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Human Ecology Research > Volume 61(1); 2023 > Article
드레스 디자인 분석과 드레스 생산의 효율성을 위한 패턴제작법 활용

Abstract

Dressmaking is a high value-added sector of the fashion industry in which the individuality and skills of designers play a prominent role. The appropriate use of the draping and the flat pattern techniques in the dressmaking process also play an important part in perfecting the finished product. The purpose of this study was to improve the understanding of dress design and identify a pattern production technique to enhence efficiency in each of the three elements of the dress manufactureing process. For this purpose, analysis of the design of 1,389 wedding dress photographs published in Wedding 21, Korea’s leading wedding magazine, during 2019 and 2020 was conducted. This analysis identified 15 bodice designs and 11 sleeve designs based on neckline and eight skirts based on silhouette which were ranked by frequency distribution. Patterns for the design of samples were then developed according to the highest combined frequency distribution of these three elements. Eight samples were finally produced to test the the efficiency of the patternmaking techniques empolyed and the selected designs. The findings from this study have practical applications, notably in improving the efficiency of pattern production techniques that will facilitate further growth in the dressmaking industry.

Introduction

Dressmaking is a high value-added sector of the clothing industry which is growing, and that can be undertaken by small-scale designer boutiques using the individual technical skills of particular designers. Dressmaking involves two basic pattern production methods: the flat pattern method and the draping method. There are studies of the pattern development of the torso by flat pattern method (Hong & Jang, 2011a; Hong & Jang, 2011b; Lee & Kim, 2015) and of princess line pattern development by the draping method (Kim et al., 2017). However, there is little research into compositional patterns for overall dress design. Most existing research has been focused on the torso.
The characteristics of draping and flat pattern method of skirt patterns using the body shape of female fashion models in Korea were analyzed in another study, but this was limited to fashion models, and a study of the skirt pattern and morphological characteristics was based on the pattern making method (Park, 2018). In general, flat patternmakting can produce quick results where patterns are created according to measurement formulas, but it is difficult to produce the body lines and silhouettes for unique designs, such as dresses, with this method. In addition, if an image such as a schematic is presented and the pattern company that interprets it does not have the necessary skills, making the necessary adjustments is difficult and the results can only be confirmed after production is complete. Draping has the advantage of being more accurate in the creation of the silhouette of the dress because the fabric is applied directly to the dress to create the shape. It also enables the design to be continuously checked during the production process when the results of adjustments can be easily identified. It is easy to produce high-quality costumes such as dress to the skilled worker, but it takes a considerable amount of time and money to become an expert. Furthermore, in the case of a dress skirt, it is difficult to extend the dress due to its long length. To compensate for this, there is a method of using crinoline for skirts in dress production (Rha, 2000), but in general, it is difficult to use it effectively without a skilled professional. Further research into the effective use of draping and the flat pattern method is required, and guidelines for applying patterns and increasing production efficiency in the dressmaking industry are needed.
This study proposes techniques for the creation of various dress designs by effective use of the flat pattern method and draing in dress production. This combines the design of each bodice according to the neckline, sleeve, and skirt to create various designs. In the pattern design of the bodice, sleeve, and skirt, a method for creating the desired result was determined using the flat pattern method and draping which was tested in actual production by the pattern production method at each stage of the process. The aim was to establish an efficient and creative pattern production method for various dress production tasks.
In this study, in order to analyze the distribution of the bodice, sleeve, and skirt design of dresses, the composition of 1,389 dresses displayed in Wedding 21, a representative monthly wedding magazine in Korea, during 2019 and 2020 was reviewed.
Dress styles are now becoming slimmer as the fashion for large wedding in the past has evolved into a small wedding culture. Representative magazines that reflect these trends and present dresses with various purposes were selected and analyzed.
The bodice, which includes various necklines in the pattern production method for each stage, is a draping and the sleeve pattern production which uses the flat pattern method. In order to achieve the required fit, which is an advantage of draping, the skirt pattern manufacturing method was constructed by obtaining a basic pattern shape based on the dress forms, and then extending it to flat pattern method. The suitability of this pattern production method was tested for various design combinations, and the results of the statistical analysis confirmed that it could be expected to increase productivity and efficiency in dress production.

Method and Procedure

This study analyzed the current trend in dress designs displayed in issues of a representative wedding-related monthly magazine in South Korea. The dress designs preferred by consumers was identified, and a pattern production method for each part of the these dresses was created. As a result of developing separate pattern designs for the bodice, sleeves, and skirts, the results of various design combinations could be assessed by creating samples, and the suitability of the pattern production method confirmed. The design was made by intersecting various necklines, sleeves, and skirt silhouettes. The research methods and procedures employed for the study are as discribed below.

