This study developed a user focused interface to improve a temperature regulation smart wear system controlled by a textile switch embedded on the outer surface. Designers need to investigate problems between design and consumers to enhance usability. Companies usually launch a final product where problems are resolved by repeated usability evaluation from the initial stage of product development. A textile switch was made all fabric for natural wear ability and designed for easy control and hands-free operation. Usability evaluation for textile switch design was conducted after reading manual without functioning. The survey selected five possibilities (metaphor, consistency, efficiency, flexibility, and aesthetic) from 10 heuristic evaluation assessment criteria of Nielsen(Feedback, metaphor, control, consistency, error prevention, efficiency, flexibility, aesthetic, recover form error, and help) to evaluate with a 5-point Likert-type rating scale restricted by 17 questions that collected specific opinions about user satisfaction. We randomly selected 20 general users to conduct the survey. A textile switch was made all fabric for natural wear ability and designed for easy control and hands-free operation. Usability evaluation for textile switch design was conducted after reading manual without functioning. The survey selected five possibilities (metaphor, consistency, efficiency, flexibility, and aesthetic) from 10 heuristic evaluation assessment criteria of Nielsen(Feedback, metaphor, control, consistency, error prevention, efficiency, flexibility, aesthetic, recover form error, and help) to evaluate with a 5-point Likert-type rating scale restricted by 17 questions that collected specific opinions about user satisfaction. We randomly selected 20 general users to conduct the survey. Textile switch is suitable for the interface of temperature regulation smart wear systems in terms of usability, because it synthetically presented high user satisfaction standards. We modify the final prototype based on usability problems selected through subjective evaluation.

The advancement of industry and science in modern society has facilitated the inherent growth of humanity due to the provisions of large amounts of information and knowledge. Deconstructionism originated from the desire for self-expression rooted in the inherent growth of humanity and desires to express various characteristics through deconstruction and not be classified and constrained by existing dichotomous structures and forms. Deconstructism (an idea to resist dichotomous ideas and existing structuralism) seeks androgyny as well as the deconstruction of sex vis-à-vis human desire. Human androgyny, inherent in history and ancient Greek myths (Kwon, 2002), is now being adapted by modern society, psychology, culture, and art (Han & Kim, 2012). Androgyny, adapted by literature, sculpture, and painting, is now being used by the production of various images as well as modern fashion costumes. It is necessary to study androgyny to provide an aesthetic value for modern fashion design that can also deeply analyze the ideas and philosophies of fashion designers. This study considers androgyny with a focus on deconstructive fashion, understanding the tendency of androgyny in modern fashion, and providing a reference material for future fashion designs as well as for the direction and development of various fashion accessories and hair accessories. This study uses internet resources and previous research from professional journals and books about deconstructionism and androgyny for a literature review. It adapts an empirical method based on visual images from the design collections of designers defined as deconstructive fashion designers by researchers and professional editors. The androgyny of deconstructive fashion is classified in this study as follows. The first are ambiguous designs that show no clear distinction between sexes. The designers show designs unconstrained by sexes and which seek human instinct through wearing fashion items of the opposite sex that use masks and express sexual ambiguity with makeup and costumes. The second is integration shown in designs with both masculine and feminine characteristics. The designers integrates the lines and details of the opposite sex with costumes and patterns to escape existing ideas and show a silhouette that eliminate sexual stereotypes. The third is deconstructivity as shown in designs with no sexual characteristic and no sexual concept. It is a trend that originated from the interpretative view that adapts the super realism of deconstructionism and is free from an existing aesthetic consciousness to deconstruct a sex role for existing costumes and refuse all standardized ideas; consequently, the roles of costumes and items are eliminated and a new fashion style emerges from the individual values and ideas of designers. The androgyny of modern fashion from deconstructionism diverges from traditional form, integrates with aesthetic factors, and becomes one of a modern style that also provides more creative design motifs for fashion designers.

