Over the past one hundred years, folk clothing has been considered one of the most significant elements of cultural heritage and has been perceived in this way not only by experts but, for many ...decades, by its wearers as well. In the present study, the author seeks to find an answer, based on an analysis of older expert texts, as to what formed the theoretical basis for this process, who were its representatives, at what conclusions they arrived, and how the methods of their work were reflected in the formulation of their conclusions. From the historical perspective, the study summarises the opinions on folk clothing, projected through the idea of Slavic unity, as can be observed in the case of Jan Koula and, through the reception of these opinions, also in the case of Lubor Niederle, Drahomíra Stránská and Viera Nosáľová. This work also offers newer reflections from the studies by Alena Jeřábková on the shaping of folk clothing within the Carpathian culture. Through the example of women's linen skirts, the material part of the study seeks to point out the pitfalls of these approaches and highlight the need to study the construction of folk clothing from a longer historical perspective. Only in this way is the effect of clothing styles in the form of domestication of the individual pieces of stylish clothing evident, combined with older clothing layers. Even though most parts of folk clothing are not proto-Slavic and do not necessarily relate to the culture of the Carpathian curve, as a whole, they prove well the way the countryside managed to accept the transformations of contemporary fashion over the last four centuries and to incorporate them into a unique clothing complex.
Over the past one hundred years, folk clothing has been considered one of the most significant elements of cultural heritage and has been perceived in this way not only by experts but, for many ...decades, by its wearers as well. In the present study, the author seeks to find an answer, based on an analysis of older expert texts, as to what formed the theoretical basis for this process, who were its representatives, at what conclusions they arrived, and how the methods of their work were reflected in the formulation of their conclusions. From the historical perspective, the study summarises the opinions on folk clothing, projected through the idea of Slavic unity, as can be observed in the case of Jan Koula and, through the reception of these opinions, also in the case of Lubor Niederle, Drahomíra Stránská and Viera Nosáľová. This work also offers newer reflections from the studies by Alena Jeřábková on the shaping of folk clothing within the Carpathian culture. Through the example of women’s linen skirts, the material part of the study seeks to point out the pitfalls of these approaches and highlight the need to study the construction of folk clothing from a longer historical perspective. Only in this way is the effect of clothing styles in the form of domestication of the individual pieces of stylish clothing evident, combined with older clothing layers. Even though most parts of folk clothing are not proto-Slavic and do not necessarily relate to the culture of the Carpathian curve, as a whole, they prove well the way the countryside managed to accept the transformations of contemporary fashion over the last four centuries and to incorporate them into a unique clothing complex.
PurposeThe purpose of study is to investigate effectiveness of pattern technique in relation to the use of anthropometric references for drafting women's basic bodice patterns by assessing ...characteristics of pattern formation, quantification of wearing ease on the transverse plan and actual ease distribution on body forms.Design/methodology/approachThree pattern drafting techniques were analyzed, which have different frequency of using direct body measurements for pattern formulation. Ease quantification and wearing ease distribution were evaluated on the two different body forms: a young female body and a heavy woman body. Women's basic bodice patterns were drafted with YUKA CAD and virtually draped on the two body forms with CLO 3D. Rapidform was used to evaluate garment appearance. Areal ease and its distribution were assessed. A deviation map was used for wrinkle analysis.FindingsCompared to the pattern formation derived from few anthropometric references, patterns using sufficient anthropometric references provided overall better fit for the different body forms. Ease distribution without considering body arcs was found to be a cause of garment fit problems. Patterns with little or no ease caused transverse fine wrinkles and skewed side seams. Pattern techniques those used linear equations caused problems on the bust because the formulation could not reflect bust protrusions in relation to the body torso shape differences.Originality/valueThis study revealed characteristics of pattern formulae and linear equations in relation to anthropometric references and body shapes. The findings may be effective in developing algorithm of the customized pattern formation in the industry.