1. Dress design survey

The factors that determine dress design are silhouette, neckline, sleeve, material, and trimming, and for the purposes of the study, silhouette, neckline, and sleeve were selected. These elements in the dresses displayed in our wedding magazine survey were analyzed to determine trends in consumer and professional designer preferences.
Each design was analyzed according to the design of the bodice and sleeve, and skirt silhouette lines were classified as dress necklines. A total of 1,389 dresses displayed in issues of Wedding 21 magazine over the period from January 2019 to December 2020 were analyzed ausing SPSS ver. 18.0 statistical software. In analyzing photos of 1,389 dresses, silhouettes, necklines, and sleeves, each type was not selected first, but the design of the dress was analyzed to determine the type. In the case of silhouettes, even if the length was short, silhouettes could be classified, and in the case of sleeves, even if they were deformed, the resulting line and the corresponding line were determined when analyzed constructively. A priority design line was then identified through frequency analysis, and this supplied the basic data for the production process.

2. Dress pattern design method

1) Bodice pattern design according to neckline

The bodice pattern design based on the neckline was made by the draping. This involved line tape work on the design, draping process, and pattern organization. The pattern design was then taken out by a draping method and transferred to pattern paper.

2) Sleeve pattern design

The sleeve pattern design was presented as a flat pattern by transforming the basic pattern using the flat pattern method according to each design.

3) Skirt pattern design according to silhouette

The pattern design for the skirt silhouette was designed by combining draping and flat pattern method. First, following the skirt reference line, the center front plate (CF), the front side plate (SF), the center back plate (CB), and the back side plate (SB) were pushed out using a draping method. Based on the basic pattern of the skirt obtained by the draping, the flat pattern was then developed according to the design.

4) Dress sample

The sample was made in muslin double-structured with a lining, with a sewing technique that used additional fabric to complete the silhouettes. Rigilene polyester 6mm-white boning was used for the lining to accurately express the line, ensure that the dress did not slip down, and increase adhesion to the bodice. In addition, the wick, zipper, and banding work were performed during manufacturing process to complete the sample.