The online store attributes acts as an important trigger for e-impulse buying. Purchasing apparel products are often affected by irrational and emotional attraction making them one of the most frequent impulsively purchased items online. Triggered by ease access to products, easy purchasing, lack of social pressures and absence of delivery efforts, impulse buying occurs in approximately forty percent of all online expenditures. Impulse buying occurs when consumers experience an urge to buy a product, without thoughtful consideration why and for what reason one needs the product. However, few efforts have been made to identify the relationship among-store services attributes, emotions, browsing, urges to buy, and e-impulse buying of apparel products. The objectives of this study was to estimate a path model analysis for causative relationship among e-store service attributes, emotions, browsing, urges to buy, and e-impulse of apparel products. The instrument was developed based on the previous literatures (Park, et al., 2012; Verhagen & Dolen, 2011; Yang & Peterson, 2004)and each item was measured by five-point Liker type scales. A total of 250 data were collected during a regularly scheduled class in universities. More than half of the respondents (65.5%) were 18 to 21 years old. Nearly 65.5 percent of the subjects were women, and more than half of the respondents (63.8%) were below the sophomore. The path model analysis was conducted by AMOS 18.0 using a correlation matrix with maximum likelihood approach. An exploratory factor analysis revealed three types of e-store service attributes: Accuracy, Reliability, and Ease of use. The path model, which was estimated to examine causal relationships among variables (i.e. three types of e-store service attributes, emotions, browsing, urges to buy, and e-impulse buying), was relatively acceptable (chi-square value = 34.40, df = 13, p = .001; GFI = .98, AGFI = .93, RMR = .03). Cronbach's alphas were ranged between .83 and .87. This result suggests that emotions (e.g., positive and negative), browsing and urges to buy perceived by shoppers play important roles as mediators of the e-impulse buying of apparel products. Especially, the urge to buy apparel products was the most important mediator to trigger e-impulse buying. The consumers perceived the accuracy and reliability of e-store attributes were the more perceiving the urges to buy apparel products through the more positive emotions and then the more browsing at e-store. Also, the more ease to use of e-store perceived the more urges to buy apparel products. The more perceiving urges to buy at e-store were the more e-impulse buying of apparel products. This study provides retail managerial implications for stimulating e-shoppers' impulse buying of apparel products.

Introduction Many cultural remains are located in Iksan: Buddhist temples, royal palaces, ancient walls, and the Sangneung, the Tomb of King Moo and his Queen from the Baekje Kingdom. Mireuksa was the largest Buddhist temple on the Korean peninsula when it was first built in the 7th century during King Moo's reign. In those times, large temples were usuatly built in the national capital Historians believe that Iksan was one of the capital cities along with Woongjin and Sabi during the Baekje Kingdom since the Mireuksa(the largest Buddhist temple of the period,) was built in Iksan. However, there is no official record that the capital city during King Moo’s reign was transferred to Iksan. Regardless of the dispute, it is apparent that Iksan was an important city under the reign of King Moo and was governed under Baekje rule. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries.

Padded outers (jackets, jumpers or coats) are a popular and “must have” item for cold weather because they provide light weight warmth and good style. This study investigates Korean female’ attitudes and factors on purchase decisions for luxury padding outers by level of involvement. A total of 287 female respondents participated in the survey with data obtained using a random sampling method from on and off line respondents aged20’sto40’sinthe Seoul and Gyeonggi area. The study was based on the Maslow’s Hierarchy of needs and Zaichkowsky’s concept. Respondents were asked to indicate their degree of agreement on a 5 point Likert scaled that measured involvement, attitudes, and decision purchased factors. Factor analysis, cluster analysis, correlation and T test were conducted. A factor analysis on 9 needs/motivation measures about padded outer products indicated two factors of a motivation factor and physiological factor for “expectations to have a more positive outcome”. Involvement related to 10 measures about padded outer products indicated two factors of “personality/desires” and “interest/value”. In addition, two other factors were extracted in attitude measure variables of “positive attitudes” and “negative attitudes” towards premium outers. We realized that “expectations to have a more positive outcome” motivation influenced positive attitudes more than “physiological” motivation about premium padded outers. “Personality” involvement factor correlated highly with “positive” attitude factor towards exclusive padded outers (Pearson r=0.766), while the “interest” involvement factor correlated slightly. We can interpret individuals are very positive towards premium products if someone has expectancy to achieve desirable outcomes and wants to express personality. Clustering from involvement measures based on needs, values and interests were classified into two groups. There was a significant difference in the respondents’ purchase decision factors between two segments based on the levels of involvement (p<0.001). The high product involvement group was brand and country of origin conscious, material conscious, trend sensitive, luxury image seeking, and less padding outer price conscious. The low product involvement group was more color conscious in purchases. The findings imply that different marketing approaches are recommended to target each segment in the outer clothing markets.