Ovidij je nedvomno med vsemi avgustejskimi pesniki eden najbolj izrazitih oporečnikov v odnosu do avtokratskega režima cesarja Oktavijana Avgusta. Medtem ko je na primer Vergilij na Avgustov ukaz ...spremenil zaključni del druge knjige Georgik, tako da je izbrisal iz nje laudes Galli, ki ga je zadela damnatio memoriae, pa se Ovidij niti v svoji mladostni zbirki Amores niti v žalostinkah iz izgnanstva (Tristia) ni bal proslavljati tragično preminulega pesnika, ki velja za začetnika rimske elegije. Zato se ne smemo čuditi, da je tudi Ovidija zadela nekaka damnatio memoriae, saj so morale biti vse njegove pesniške zbirke, ne le spotakljiva Ars amatoria, odstranjene iz rimskih javnih knjižnic (Tristia, 3.1.63–80). Tudi v največjo umetnino, Metamorfoze, je Ovidij zasejal nekaj domiselnih in iskrivih protiavgustovskih bodic. Tako je na primer že v eni prvih epizod, v zgodbi o preobrazbi Likaona, še izraziteje pa v zadnji epizodi, kjer katasterizmu, tj. preobrazbi Julija Cezarja v zvezdo in podobni preobrazbi, ki po smrti čaka Avgusta, dodal za sklep še zaostreno poanto, da bo njegovo ime po smrti povzdignjeno še višje, visoko nad (super!) zvezde (torej še višje kot Cezarjeva in Avgustova zvezda): super alta perennis / astra ferar (Metamorfoze, 15.875–6).
E.L. James’s Fifty Shades trilogy has become a huge success and soldmillions of copies. The novels’ mix of romance and erotica has beendescribed as something new. Reading these books mainly as ...romance, Nilson focuses on how James uses well known and established romance traits from, for example, the so-called “bodice-ripper” novel and chick lit, in order to create a hybrid. These traits arevisible in both how James describes her protagonists and in howthe relationship between them is portrayed. Nilson argues that theFifty Shades trilogy is, rather than a new kind of romance, a compilation of well-established traits.
E.L. James’s Fifty Shades trilogy has become a huge success and sold millions of copies. The novels’ mix of romance and erotica has been described as something new. Reading these books mainly as ...ro-mance, Nilson focuses on how James uses well known and estab-lished romance traits from, for example, the so-called “bodice-rip-per” novel and chick lit, in order to create a hybrid. These traits are visible in both how James describes her protagonists and in how the relationship between them is portrayed. Nilson argues that the Fifty Shades trilogy is, rather than a new kind of romance, a compila-tion of well-established traits
본 연구는 20대 비만 여성의 몸통 체형별로 보디스 원형을 제작하여 그 차이를 알아보는 것을 목적으로 하였다. 이를 통하여 20대 비만 여성에게 적합한 맞음새가 우수한 상반신 의복 제작에 필요한 정보를 제공하고자 하였다. 연구방법은 선행연구의 20대 비만 여성의 몸통 체형 유형에 따라 보디스 원형을 제작하여 패턴 치수 및 형태, 외관평가, 의복압 등을 ...비교하는 것이다. 분석에는 SPSS 27.0을 활용하였다. 연구결과는 다음과 같다. 앞중심길이와 뒤중심길이는 신체의 등길이를 적용하여 등길이가 가장 긴 유형 3이 가장 길고 유형 2가 가장 짧았다. 앞가슴둘레와 뒤가슴둘레는 신체의 가슴둘레 치수를 적용하여 유형 4가 가장 크고 유형 1이 가장 작은 것으로 나타났다. 외관평가결과, 앞면은 앞가슴둘레선의 수평, 앞허리둘레선의 위치, 앞허리둘레선의 수평, 앞중심선의 길이, 앞목둘레의 위치 및 형태, 앞품의 여유 등의 항목에서 원형별로 유의미한 차이가 있는 것으로 나타났다. 옆면의 경우에는 옆선의 수직, 옆가슴둘레선의 위치, 옆허리둘레선의 위치, 옆허리둘레선의 수평 항목에서만 원형별로 유의미한 차이를 나타냈다. 뒷면은 뒤가슴둘레선의 위치, 뒤가슴둘레선의 수평, 뒤허리둘레선의 위치, 뒤허리둘레선의 수평 항목에서 원형별 유의미한 차이를 나타냈다. 가슴둘레선과 허리둘레선의 위치 및 수평에 있어서 유형 4를 제외하고 나머지 패턴은 부적합한 경우가 많았다. 비만 여성의 몸통은 복부의 돌출, 몸통의 너비, 몸통의 둘레, 몸통의 두께 등에 따라 다양하게 분류되어진다. 플러스 사이즈 의복은 비만 여성의 평균 치수 등을 고려하여 제작되나 복부의 돌출, 두께와 너비의 차, 등각도, 자세 등에 따라 의복 맞음새가 많은 차이를 나타낼 수 있으므로 보디스 원형 제작 시에도 이런 특징에 대한 고려가 필요할 것으로 생각된다. 향후 연구에서는 복부의 돌출 정도에 따른 앞처짐분 설정에 대한 연구가 필요할 것으로 생각된다.