Results and Analysis

1. Dress design selection

In order to analyze type of dress design, a survey of 1,389 dress styles illustrated in a total of 24 issues of the Wedding 21 magazine in Korea from January 2019 to December 2020 was conducted.
The results of the bodice survey according to the neckline design were Sweetheart (19.9%), Illusion (19.6%), Off-shoulder (18.4%), V (16.6%), High (5.3%), Straight (3.5%), Jewel (3.5%), Strap (3.2%), Bateau (2.6%), Scoop (2.2%), Square (2.0%), Halter (1.6%), Queen anne (1.3%), Asymmetric (0.2%) (Table 1). The results of the sleeve survey were distributed in the order of Cap (30.4%), Short (22.5%), Sleeveless (16.9%), Long (14.1%), Puff (5.6%), Capri (3.6%), Bishop (2.7%), Cap (2.3%), Leg of Mutton (0.9%), Flounce (0.3%), and Lapped (0.3%) (Table 2). Silhouette surveys showed A-line (41.3%), Bell (26.2%), Mermaid (16.5%), Semi-mermaid (8.8%), Princess (5.0%), H-line (1.7%), Bustle (0.4%), and Empire (0.2%) (Table 3).
The relationship between the neckline and the sleeve was analyzed based on the silhouette to determines the overall outline of the dress. The results of examining the priorities in design features became an important foundation for selecting the overall dress design for the samples.
There was a clear distinction in the distribution of the silhouette, and there were between three to four necklines with a distinctly higher frequency for each silhouette. The distribution of sleeve designs in relation to neckline and silhouette was, however, less decisive. Various different combinations of these three elements in the dress design and pattern constructions were, therefore, developed and the results of this detailed anlysis are presented in Table 4.
The A-line silhouette accounted for 41.3% of the total. The distribution of bodice(neckline) designs matched with A-line was Sweetheart (9.6%), Illusion (6.3%), Off-shoulder (8.1%), Illusion (7.5%), and V (7.1%). The distribution of sleeves connected to the A-line and Sweetheart neckline was followed by Cap (3.8%), Sleeveless (1.7%), Puff (1.5%), and Short (1.2%). A design pattern consisting of an A-line skirt, a Sweetheart neckline, and a Cap sleeve was accordingly selected as the sample for design verification. The Bell silhouette accounted for 26.2% of the total for the skirt silhouette. The highest frequency of necklines matched with the Bell silhouette were Illusion (6.3%), Sweetheart (5.3%), and Off-shoulder (4.9%). Matched with the Bell silhouette and the Illusion neckline, the highest frequency sleeve was long (2.4%).
The Mermaid silhouette accounted for 16.5% of the total skirt silhouette. The neckline distribution matched with Mermaid was Off -shoulder (3.6%), Illusion (3.3%), V (2.8%), and Sweetheart (2.1%). The Mermaid line and the Off -shoulder neckline combination with the highest sleeve distribution was the Cap (2.7%).
The Semi-mermaid silhouette accounted for 8.8% of the total skirt silhouette. Design distributions matched with Semi-mermaid and necklines were in the order of Sweetheart (1.7%), V (1.6%), Illusion (1.5%), and Off-shoulder (0.7%), while Sweetheart necklines with the highest distribution were most frequently combined with Cap (0.7%) sleeves.
The Princess silhouette accounted for 5.0% of the total skirt silhouette statistics. The neckline distribution matched with Princess was in the order of Sweetheart (0.9%), Off-shoulder (0.9%), V (0.9%), and Square (0.4%), whereas the Sweetheart neckline with the Princess line was most common in sleeveless combinations (0.4%).
The H-line silhouette accounted for 1.7% of the total skirt silhouette. The neckline distributions matched with H-line were V (0.7%), Sweetheart (0.1%), Jewel (0.1%), and Square (0.1%). The Long sleeve had the highest frequency combined with H-line and the V-neckline (0.2%).
The Bustle silhouette accounted for 0.4% of the total skirt silhouette statistics. The neckline distribution matched with Bustle was Illusion (0.1%) and Sweetheart (0.1%). The Short sleeve combined with Bustle line and the Illusion neckline was the most common (0.1%).
The Empire silhouette accounted for 0.2% of the total skirt silhouette. The neckline distribution matched with the Bustle was Straight (0.1%), Jewel (0.1%), and Scoop (0.1%), while the Empire line and the Straight neckline combination matched with the highest Puff sleeve (0.1%).

1) Bodice pattern design method

In the case of a dress that requires adhesion to the line, making a pattern with a draping ensures the stability of the fit of the bodice. The dress forms suitable for the design of the study pattern were selected as the brand D (No. 9) which is close to the average 86.0 cm of adult women's clothing size 55 (chest circumference size 85.0 cm) and size 66 (chest circumference size 88cm). The average breast circumference size of 20-34 year-old women in Korea is 84.93 cm, with a waist measurement of 72.82 cm, and hips of 93.05 cm. The size of the selected the brand D (No. 9) is a breast measurement 86.5 cm, waist of 64.0 cm, and hips of 91.5 cm. A dress form wearing a dress bra was used to aesthetically express the silhouette of the chest line (Lee & Kwon, 2020). When wearing a dress bra, the breast circumference size was 89.0 cm. In addition, since the length of the nipple waist circumference line increased from 40.2cm to 42.2cm, the waist circumference line (W) was taped so that the new waist circumference line, which was raised 2.0 cm from the waist circumference line (WL) corrected above, was horizontal to the floor (Table 5).
The bodice design was incorporated in 15 muslin samples with Sweetheart, Straight, Off-shoulder, Jewel, Scoop(U), V, Bateau(Boat), Square, Halter, Strap, High, Asymmetric, Queen anne, Illusion, and Cowl, confirming the results of the draping. The pattern of the result of displaying the line work of the design-confirmable dress form, the foundation line such as the center line, the folding line, and the completion line was developed using the Hipo 3648C digitizer (Table 6).
In general, to obtain a pattern after the dress form adjustments have been made the draping technique has the advantage of achieving more precision than the flat pattern method. In this study, the draping up to the waistline was completed quickly as the area was not large, so adhesion and accuracy in the composition process could be improved. This made it possible to conform the stability of the fit, the aesthetics of the volume of the chest, and the suitability of the size. The pattern up to the waistline had the advantage of being easy to combine with various skirts and alter the design when separated.