This study investigates the size marking differences in domestic and international cycle wear brands offered in Korea and provides basic material to develop a size system for cycle wear suitable for the Korean somatotype. Study methods include size systems suggested in the web-sites of domestic and international cycle wear brands offered in Korea. Brands used for the study included 8 brands (3 domestic brands, 2 Italian brands, 1 Australian brand, 1 Swiss brand and 1 Japanese brand). The results of this study were as follows. Domestic brand A company marked the size from 85 to 110 based on height(cm) and weight(kg) and indicated the actual size of the product for customers to refer to. Domestic brand B company marked the size from ES:85 to 2XL:110 based on height(cm) and weight(kg), Domestic brand C company marked unisex size from XS to XXL based on weight(kg) and height(cm) and waist circumference(inch)with a separately marked women size XS-M. Italian brand, D company marked size from S-4XL for men based on height, chest, waist, hip circumference size(cm) and XS-2XL for women. Italian brand F company marked size from S-3XL for men and XS-XL for women based on chest, waist and hip circumference size(cm). Japanese brand G company marked size fromS-3L for men based on height, chest, waist circumference size(cm) and S-XL for women based on height, chest, waist and hip circumference size(cm). Australian brand H company marked sizes as XS-XXL based on chest circumference size(cm) for upper clothes for men and for women XXS-XL. For bottom clothes, they marked sizes XS-XXL for men based on waist circumference size(inch) and XXS-XL for women based on waist and hip circumference size(inch). Swiss brand, I company marked men sizes as XS-XLG and TIR based on a chest circumference size(cm) based on height(cm) for bottom clothes and chest circumference size(cm) for upper clothes with XS-XL for women based on a hip circumference size(cm) for bottom clothes and chest circumference size(cm) for upper clothes. In conclusion, domestic brands have a wide range of sizes and utilize a range of weight against height to cover various body somatotype. The Italian brand indicated that S size is bigger than other brands when it comes to deviation and a relatively small size tolerance with each size. Japanese brands have a well-organized size system based on height and basic body measurements. Australian brand are variously distributed without regular dimension tolerances for each size and Swiss brands have bigger round sizes. The investigation of size marking for domestic and international cycle wear showed that cm and inch are combined and that each country has a different size system with significant difference in dimension and size deviation. Thus, there is a need to establish standards and develop a domestic size system for international cycle wear and the purchase of overseas brands. However, it has the limitation in generalization of results because there is a little investigation brand.

This paper analyzes the formative elements of the Korean image and presents the means of development for modern fashion culture products that use the Korean image. The concept, type, and real state of modern fashion culture products were examined, with a focus on academic journals, advanced research, and internet sites. Fashion culture products can promote the Korean image to the world by securing national identity and enhanced image.

This study presents a flexible and highly stretchable textile circuit line for the signal and power transmission of smart clothing systems that provide wearing comfort and high mobility to where’s. A textile based circuit network on smart clothing requires 30% stretch ability so as not to constrain body movement. The advantages of a textile band type transmission line is the easy configuring of several separate transmission lines on a single band to construct a sensor module network. Conductive transmission line yarns have to be protected from deformation when textile transmission lines are stretched according to body movement. To ensure the elastic property of the smart clothing, textile transmission lines need to stretch more than 30% using the additional spandex yarns in warp. Four strands of conductive yarns were inserted in a single transmission line and each transmission line indicated 0.03Ω/cm in resistance. The resistance change rate of the textile transmission line during elongation was measured using a universal testing machine (Instron 5543) and Milliohmeter (Agilent 4338). The resistance of the transmission lines unchanged until breakage occurred at the 140% strain level. Resistance started to change at the 180% strain level where conductive yarns start to deform and break. In conclusion, the proposed textile transmission provides a comfortable wearing sensation that maintains a stable electrical performance during any type of body movement and is suitable for the wearable circuit of a highly stretchable smart wear system.

The newly developed green fashion product, Eco-friendly Faux Leather Apparel (E-FLA) helps minimize harmful environmental impact with a low carbon footprint utilizing the progression of Bio-based Polyurethane and Nanocellulose technique. This study investigates green product purchase intentions along with the best available socio-psychological determinants and product criteria of the consumer green product adoption that can assist to launch E-FLA products in both western (England and the US) and eastern (China and South Korea) marketplaces. A total of 1,202 female respondents between the ages of 20 and 50 from England (N=297), the US (N=305), China (N=300), and Korea (N=300) completed the online survey. ANOVA indicated significant difference in consumers’ socio-psychological characteristics (consumption values, ethical consumption beliefs, self-satisfaction of ethical consumption, perceived consumer effectiveness, and environmental knowledge) and product criteria (product attributes of E-FLA) across four countries. Purchase intention and willingness to pay a premium for E-FLA products were shown differently across four countries. Multiple regression analysis results demonstrated differences in consumers’ socio-psychological and product criteria determinants for the purchase intention of E-FLA products across countries. Evidence suggests that differentiated marketing strategies for E-FLA products are required when targeting global consumers. Practical implications and theoretical suggestions to understand consumer sustainable consumption attitudes are proposed.