The purpose of this study was to find out the difference by drafting a bodice prototype for each torso type of 20s obese women. The research method compared pattern dimensions, shape, appearance evaluation, and clothing pressure by manufacturing a bodice prototype according to the torso type of 20s obese women in previous studies. SPSS 27.0 was used for the analysis. The results of the study were as follows. The center front length and the center back length were the longest type 3 and the shortest type 2 by applying the waist back length of the body. The front bust circumference and the back bust circumference were found to be the largest type 4 and the smallest type 1. As a result of the appearance evaluation, it was found that the front differs significantly depending on the prototype in terms of the horizontal of the front bust circumference, the position and shape of the front waist circumference, the length of the center front circumference, and the space of the front part. In the case of the side, there was a significant difference according to the prototype only in the vertical of the side line, the position of the side bust circumference, the position of the side waist circumference, and the horizontal item of the side waist circumference. The back showed significant differences according to the prototype in the location of the back bust circumference, the horizontality of the back bust circumference, the location of the back waist circumference, and the horizontal items of the back waist circumference. The toso of obese women is classified in various ways according to the protrusion of the abdomen, the width of the torso, the circumference of the torso, and the thickness of the torso. Plus-sized clothing is made in consideration of the average size of obese women, but it is necessary to consider these characteristics when making a body shape because it can show many differences depending on the protrusion of the abdomen, difference in thickness and width, back angle, and posture. In future studies, it is thought that a study on the setting of the anterior drooping according to the degree of protrusion of the abdomen is needed.
This study aims to develop a bodice and a jacket in 3D of the late 19th to early 20th based on the pattern drafting book of Gordon S. S., which contains body measurement method and pattern drafting ...system. The findings of this research are as follows. First, female tops of the late 19th to early 20th century are categorized as outer, jacket, vest, and bodice. Of these, this study highlights the jacket, which can be divided into 4 types: 4 kinds of basic jacket, 2 kinds of riding jacket, bolero jacket, and newmarket jacket. Second, by referring to Gordon’s pattern drafting system and book, a bodice was developed in 3D format based on the adherence to the following steps: analysis of the pattern drafting system, pattern drafting, 3D virtual simulation, 3D virtual fitting analysis, and the pattern correction. A bodice pattern corrected by 3D virtual clothing simulation results was proposed. Last, a basic sleeve and collar pattern for a basic jacket was drafted, which was followed by the correction and transformation of the bodice pattern. The jacket developed shows great fit except for the issues at the armhole line and shoulder, which were caused by the unique shape of the sleeves(big sleeve head) of the time. The study attempted to develop the past costumes in 3D, providing the basis for interdisciplinary research in the field of fashion history field and suggesting a new approach for the virtual restoration of costumes. Future studies should target to 3D virtual simulation in accordance to the 3D avatar pose in the developed virtual costume.