2) Sleeve pattern design method

The basic sleeve pattern was designed using the flat pattern method. It was supplemented and developed with reference to the patternmaking methods in Wedding Dress practice (Oh et al., 2013), Wedding Dress Pattern Making (Lee et al., 2009), and Dress Design and Pattern Making (Im & Kim, 2003). The sleeves’ height was fixed with an adequate margin in its width.
It was set to 55.00 cm arm length, 32.00 cm upper arm length, and 20 to 22.00 cm wrist circumference, by reference to the average arm length of 54.82 cm, average upper arm length of 31.84 cm, and average wrist circumference of 16.70 cm in the 2017 Size Korea. The sleeve height of developed pattern was AH/3+1 (40.8/3+1=14.6 cm). The arm hole circumference (AH) of the basic pattern can be measured from the pattern of the bodice, but a size obtained by adding 1 cm to the arm hole circumference size of the front and back in the basic line of the dress form was used. In this pattern, the AH of the bodice used a new arm hole line with 1 cm in the shoulder point (Figure 1). The final sleeve pattern design is shown in Figure 2.
The measurements in the formula for front AH, back AH, sleeve length, and wrist circumference were the measurements of retail AH/3+1 cm, and the elbow line was 2.5 cm higher than the sleeve length/2 (Figure 2).
The sleeve pattern was modified according to the design by reference to Wedding Dress Practice (Oh et al, 2013), Wedding Dress Pattern Making (Lee et al, 2009), Principles of Pattern Manufacturing (Jeon & Kwon, 2006), and Pattern Design and Manufacturing Method (Do, 1996). The sleeve pattern design of Long, Puff, Cap, Sleeveless, Capri, Short, Bishop, Cape, Lapped, Flounce, and Leg of Mutton were prepared (Table 7).
As a result of adjustments to basic sleeve pattern design and creating it in muslin, the silhouette and fit were good. The volume was also good because there was a little play in the armhole circumference curve; the height of the sleeve was natural when combined with the bodice; and the shoulder looked narrow due to the difference in height from the bodice (Figure 3).

3) Skirt pattern design method

The flat pattern method is a means of setting out dimensions on a single plane through measurement, and although the composition can be accomplished quickly, technical work is required to express the adhesion and flow of the bodice. Draping is preferred as a way to draw a fit of the bodice for lines that adhere closely from the waist to the hip line, such as Mermaid, Semi-mermaid, and H-line, but it requires high-level techniques and sensitivity. The skirt pattern was, therefore, designed to be efficient using a flat pattern method to check the design and application dimensions, and a draping method to secure a stable waist and hip circumference line.
The dress forms for the basic pattern were made with the same dimensions for the skirt as those used for draping. Based on the skirt reference line, the center front plate (CF), the side front plate (SF), the center back plate (CB), and the side back plate (SB) were scooped into a draping to form a basic pattern shape for the skirt. The skirt pattern became a basis for the process of making adjustments to the flat pattern of the final design (Table 8).
In the 2017 Size Korea data, the skirt length was 110 cm, taking into account a shoe heel height of 9-13 cm and an average waist height of 96.70 cm for the women aged between 20 and 34 .
When the dress was inflated by wearing a patch, the skirt length increased by 10-20 cm. In addition, the knee length was 55.0 cm, being calculated from difference of 55.35 cm from the average waist height (96.70 cm) to the average knee height (41.34 cm) due to there being no precise data. Lines such as Mermaid and Semi-mermaid were created by raising the knee line by 4 to 6 cm to take account of activity and movement. The types of skirt lines comprise Bell, A-line, Princess, Mermaid, H-line, Empire, Semi-mermaid, and Bustle, while the dimensions applied according to the flow and design of the line are presented as the researcher's design dimensions. A pattern for each design was created from a basic pattern using measurements of waist circumference (WL), a hip circumference (HL), a basic pattern hem, a knee line (KL), and a skirt hemline (SHL) (Table 9).
The A-line was determined by aligning the waistline of the skirt pattern and widening the hip circumference. Since the skirt pattern was part of the design pattern, there was an advantage in being able to identify the margin of the hip. The Bell line involved dividing each pattern into two longitudinal halves and opening it out. With the arrangement of basic skirt pattern, it was possible to identify the waist wrinkles and skirt width. The Bell and Empire lines required measurements to be set at the hip circumference line and the bottom of skirt pattern, and it was easy to design these lines in a situation where the skirt pattern is increasing. Mermaid and Semi-mermaid used the waistline and hip line of the skirt pattern as it was, and expressed the flow of the silhouette with the line inward from the knee line. H-line was used by extending the existing pattern downward. Mermaid, Semi-mermaid, and H-line are silhouettes that require the fit of the bodice and highlight the advantages of using basic patterns. Princess determined the width of the skirt by giving the same amount at the hip circumference, and Bustle presented a modified basic skirt pattern according to the design.