Wedding dresses have developed along with a modern wedding culture. The 21st century wedding ceremonies of Korea and China have evolved from traditional complex procedures ; however, the demand for wedding garments for modern people is still important Consumer’s demand for wedding dresses has become more individualized and diversified according to a diversified wedding culture; consequently, an economic and practical variable wedding dress that can change dress styles has received positive responses. This study compared and analyzed the preferred designs of Korean and Chinese women when selecting wedding dresses, awareness of variable wedding dresses, and design preference type to develop variable wedding dresses of a high satisfaction level that satisfy Korean and Chinese consumers, and suggests a design for a variable wedding dress that corresponds to various procedures instead of a wedding dress that can be worn only once. To investigate the status of a Korean an Chinese variable wedding dress, this study conducted a questionnaire on women in their 20-30's (the optimal age to marry) from January 10 to November 23 in 2014. Women who reside in Seoul Metropolitan City and the capital region were selected for Korea, and women from Zhengzhou (a central city of industrial zone) were selected for China. That total of 525 questionnaires (249 copies of Korea and 276 copies of China) were used in this study. We subsequently conducted frequency analysis, t-test, and cross analysis using SPSS program to suggested a variable wedding dress based on the findings. The results of analysis are as follows. 1. Korean women preferred 'luxurious' image, 'mermaid' silhouette, 'white' color, 'silk' material, and 'off-shoulder' neckline design the most; however, Chinese women preferred 'elegant' image, 'mermaid' silhouette, 'white' color, 'lace' material, and 'off-shoulder' neckline design where only image and material of dress differed. 2. The Chinese showed a greater interest in wedding dresses than Korea. Wedding dress purchase type and customized rental was higher for Korea versus higher custom purchase intent in China. The internet was the highest method to obtain wedding dress information in Korea versus the use of both the internet and specialty stores in China. The contents that did not show differences between the two nations were the wanting to wear 2 wedding dresses and selecting a dress that 'best suits herself.' 3. Korean and Chinese women were unaware of variable designs. Few Chinese women experienced variable design products, but some Korean women had experience using fashion goods. For variable design advantages, Korean women pointed to practicality versus Chinese women pointed to diversity. For the preferred variable type of dress, Korean women preferred a 'detachable' style and Chinese women preferred 'replacement.' 4. This study suggested a variable wedding dress design with elements that Korean and Chinese women 20-35 years of age preferred by identifying the design concept and characteristics of design elements by adding the wedding dress trends of 2015. Each design for women of the two countries influenced several dresses by changing into several dresses according to type of variable dress designs as silhouette changes, variable by technology subsidiary materials, and variable by ways of wearing. This study provides a variable wedding dress design that increase practicality and economic feasibility according to the procedure of changed Korean and Chinese wedding culture instead of a disposable dress worn only during wedding ceremonies.

