data during actual engine operation. Temperature gradient in peripheral and axial distributions of cylinder wall according to torque and speed of engine were measured by use of an 800cc class gasoline engine. The results obtained are summarized as follows ; 1) The temperature of cylinder wall at TDC was about $50{\sim}75^{\circ}C$ higher than temperature of cooling water. 2) The rear side temperature of top dead center was $141^{\circ}C$(1/4 load) in axial distribution, whereas the rear side of midway position temperature was $98^{\circ}C$. 3) The temperature of cylinder wall increased in according to rising temperature of cooling water. 4) The thrust side temperature of cylinder wall was about $15^{\circ}C$ in all load test. 5) The rear side temperature of top dead center was $159^{\circ}C$ (1/2 load) in peripheral distribution, it was about $39^{\circ}C$ higher than thrust side temperature.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.113-122
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• 2006

In this study, about forty teaching materials have been analyzed in order to examine tight skirt sewing methodtreated in basic process in a college and a fashion related educational institution. The study objects limited with a belt, back centered zipper, and back double slits on a tight skirt, and used fifteen suitable teaching materials in this study. The first study result appeared that every single teaching material suggested the different way of wick adhesion which is used in zipper slit, back slit, and belt part when the skit has been manufactured in order to do a form of clothes well. Secondly, it is the case of a back slit part used for the purpose of both functionality of action and decoration, and it is the section which varies a sewing and cutting way according to seam room width of a back middle seam. However, the majority of teaching materials appeared by being selecting the way how it had cut an inseam of the back center by the both upper part of back slit. Finally, the result showed that it mentioned mainly only both sided zipper sewing method if it seems to be easy to treat the majority in a basic process even though use of a console zipper Is general on a zipper sowing way recently for several years. Also, two forms are used in the belt manufacturing, and they are based with a waist line. However, the teaching materials that were used in this study presented only a manufacture way of the straight line on the waist belt.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.661-671
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• 2011

This study was designed to produce rounded belt pattern and tight-skirt pattern drafting method using 3D body scan data. Subjects were thirty women in their early twenties. In order to figure out the optimum cutting points, namely, where darts are made, using CAD program, curve ratio inflection points on the horizontal curve of waist, abdomen, and hip to find 1 point in the front, two points in the back part. The average length from center front point to maximum curve ratio was 7.7 cm(46.3%) on the waist curve; 7.9 cm(39.4%) on the abdomen curve. And the average length from center back point to maximum curve ratio point was 6.9 cm(39.0%) for first dart and 11.2 cm(63.3%) for second dart on the waist curve; 8.9 cm(35.8%) for first dart and 15.7 cm(63.3%) for second dart on the hip curve respectively. The cutting lines from were made up by connecting curve inflection points. After divided using cutting lines, each patch was flattened onto the plane and all the technical design factors related with patternmaking were measured, such as dart amount, lifting amount of side waist point, etc. Based on the results of correlation analysis among these factors, regression analysis was done to produce equations to estimate the variables necessary to draw up pattern draft method; F1=F8+1.1, $F4=2.5{\times}F2+0.9$, $F5=0.9{\times}F4+1.0$, $F6=0.3{\times}F4+0.4$, $B1=0.9{\times}B8+2.3$, $B4=2.1{\times}B2+1.3$, $B5=0.9{\times}B4+3.5$, and $B6=0.3{\times}B4+0.4$.

• Journal of Fashion Business
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• v.8 no.2
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.933-945
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• 2011

This research proposes a pattern design method for 24 pleated skirts in order to develop an automatic draft program for pleated skirts that will enhance fit and enable mass production. The research method and results are outlined as follow. 1. Three-dimensional body measurements were conducted on 30 randomly selected women in their 20s. By using 34 body measurement items and 6 types of calculations among the items, the items required in the designing of an original pleated skirt were extracted. They were then interpreted through correlation analysis, variance analysis, a t-test, linear regression analysis and multiple regression analysis. 2. An extra amount was added to the waist measurement and external capsule measurement according to the number of times the pleats coincided and the thickness of the fabric by the degree of polymerization of the horizontal cross section (the test of this research: 0.518mm). The extra amount of waist measurement was 3.6cm while the hip measurement was 4.3cm larger than the hip measurement combined with the external capsule measurement and the extra amount. 3. Based on the ${\pm}$standard deviation/2 as the average of the difference between the external capsule measurement and waist measurement, the subjects were classified into 3 somatotypes. Somatotype 1 presented an average total length of waist darts of 23.6cm while that of somatotype 2 was 26.2cm and that of somatotype 3 was 30.2cm. It has been confirmed that there is a significant difference among somatotypes in the total length of waist darts from the front center to the front side and the total length of waist darts from the side to the back center in terms of the average amount of waist darts for every 12 parts on the WL.