본 연구의 목적은 20대 비만 남성에게 적합한 보디스 패턴 제도법을 개발하기 위하여 교육용과 산업체용 패턴 5개를 비교ㆍ분석하는 것이다. 이를 통하여 평균 체형에서 벗어나는 플러스 사이즈 남성의 체형에 적합한 의류 개발에 필요한 보디스 패턴 제도법을 알아보는 것을 목적으로 하였다. 본 연구의 방법은 패턴 비교를 위해 ESMOD, 이희춘, 허동진, 남윤자, ...조극영 등의 제도법을 적용하였으며, 적용 치수는 제7차 한국인인체치수조사 데이터 중 20대 비만 남성 평균 치수를 사용하였다. 연구 분석을 위해서는 SPSS 27.0을 사용하였다. 3차원 시뮬레이션에 대한 외관평가 결과, 20대 평균 남성의 체형보다는 복부가 돌출된 체형을 가지고 있어 가로선이 수평을 이루지 못하였고 밑단의 앞부분이 들뜨는 현상이 발생하였다. 앞중심선과 뒤중심선은 수직을 유지하고 있었으나 가슴둘레선과 허리둘레선의 수평에서는 부적합한 경우가 많은 것으로 나타났다. 또, 가슴둘레를 기준으로 하여 목너비와 목깊이를 설정하는 경우 목너비와 목깊이가 너무 큰 것으로 나타났다. 패턴 1은 앞목깊이의 적절성, 앞진동둘레 형태의 적절성, 옆허리둘레선의 수평 등의 항목을 제외하고 대부분 항목에서 보통 이상으로 평가되어 20대 비만 남성에게 가장 적합한 패턴으로 평가되었다. 그러나 앞목깊이와 앞진동둘레는 너무 많이 파져 신체를 감싸지 못한다는 평가를 받았고, 복부의 돌출로 인해 허리둘레선의 수평은 부적합하였다. 따라서 비만 남성의 체형에 적합한 보디스 원형 제도법 개발이 필요함을 알 수 있다. 향후 연구에서는 실제 착의실험이 이루어져야 할 것으로 생각되며, 이를 기준으로 한 새로운 비만 남성용 보디스 제도법이 개발되어야 할 것으로 생각된다. 또, 비만 남성도 다양한 체형을 가지고 있으므로 이에 대한 연구도 필요할 것으로 생각된다.
This study attempted to compare and analyze five educational and industrial patterns in order to develop a bodice pattern system suitable for obese men in their 20s. Through this, it tried to find out the bodice pattern drafting method necessary for the development of clothing suitable for the body type of a plus-size man who deviates from the average body type. To compare patterns, institutional methods such as ESMOD, Lee Hee-Chun, Heo Dong-Jin, Nam Yoon-Ja, and Jo Geuk-Young were applied, and the average size of obese men in their 20s among the 7th Korean human body dimensional survey data was used. For 3D simulation, DC Suite and CLO 3D program were used. For the analysis, SPSS 27.0 was used. As a result of the appearance evaluation of the 3D simulation, the horizontal line was not horizontal and the front part of the bottom was lifted because the abdomen protruded rather than the body shape of an average man in his 20s. The center front line and the center back line were kept perpendicular, but it was often found to be inappropriate in the horizontal of the bust and waist lines. In addition, when the neck width and neck depth were set based on the bust circumference, the neck width and neck depth were found to be too large. Pattern 1 was evaluated as the most suitable pattern for obese men in their 20s, except for items such as appropriateness of front neck depth, appropriateness of front armhole, and horizontality of side waist circumference. However, the depth of the front neck and the front armhole were evaluated as too much to cover the body, and the horizontality of the waist circumference due to the protrusion of the abdomen was analyzed to be inappropriate. Therefore, it can be seen that it is necessary to develop a bodice pattern suitable for the body shape of an obese man. In future studies, it is thought that actual wearing experiments should be conducted, and a new bodice drafting method for obese men should be developed based on this. In addition, obese men also have various body types, so it is thought that research on this is necessary.
This study aims to propose various ways to utilize CLO, which focuses mainly on the production of 3D virtual samples, by comparing it with the pattern drafting functions of YUKA. Four apparel CAD ...experts, who have teaching experience in YUKA and CLO, participated in a focus group interview, and a basic bodice prototype drafting was carried out by each participant to evaluate the pattern drafting functions of YUKA and CLO. The result of this study showed that the pattern drafting tools of YUKA are subdivided since YUKA is a CAD tool inherently specialized in pattern making. Though CLO provided a relatively limited pattern drafting menu compared to YUKA, it was found that pattern drafting could be accomplished with the help of supplementary tools and functions. This finding suggests that each CAD offers the corresponding tools for the same use of menus or functions in the prototype drafting process. The major difference between YUKA and CLO is that YUKA defines the pattern area by a set of line segments, whereas CLO utilizes an outline composed of closed curves. YUKA provides various specific tools according to the options such as angles, straight lines, and curves, while CLO produces the same results using combinations of a limited number of tools. Compared with YUKA, the advantage of CLO is its user-friendly task environment such as the Windows-based user interface, from the usability perspective. This study concludes that pattern drafting education using CLO would help not only industrial 3D design practitioners but also pattern education in academia
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