In the age of hybrid, the fashion industry has created multiple patterns of hybrid fashion due to mixed styles and genres. Fashion mixed with tradition and future and various cultures is emerging as a trend so that Asian cultures are reinterpreted in a modern way(Samsung Design Net. 2014). Korean images also change every year into a new type of cultural hybrid. This study aims to present esthetic and trendy hybrid outer wear designs applicable to the fusion of tradition and present and the west and the east as well as diverse life styles for the major target of consumption, the senior generation with young sense. This study conducted both theoretical and empirical study. The theoretical study looked into the characteristics of digital fashion illustrations using Sumuk technique and of senior outer wear through the precedent study and literature. In the empirical study, fashion illustrations were made according to the characteristics of digital fashion illustrations with Sumuk technique, and then fabric was made through digital printing. By doing so, hybrid outer wear designs for the senior generation were developed based on the characteristics of senior outer wear, and the real artwork was made. The findings are as follows. First, the characteristics of digital fashion illustrations using Sumuk technique are the hybrid expression where the spirit of inner feeling of oriental thinking, implications of symbolism and metaphor through blanks and lines, and fortuity of ink blurs and lines are recreated in a modern way through digital fashion illustration characteristics such as hybridity of multi-cultures and heterogeneous factors, expandability of blurring boundary, human-oriented playfulness, and sensibility of inner expression. Second, outer wear for the senior generation puts the most emphasis on aesthetic factors including designs, styles, youth, and complement of figure, followed by symbolism such as convenience of dressing or undressing, comfort, functionality of flexible size, trend, express of individuality, and dignity. In addition, this generation prefers outdoor wear for social, cultural, and casual activities and demand hybrid city wear designs adding the characteristics of outdoor wear that is highly worn for various city life styles. Third, the design motifs of fabric made by digital printing of Sumuk technique-based digital fashion illustrations include traditional ornaments of Joseon Dynasty such as norigae(Korean traditional ornaments worn by women), binyeo(Korean traditional ornamental hairpin), and ddeoljam(ornamental hairpin), mix traditional and Korean spirit with modern sensibility, and connote esthetic beauty of ornamental effects for women’s beauty and symbolism of lucky signs and wishes. Fourth, senior outer wear was designed using the made fabric. Work 1 arranged prints with the motif of traditional norigae in a spaced pattern. Hybrid outer was designed with comfortable, light, and reversible functions by using A line silhouette considering the senior generation’s figure, single buttons for easy clothing change, and outdoor wear materials and highlighted the utilization of city wear. Work 2 used border pattern of fashion illustration prints that use binyeo as its motif, and it was designed for social and cultural life styles with the fusion of tradition, which uses tent silhouette durumagi(traditional Korean outer coat) and composition lines that are plane and straight lines, and modernism. It highlighted functionality by using zippers and single buttons for each clothing changing and outdoor materials. Work 3 arranged fashion illustrations made by the motif of ddeoljam in a spaced pattern. This is a balloon silhouette considering the senior generation’s figure and a urban, modern design with unbalanced hem line with asymmetry of light and left. A zipper was attached, and a light and flexible outdoor material was used to emphasize its functionality. Work 1, 2, and 3 made the fabric of cultural hybrid sense using Sumuk technique-based digital fashion illustrations and used the design considering the senior generation’s figure and an outdoor material, and expressed easy clothing change and design of city wear. This is a hybrid senior fashion design expressing the fusion and coexistence of traditional and modern beauty, Korea’s oriental beauty and modern western beauty, and outdoor wear’s functionality and city life styles. This study will contribute to the invigoration of the senior fashion market that is newly emerging and the development of high-value added products as it presents hybrid outer wear adding functionality applicable to various life styles for the senior generation with the young sense.

Hair braiding has long been a tradition in the Black community as well as a bonding experience between mothers, daughters and siblings. In each hairstyle include braiding, the comb is believed as a good instrument to make hair style. The beauty of hair braiding in Africa is one of the outstanding African cultures and enhances the African women self-esteem. Hair braiding is art-crafts activities using the fingertips and is useful activities for senior people because it makes increasing blood flow and brain activity. This paper focuses on how African old women live to cope with the ageing. The braiding techniques can allow to senior women to be useful and increase their physical health, also the act of braiding allow the good communication and relationship between generations while grandmothers braid their granddaughter. As the research method, i used the review of literature and empirical study. On the review of literature, I used overseas literature on hairstyle, academic papers and web site. As illustration, the author Henrietta M. Smith (2009) said that, the mother and the grandmother braid their granddaughter and at the same time, they make or they share the stories of the braid patterns that are part of their inheritance. On empirical study, I suggest 3 types of braiding style which are: Single, Twist and Cornrow braiding style. To develop the techniques, I have been helped by a hair designer. The way I precede, the hair designer braided until the middle of the strand and then I continued till the end. And the third person took the pictures. The results are as follows 1. African braiding styles are very unique and creative. Braiding style is styled in varies ways. It is viewed as modernity with different styles includes fashion models. To braid is an outward expression of the most inner viewed like design so it is very useful activity for development of cognitive function for senior generation. 2. Hair braiding time for granddaughter will be extremely useful time for African old women and will gives them more happiness and healthy life. Also it will create good relationship with their family and allow good communications between generations. 3. We choose 3 types of hair braiding styles which are easy for senior women to learn and to understand. The choice hair braids are single braid, twist braid and cornrow braid. 4. The results of this research will be helpful for coping with the ageing in senior women people. And disciplines of this hair braiding techniques will contribute to improve their economic security, health and living conditions, also improve their physical and moral conditions.