4) Dress sample

The combinations of neckline and sleeve with each skirt silhouette that produced the highest frequencies were selected for the creation of sample dresses. where the requencies were the same, designs that were not otherwise used were selected. based on the skirt silhouette with the high frequency. The resulting combinations were as follows (Table 4):
A-line skirt silhouette (41.3%), Sweetheart neckline (9.6%), and Cap sleeve (3.8%);
Bell skirt silhouette (26.2%), Illusion neckline (6.3%), Long (2.4);
Mermaid skirt silhouette (16.5%), Off-shoulder neckline (3.6%), Cap sleeve(2.7%);
Semi-mermaid skirt silhouette (8.8%), Sweetheart neckline (1.7%), Cap sleeve (0.7%);
Princess skirt silhouette (5.0%), Sweetheart neckline (0.9%), Sleeveless (0.4%);
H-line skirt silhoette (1.7%), V neckline (0.7%), Long sleeve (0.2%);
Bustle skirt silhouette (0.4%), Illusion neckline (0.1%), Short sleeve (0.1%);
Empire skirt silhouette (0.2%), Straight neckline (0.1%), Puff sleeve (0.1%).
The system of selecting the dress designs and each pattren created a diverce range of samples as shown in Figure 4 and Table 10.

Conclusion and Discussion

In order to investigate the process of dress design, this study analyzed data published over a period of two years (2021-2022) in a representative wedding-related monthly magazine in Korea. The design of the dresses in terms of how the silhouette of the bodice neckline, sleeves, and skirts intersected and matched was analyzed. This comprised the combination of 1,389 items of data extracted from the magazine. Previous studies have suggested patterns based on the torso, but since it is not easy to use this type of pattern to produce dresses in multiful designs, this study suggested an easier and more convenient pattern production method for consideration.
The bodice of dress needs have aesthetic lines and adhesion, and the stability of the bodice can be secured by using a pattern with a draping. In this study, the draping up to the waistline was found to be quickly accomplished as the area concerned was not large, so adhesion and accuracy in the composition process could be improved. In addition, the pattern up to the waistline was easy to combine with various skirts, and the design when separated had the advantage of being an easy pattern to deform, so it was considered very effective in designing the entire dress pattern.
The sleeve pattern was designed using the flat pattern method. The basic sleeve pattern was a complementary pattern with reference to various patterns already shown. It had a high level of stablity and an appropriate margin for the sleeve barrel. Using a sleeve sample designed in this way, the silhouette and fit were found to be good.
The pattern for the skirt silhouette was designed by mixing a draping and a flat pattern. The dress forms were adjusted so as to have the same measurements for the skirt and the waist circumference. The basic skirt pattern was modified from the flat pattern and used as the basis for the Bell, A-line, Princess, Mermaid, H-line, Empire, Semi-mermaid, and Bustle designs. Creating lines such as Bell, A-line, Princess, Empire, and Bustle designs required measurement around the hip and at the bottom of the basic skirt pattern to be adjusted which was easy to accomplish as it involved increasing the size of skirt pattern.
In summary, in our study, we demonstrated how neckline, sleeve, and skirt silhouette, which are basic design elements in a dress, can be combined using statistical analysis to create trendy dress designs, and how efficiencies can be achieved in the dressmaking process through improved patternmaking methods. We further confirmed in our study the suitability of the draping and the flat pattern methods for the production of dresses through the creation of a range of samples in multiple designs.
Although the advantages of the draping and the flat pattern methods were thoroughly reviewed in our study of optimul pattern production methods in each part of the manufacturing process, further research should be conducted into the challenges of using these methods in large-scale dress manufacturing. It is hoped that these findings will be applied in dressmaking design and production in the future and contribute to the development of the industry.

Declaration of Conflicting Interests

The author declares no conflict of interest with respect to the authorship or publication of this article.