Nowadays in restaurant industry, the chef is the major worker in the kitchen; they are exposed to highly dangerous working environment for a long time, and their physiological safe and health should be stressed. Apron is one of the protecting cloths when chef is working, it is supposed to function as protect chef’s psychological and physiological safe. The aim of this study is to develop fire retardant apron to protect chef from thermal conductivity burns when exposed to hot objectives and avoid the heat damage from thermal radiation to chef. To improve the above situations, first of all, this study explores the situation and need expectation of chef’s use of fire retardant apron to confirm the necessity of developing apron. Then this study collects Taiwanese fire retardant function cloth, and we use the result of chef’s need expectation to develop fire retardant function apron for chefs. Finally, this study use sensibility evaluation model to explore chef’s evaluation after wearing apron developed by this study. Based on the research finding, the conclusions are as follows: 1. According to the result of questionnaire survey, at present the apron material that chef wear does not have fire retardant function, chef expect apron material can add this function, they think apron material adding this function can protect physiological health, proving the necessity for developing fire retardant apron. 2. This study use the result of chef’s need expectation, and combine ergonomics data to adjust existing apron structure design, then this study use fire retardant cloth to develop fire retardant apron to meet chef’s need expectation. 3. Through the sensibility evaluation test of fire retardant apron developed by this study, those who exposed to higher temperature fry stove fire, charcoal fire or caldron cook in specific kitchen infield for a long period of time have higher preference and feeling.

Based on the research finding, the conclusions are as follows: 1. According to the result of questionnaire survey, at present the apron material that chef wear does not have fire retardant function, chef expect apron material can add this function, they think apron material adding this function can protect physiological health, proving the necessity for developing fire retardant apron. 2. This study use the result of chef’s need expectation, and combine ergonomics data to adjust existing apron structure design, then this study use fire retardant cloth to develop fire retardant apron to meet chef’s need expectation. 3. Through the sensibility evaluation test of fire retardant apron developed by this study, those who exposed to higher temperature fry stove fire, charcoal fire or caldron cook in specific kitchen infield for a long period of time have higher preference and feeling.

Clothing comfort indicates the comfortableness of the in varying environmental situations while wearing specific clothing. Various factors affect clothing comfort such as skin moisture perception and heat transmission characteristics via clothing; however, cool and warm touch are the most important factors (Kwon, Yi, & Sung,1999; Hong & Kim, 2007; Manshahia & Das, 2014). The thermal comfort of clothing is perceived through sensory receptors on the skin surface and is highly related to a cool and warm touch. An infrared thermography camera detects infrared-ray-form energy, a type of electromagnetic wave radiated from the subject's surface that assesses the intensity of radiant heat. The changing intensity then presents a real-time infrared thermal distribution using various colors. The advantages of an infrared thermography camera are the ability to use a non-contacting method to measure temperature distribution and analyze temperatures. Therefore, an infrared thermography camera is widely used in material characteristic assessment, boiler heat distribution analysis, process control, and building insulation assessments that indicate system deficiencies. This technique has also recently been used in human-body-related temperature measurements with potential for application to medical fields that include breast cancer examinations, joint muscle disorders, and body reactions under specific conditions. The most significant advantage of infrared thermography cameras to evaluate heat conductivity according to wearing conditions are its inexpensive price, ease-of-use and visual representation of surface heat dispersion on clothing that maintains body temperature and helps dissipate sweat(B. Lee, Hong, & Y. Lee, 2010; Lee, K. Hong, & S. A. Hong, 2007). This technique is also used in a quantitative analysis of thermal sensation when wearing clothes (Choi & Lee, 2008). This study helps develop a method to evaluate the warm feeling of fabrics using an infrared thermal image of a small test specimen. An infrared thermal image helped develop5 types of fabrics for heat storage fabric; consequently, the average temperature difference of the human palm when the fabric is on or off was used for the scale of the fabrics’ warm feeling. The relationshipbetween this average temperature difference on the palm surface Qmax, and warmth keep-ability rate was examined. Fabric had a significant average temperature difference in the infrared thermal image with alow Qmax value and was evaluated with high values in the warmth keep-ability rate. Infrared thermography camera was shown to be effective in the fabric's warm feeling evaluation.

The process of Apparel Product Development requires several major steps such as Pattern Digitizing, Grading, Marker Making, and Cutting Out. The current operation for Pattern Digitizing is conducted operators who amend apparel patterns on a computer after digitizing them based on a point-input method. The current process is laborious, time-consuming, and expensive due to error-prone work that leaves much to be desired in solution expansion. These studies develop an automated system for apparel pattern input based on vectorising technique. Supporting industrial standardization (the detailed targets for the system development) minimizes the involvement of operators and include: automatic recognition of pattern domain, automatic recognition of sample shape, and inner part recognition performing apparel characteristic function. The following picture shows an example using our system developed with a women bra pattern. Figure 2 represents women a bra pattern Figure 3 represents data implemented on the automated system we developed The results of our study : 1. Analytical speed: under 4 seconds in resolution 150 dpi, image size A3. 2. Length error: under 0. 2mm. 3. Outline: 100% extract of outlines cutting and marker pattern. 4. Pattern elements: classification automatically and editing available by user. 5. Pattern division: try one acting scanning various pattern. 6. Data entry/output: converting of DXF, AAMA, TIP, DIGIT. We developed an automated system based on vectorising software for implementation of apparel patterns. The cost of effective system repeatedly processes digitizing tasks with high quality in a few minutes. The system will contribute to the apparel industry field by implementing automatic steps for recognition and classification pattern.

Drape is the ability of a fabric to hang in folds when suspended under its own weight as shown in the skirt folds (Sanad, Cassidy, Cheung, & Evans, 2013). Drape characteristics of a fabric is closely related to the physical and mechanical properties including bending rigidity, weight, and shear rigidity of the fabric. Fiber type, yarn structure, fabric weave structure, and finishing methods also affect the fabric drape. Occasionally, fabric drape is subjectively evaluated by the staffs in the case of apparel sectors. Since the staff’s evaluation might involve some degree of inconsistencies, partly due to the personal preference, and fashion trend changes, or lack of reproducibility, many research reports have been published regarding the methods to measure the fabric drape characteristics objectively and accurately. A pioneering method regarding objective tests to measure fabric bending length, as a measure for fabric draping, was developed (Peirce, 1930). Research by Schwarz (1939) showed technical evaluation method for fabrics treated with finishing agents. Chu, Cummings, and Teixeira (1950) developed a drape meter to study the factors affecting the fabric drape, based on an optical system to cast the image of round fabric specimen on the ground glass. Generally accepted test methods have enabled researchers determine the fabric drape with improved reproducibility to mostly acceptable degrees (Cusick, 1968). However, the three dimensional shape of the folded structure often deforms with time or with subtle vibration around the fabric specimen during the drape measurement. Due to the uneven and complex nature of fabrics, the overall shape of the fabric specimen on the drape tester often becomes unstable. Since the fabric drape coefficient is more or less unstable due to the structural or physical factors of fabric specimens, such as bending and shear hysteresis, it is also important to consider the instabilities during the drape measurement procedure. Niwa and Morooka (1976) reported mechanical values contributing to the stability of the drape coefficient, and found that the larger the hysteresis per unit weight in bending deformation of fabric is, the larger the instability of the drape coefficient becomes for the fabric specimens used for men’s suit in the study. There is a need to understand the fundamental mechanisms of how draping may generate pleasing forms. Mizutani, Amano, and Sakaguchi (2005) devised a new apparatus for measuring the changes during the whole process of drape formation, using a type of drape elevator. They considered the generation of nodes and the developing process in relation to the mechanical properties of the fabric specimens. Mah and Song (2010) investigated fabric drape employing three-dimensional body scanning system. Laser scanners, in the system, project a horizontal line of light on the object, moving vertically along the length of the draped specimen. The scanned image can be rotated, resized and sliced. Recently three-dimensional scanning systems saw notable developments in the hardware and computing power. Henry, Krainin, Herbst, Ren, and Fox (2010) relied on depth sensor cameras for dense 3D modeling of indoor environments. RGB-D cameras rely on either structured light patterns combined with stereo sensing, or time-of-flight laser sensing, allowing relatively fast image acquisition, which capture RGB images along with per-pixel depth information. Commercially available RGB-D camera, such as one of the Prime Sense products based on light coding technology of pseudo-random infrared patterns, allows for the frame acquisition rate of 5 to 20 per second, depending on the configuration of the supporting computer system. The acquisition rate seems to be reasonable for the static fabric drape measurement. Therefore, the RGB-D sensor enables relatively rapid acquisition of the three dimensional information of the fabric drape. In this study, an RGB-D sensor was employed for three-dimensional scanning of fabric drape with drape elevator method proposed by Mizutani et al. (2005), and the drape measurement data were compared with the conventional drape test. Fabric specimens including cotton, linen, silk, wool, polyester, and rayon were investigated for the fabric drape and other physical/mechanical parameters. The results from the study suggest that the drape measurement method using the RGB-D sensor allows relatively rapid acquisition of three-dimensional drape information during the formation of fabric drape in the course of measurement process. It is suggested, however, that further in-depth study would be necessary due to the instability of the depth measurement around the sharp edges of the fabric folds. Future application of improved RGB-D sensor system in terms of the depth sensitivity is also suggested for the comparative study of the drape properties of fabrics employing both the RGB-D system and the conventional drape tester.