Figure 1.
Armhole line.
her-61-1-53f1.jpg
Figure 2.
Sleeve pattern.
her-61-1-53f2.jpg
Figure 3.
Sleeve.
her-61-1-53f3.jpg
Figure 4.
Sample dresses.
her-61-1-53f4.jpg
Table 1.
Neckline Design Distribution
Neckline Frequency (n) Ratio (%)
Sweetheart 276 19.9
Illusion 272 19.6
Off-shoulder 256 18.4
V 231 16.6
High 73 5.3
Jewel 49 3.5
Straight 48 3.5
Strap 45 3.2
Boat 36 2.6
Scoop 31 2.2
Square 28 2.0
Halter 22 1.6
Queen anne 18 1.3
Asymmetric 3 0.2
Cowl 1 0.1
Total 1389 100.0
Table 2.
Sleeve Design Distribution
Sleeves Frequency (n) Ratio (%)
Cap 422 30.4
Short 313 22.5
Sleeveless 235 16.9
Long 196 14.1
Puff 78 5.6
Capri 50 3.6
Bishop 38 2.7
Cape 32 2.3
Leg of Mutton 12 0.9
Flounce 9 0.6
Lapped 4 0.3
Total 1389 100.0
Table 3.
Skirt Silhouette Design Distribution
Silhouette Frequency (n) Ratio (%)
A-line 573 41.3
Bell 364 26.2
Mermaid 229 16.5
Semi-mermaid 122 8.8
Princess 70 5.0
H-line 23 1.7
Bustle 5 0.4
Empire 3 0.2
Total 1389 100.0
Table 4.
Skirt Silhouette Results (n (%))
Skirt Neckline Sleeve
A-line 573 (41.3) Sweetheart Cap 53 (3.8), Sleeveless 23 (1.7), Puff 21 (1.5), Short 16 (1.2), Long 14 (1.0), Bishop 4 (0.3), Cape 2 (0.1), Capri 1 (0.1)
134 (9.6)
Off-shoulder Cap 88 (6.3), Puff 8 (0.6), Cape 6 (0.4), Short 3 (0.2),Bishop 2 (0.1), Long2 (0.1), Capri 2 (0.1), Flounce 1 (0.1), Sleeveless 1 (0.1)
113 (8.1)
Illusion Short 52 (3.7), Long 17 (1.2), Cap 15 (1.1), Sleeveless 7 (0.5), Capri 5 (0.4), Bishop 4 (0.3), Puff 3 (0.2), Flounce 1 (0.1)
104 (7.5)
V Short 42 (3.0), Sleeveless 13 (0.9), Cap 12 (0.9), Cap 12 (0.9), Long 11 (0.8), Puff 9 (0.6), Capri 5 (0.4), Bishop 4 (0.3), Cape 1 (0.1), Lapped 1 (0.1), Flounce 1 (0.1)
99 (7.1)
High Short 10 (0.7), Capri 5 (0.4), Long 4 (0.3), Cap 4 (0.3), Sleeveless 2 (0.1), Bishop 1 (0.1), Cape 1 (0.1), Flounce 1 (0.1)
28 (2.0)
Jewel Long 2 (0.1), Cap 4 (0.3), Sleeveless 8 (0.6), Short 2 (0.1)
16 (1.2)
Straight Sleeveless 7 (0.5), Long 3 (0.2), Cap 3 (0.2), Short 1 (0.1), Cape 1 (0.1)
15 (1.1)
Bateau Long 4 (0.3), Short 4 (0.3), Bishop 2 (0.1), Cape 1 (0.1), Cap 1 (0.1), Sleeveless 1 (0.1), Leg of Mutton 1 (0.1)
14 (1.0)
Square Short 8 (0.6), Cap 3 (0.2), Capri 2 (0.1), Long 1 (0.1)
14 (1.0)
Scoop Short 7 (0.5), Cap 2 (0.1), Long 1 (0.1), Puff 1 (0.1), Sleeveless 1 (0.1)
12 (0.9)
Strap Sleeveless 10 (0.7)
10 (0.7)
Queen anne Long 4 (0.3), Cap 2 (0.1), Short 2 (0.1),
8 (0.6)
Halter Sleeveless 6 (0.4)
6 (0.4)
Mermaid 229 (16.5) Off-shoulder Cap 37 (2.7), Long 3 (0.2), Cape 3 (0.2), Puff 3 (0.2), Sleeveless 1 (0.1), Capri 1 (0.1), Bishop 1 (0.1), Flounce 1 (0.1)
50 (3.6)
Illusion Short 21 (1.5), Long 10 (0.7), Cap 8 (0.6), Sleeveless 4 (0.3), Bishop 2 (0.1), Cape 1 (0.1),
46 (3.3)
V Short 19 (1.4), Long 8 (0.6), Capri 4 (0.3), Cap 3 (0.2), Sleeveless 2 (0.1), Puff 1 (0.1), Bishop 1 (0.1), Leg of Mutton 1 (0.1)
39 (2.8)
Sweetheart Cap 13 (0.9), Sleeveless 6 (0.4), Short 5 (0.4), Long 3 (0.2), Puff 1 (0.1), Cape 1 (0.1)
29 (2.1)
Strap Sleeveless 14 (1.0)
14 (1.0)
High Cap 4 (0.3), Long 3 (0.2), Sleeveless 2 (0.1), Short 2 (0.1), Leg of Mutton 1 (0.1)
12 (0.9)
Halter Sleeveless 7 (0.5), Long 1 (0.1), Cap 1 (0.1)S
9 (0.6)
Bateau Cap 3 (0.2), Capri 2 (0.1), Long 1 (0.1), Puff 1 (0.1), Sleeveless 1 (0.1)
8 (0.6)
Straight Sleeveless 4 (0.3), Cap 1 (0.1), Capri 1 (0.1)
6 (0.4)
Jewel Sleeveless 3 (0.2), Cap 1 (0.1), Capri 1 (0.1), Short 1 (0.1)
6 (0.4)
Queen anne Cap 2 (0.1), Long 1 (0.1), Short 1 (0.1)
4 (0.3)
Scoop Short 2 (0.1), Cap 1 (0.1)
3 (0.2)
Square Capri 1 (0.1), Short 1 (0.1)
2 (0.1)
Asymmetric Sleeveless 1 (0.1)
1 (0.1)
Semi-mermaid 122 (8.8) Sweetheart Cap 10 (0.7), Short 4 (0.3), Sleeveless 3 (0.2), Bishop 2 (0.1), Long 1 (0.1), Puff 1 (0.1), Cape 1 (0.1), Capri 1 (0.1)
23 (1.7)
V Long 7 (0.5), Cap 3 (0.2), Sleeveless 3 (0.2), Puff (0.1), Bishop 1 (0.1), Cape 1 (0.1)
22 (1.6)
Illusion Short 7 (0.5), Long 6 (0.4), Cap 4 (0.3), Sleeveless 2 (0.1), Capri 1 (0.1), Cape 1 (0.1),
21 (1.5)
Off-shoulder Cap 6 (0.4), Capri 2 (0.1), Long 1 (0.1), Cape 1 (0.1)
10 (0.7)
Jewel Short 3 (0.2), Sleeveless 3 (0.2), Long 1 (0.1), Puff 1 (0.1), Cap 1 (0.1)
9 (0.6)
High Long 1 (0.1), Sleeveless 3 (0.2), Short 2 (0.1), Bishop 1 (0.1), Leg of Mutton 1 (0.1)
8 (0.6)
Strap Sleeveless 6 (0.4)
6 (0.3)
Bateau Sleeveless 2 (0.1), Long 1 (0.1), Cap 1 (0.1), Short 1 (0.1)
5 (0.4)
Halter Sleeveless 4 (0.3)
4 (0.3)
Straight Sleeveless 2 (0.1), Long 1 (0.1), Cape 1 (0.1)
4 (0.3)
Scoop Long 1 (0.1), Cap 1 (0.1), Short 1 (0.1), Flounce 1 (0.1)
4 (0.3)
Square Capri 1 (0.1), Short 1 (0.1)
2 (0.1)
Queen anne Cap 1 (0.1), Flounce 1 (0.1)
2 (0.1)
Cowl Sleeveless 1 (0.1)
1 (0.1)
Asymmetric Sleeveless 1 (0.1)
1 (0.1)
Princess 70 (5.0) Sweetheart Sleeveless 6 (0.4), Cap 3 (0.2), Puff 2 (0.1), Lapped 1 (0.1), Leg of Mutton 1 (0.1)
13 (0.9)
Off-shoulder Cap 9 (0.6), Cape 2 (0.1), Puff 1 (0.1)
12 (0.9)
V Long 3 (0.2), Short 3 (0.2), Cap 2 (0.1), Puff 1 (0.1), Bishop 1 (0.1), Lapped 1 (0.1), Flounce 1 (0.1)
12 (0.9)
Square Puff 1 (0.1), Short 4 (0.3)
5 (0.4)
Jewel Long 1 (0.1), Cap 1 (0.1), Short 1 (0.1)
3 (0.2)
Bateau Cap 1 (0.1), Sleeveless 1 (0.1), Capri 1 (0.1)
3 (0.2)
High Long 1 (0.1), Cap 1 (0.1), Short 1 (0.1)
3 (0.2)
Straight Sleeveless 2 (0.1)
2 (0.1)
Scoop Puff 1 (0.1), Short 1 (0.1)
2 (0.1)
Strap Sleeveless 2 (0.1)
2 (0.1)
Halter Short 1 (0.1)
1 (0.1)
Illusion Long 3 (0.2), Puff 1 (0.1), Cap 2 (0.1), Short 4 (0.3), Flounce 1 (0.1)
11 (0.8)
Queen anne Cap 1 (0.1)
1 (0.1)
H-line 23 (1.7) V Long 3 (0.2), Cape 2 (0.1), Puff 2 (0.1), Short 1 (0.1), Bishop 2 (0.1)
10 (0.7)
Sweetheart Long 1 (0.1), Sleeveless 1 (0.1)
2 (0.1)
Jewel Sleeveless 1 (0.1), Short 1 (0.1)
2 (0.1)
Square Short 1 (0.1), Leg of Mutton 1 (0.1)
2 (0.1)
Straight Long 1 (0.1)
1 (0.1)
Off-shoulder Cap 1 (0.1)
1 (0.1)
Scoop Lapped 1 (0.1)
1 (0.1)
Bateau Cap 1 (0.1)
1 (0.1)
Strap Sleeveless 1 (0.1)
1 (0.1)
High Sleeveless 1 (0.1)
1 (0.1)
Queen anne Puff 1 (0.1)
1 (0.1)
Bustle 5 (0.4) Off-shoulder Cap 2 (0.1)
2 (0.1)
Illusion Short 1 (0.1), Long 1 (0.1)
2 (0.1)
Sweetheart Sleeveless 1 (0.1)
1 (0.1)
Straight Puff 1 (0.1)
1 (0.1)
Jewel Long 1 (0.1)
1 (0.1)
Scoop Bishop 1 (0.1)
1 (0.1)
Total 1389 (100) 1389 (100)
Table 5.
Basic Line Taping
her-61-1-53i1.jpg
Table 6.
Baseline and Neckline Design Patten Deployment
her-61-1-53i2.jpg
Table 7.
Patten Deployment of Sleeve
her-61-1-53i3.jpg
Table 8.
Patten Deployment of Basic Skirt
her-61-1-53i4.jpg
Table 9.
Pattern Deployment of Skirt Design
her-61-1-53i5.jpg
Table 10.
Dress Pattern Design
her-61-1-53i6.jpg