This study surveys basic costumes and games from the 11 Genre paintings by Junkeun Kim in the book “Korean Games (Stewart Culin 1858-1929)”. The characters in the painting are 3 adult males, 19 boys, and 8 girls. The characters of the general dress-costumes, games and the culture of life from the late 19thCentury in genre painting of Junkeun Kimare are as follow. It is classified as a children’s game and combined game, children’s game classified one more as a boy’s game and the girl’s game from life culture. It also classified the body type and the multi complex type by game character. The boy’s games are kite-flying, spinning tops, playing shuttlecock with the feet, blind man’s bluff, yut (“Four-Stick Game”). Girl’s games are seesaw with board, blind man’s bluff, and marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one’s body type were seesaw with board, tightrope walking and the multi complex type were yut (“Four-Stick Game”), kite-flying. The study results on the costumes of 19 boys, 8 girls, and 3adultsin genre paintings are as follow. Boy’s hair was knotted on the back of the head by ‘Dang-ki’ (Korean traditional hair ribbon) with the middle part in his hair which was colored red and bright brown. A ‘Go-kal’ (peaked hat), ‘Cho-lip’ (straw hat), towel hood, ‘Pung-cha’ and ‘I-um’ for winter on their heads. They wore a ‘Po’ (Korean traditional coat) which was ‘So-chang-i’, ‘Do-ru-ma-gi’ and ‘Jun-bok’ (Korean traditional vest). They were green, yellow green, violet, pink. The boys wore ‘Jeogori’(Korean traditional jacket) which were blue, red, violet, green and pink which reached down to the hip line. The variety of colors was more colorful than men’s. The ‘Jeogori’ had mostly ‘Dunggun-kit’ (a round head collar) or ‘Dangko-kit’ (a round head with nose collar), ‘Kal-kit’ (knife shaped collar) with white ‘Dong-jung’ and fit around the neck and ‘Go-rum’ was short and narrow. ‘Baji’ (slacks) were white with a colorful sash (green, blue and red) knotted at the waist, worn ‘Hang-jun’ (shank band). They wore white ‘Beoseon’ (Korean traditional socks) with Jipsin (straw shoes), ‘Mi-to-ri’, black or red, brown ‘Hea’ (leather shoes) and ‘Sulmal’ (sleigh shoes).They wore a green, indigo and red collar ‘To-si’(Korean traditional wristlets) for winter and attached a ‘Yum-lang’ (a Korean traditional pocket bag). The common man wore ‘Jeogori’ (Korean traditional jacket) which were green and white with a white lining that reached down to the hip line with white ‘Baji’ (slacks). The shape and method of wearing modern man’s Hanbok (a Korean traditional costume) remained unchanged. But it istied by another color sash for padding Jeogori in winter games. They wore white ‘Baji’ (slacks) with a colorful sash (red and white) knotted at the waist and wore a ‘Hang-jun’ (shank band).Park C.S. et al. (2009) found the same result in that the basic color was white with various intermediate colors. They wore padded Jeogori and Bajiin the winter while wearing, single a layer ‘Po’ inthe summer. They wore their hair in a topknot (sangtu) with a green color towel surrounding the forehead with ‘Bungezi’ and ‘Got’ on their head in a topknot. They wore ‘So-chang-i’, but they often did not wear ‘Po’ and put on ‘Jipsin’ (Korean traditional straw shoes) or ‘Sulmal’ (sleigh shoes). The girl’s hair was knotted to the back of the head or with partedbraidedhairso that there was a pigtail over each ear tied with a ‘Dang-ki’ (a Korean traditional hair ribbon) with a middle part in the hair. ‘Jeogoei’ was short and fitted with the narrow sleeve of a short and narrow ‘Go-rum’. It has ‘Dunggun-kit’ (a round head collar) or Dangko-kit (a round head with nose collar) with a white ‘Dong-jung’ and fit around the neck.They wore indigo, green, red ‘Jeogori’ matching the color of the ‘Kit’ (collar), ‘Go-rum’ (ribbon), ‘Kut-dong’ called ‘Ban-hoijang-jeogori’ and with a indigo/red, green/red, and red/indigocolor combination.They wore ‘Chi-ma’ (a Korean traditional skirt) colored red, green, and pink that contrasted with the ‘Jeogori’. The right side of ‘Chi-ma’ was covered to the left side and knotted by a waist band stringin the front of the chest and tucked up skirt. The width of ‘Chi-ma’ was adequate. The white inner slacks came from under the skirt. They put on ‘Jipsin’, brown ‘Hea’ (leather shoes). Through genre painting in the 19thcentury, we know a boy’s ‘Jeogori’ and ‘Ba-ji’ were similar to a modern man’s and boy’s ‘Hanbok’ with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl’s ‘Jeogori’ and ‘Chi-ma’ changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist’s genre painting which was ordered by a foreigner and the late of 19thcentury’s children’s costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the ‘Hanbok’ and establish a costume of life.