References

Do, J. E. (1996). Pattern design and manufacturing method. Seoul: Shinkwangpub.

Hong, G. H., & Jang, J. A. (2011). A study on bodice pattern of wedding dress design preference. The Journal of Korean Society of Design Culture, 17(3), 765-774.

Hong, G. H., & Jang, J. A. (2011). The development of torso & sleeve basic pattern for wedding dress. Fashion and Textile Research Journal, 13(4), 614-623. https://doi.org/10.5805/KSCI.2011.13.4.614
crossref
Im, S., & Kim, E. H. (2003). Dress design & pattern. Seoul: Yehaksa.

Kim, H. Y., Park, S. K., & Jeong, J. C. (2017). A study princess line patterns for wedding dresses - Draping technique for standard body type women from age 25 to 34. The Research Journal of the Costume Culture, 25(6), 913-927. https://doi.org/10.29049/rjcc.2017.25.6.913
crossref
Lee, B. H., Han, G. H., Kang, S. N., Choi, H., & An, J. (2009). Wedding dress pattern making. Seoul: Kyungchunsa.

Lee, S. H., & Kwon, S. H. (2020). A study on the dress form for the making dresses: Focusing on the size cover rate and correction. Family and Environment Research, 58(2), 215-228.
crossref
Lee, Y. M., & Kim, S. R. (2015). The development of basic dress torso patterns for women in their 20s. Journal of Fashion Business, 19(2), 85-102.
crossref
Nam, Y. J., & Park, S. M. (2017). Principles of pattern making. Seoul: Knoupress.

Oh, S. S., Son, Y. G., Hong, S. S., & Seok, H. J. (2013). The practice of wedding dress. Paju Province: Bluefish.

Park, G. A. (2018). Analysis of skirt block patterns developed through draping and drafting methods using the dress form representing the body features of Korean female fashion models. Journal of Fashion Business, 22(4), 30-46.

Rha, S. I. (2000). Dressmaking technique. Seoul: Kyohakyeongusa.

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