• Journal of Fashion Business
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• v.18 no.3
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• pp.117-133
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• 2014

This thesis aims to investigate the morphologic relationship among the neckline, collar, and hair style, in which the width and height were measured by selecting the representative costumes from 16th to 19th centuries. The pieces of 170 pictures selected by fashion experts were cut in the same condition, with the part of the end of shoulder, head, and chest all placed on the equal level. The products were directly measured by a team of 3 specialists for verification of this study, of which results were calculated into average. The values of output were categorized into the unit of decade and finally into a graph of variation, in which the trend and relationship were evaluated according to the width and height. In 16th century, the width and height of the neckline were inversely proportional to those of hair style, while those of collar were proportional to those of hair style. In 17th century, the width and height of the hair style were proportional to those of neckline and collar. In 18th century, those of the neckline were inversely proportional to the hair style, with no collar found. In 19th century, the width of the neckline and collar were proportional to that of the hair style, while the height of the neckline and collar were inversely proportional to that of the hair style. The analysis of the morphologic relationship among neckline, collar, and hair style resulting from this study revealed that the change of the hair style took place corresponding to those of neckline and collar. Generally, the width of the hair style was found to be more resistant to change, compared to those of neckline and collar that were more susceptible. The height of the neckline was more resistant to change, compared to those of the hair style and collar presenting their frequently fluctuating height. Conclusively, the factor of height rather than that of width showed more dominant proportions, because the various forms of the collar and hair style evolved in terms of the height rather that width, relative to that of the neckline.

• Journal of the Korean Society of Costume
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• v.35
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• pp.305-324
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• 1997

The purpose of this study was to examine aesthetic effects of face type and necklines of one piece dress one of details in clothes on visual evaluation. For this study two set of stages were processed. At first stage data were collected from female college students in Kwang Ju.Chonnam. Subjects between the aged of 18-26 were took pictured of their faces then they were classified into 7 groups That is egg ob-long round square inverted triangle triangle and diamond shapes. At second stage two sets of experimental design were utilized based on the classified face types. A set of design was 5$\times$4 design which involved 5 levels (egg oblong round inverted triangle and diamong shape) of face type and 4 levels(round boat vee and square neckline) of basic neckline. Another set of de-sign also was 5$\times$4 design which involved 5 levels of face type and 4 levels of modified neckline. As experimental treatment the stimulus materials and questionnaires were employed. The qustionnaires were consisted of visual evaluations on the stimulus materials by using semantic differential scale,. The experiments were proceeded through 2 week by 30 subjects composed of gaduate students and staffs in some departments of Clothing and Textiles at college. Data were analyzed by Frequencies Mean Factor Analysis TTest ANOVA and Ducan's Multiple Range Test. The major results were as followed: 1. There were significant aesthetic effects of face type on visual evaluations, Especially egg and inverted triangle shape among the face types were evaluated more aesthetic than the other face shapes. 2. There were signifiant aesthetic effects of the neckline types on visual evaluations, Es-pecially vee neckline among necklines were more aesthetic than the other necklines,. 3. As compared with the basic neckline types and the modified neckline types the modified necklines were assessed more aes-thetically than the basic necklines. 4, The face type and he neckline type were influenced interactively on visual evauations Specifically it showed that oblong round and diamond shape of face type were matched to vee neckline more than the other necklines, Also it showed that the egg and inverted tri-angle shape wee matched to round vee and squre neckline more than boat neckline.

• Korean Journal of Human Ecology
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• v.18 no.2
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• pp.535-545
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• 2009

The purpose of this study is to investigate the effect of earring(nothing, small, medium, large), neckline(round, low), and hairstyle(bound, unbound) on image formation. Sets of stimulus and response scales(7 point semantic) were used as experimental materials. The stimuli were 16 pictures manipulated with the combination of earring, neckline, and hairstyle. The objects of the study were 192 female undergraduates living in Gyeongsangnam-do. The results of this study were as follows. Image factor of the stimulus was composed of 4 different components, concentration of attention, attractiveness, gracefulness, and cuteness. In the concentration of attention, earring and neckline showed independent effect. In the attractiveness, neckline showed independent effect. In the gracefulness, earring and hairstyle showed independent effect. Significant interaction effects of earring and neckline on concentration of attention, attractiveness and gracefulness were found. Interaction effects of neckline and hairstyle on cuteness were found. The study results are highly expected to be used as useful sources in developing total coordination.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.5
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• pp.724-735
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• 2000

The objectives of this study were to identify the dimensional structure of female impression formation based on silhouettes and necklines of wedding dresses, and to analyze the effect of silhouettes, necklines, and perceiver's gender on impression formation. The experimental design was 3$\times$6$\times$2 (silhouettes$\times$necklines$\times$gender) factorial design by 3 independent variables. Samples were 432 males and females. Four factors derived to account for the dimensions of impression formation. These were attractiveness, neatness, feminity, and prettiness. Dome silhouette had a positive effect on impression of attractiveness. Bell silhouette increased the impression of femininity and prettiness. Tubular silhouette had a negative effect on the impressions of attractiveness, femininity, and prettiness. Neckline had a significant effect on impression of attractiveness and negative on prettiness. Sweet-heart neckline has a positive effect on impression of attractiveness and negative on prettiness. Off-shoulder neckline increased the impression of prettiness. Round neckline decreased the impression of attractiveness. On the interaction effect according to the neckline and perceiver's gender, the men perceived high-necklines to be more feminine than did women, while the women perceived off-shoulder necklines to be more feminine than did men. There was interaction effect between silhouette and neckline on prettiness. In dome silhouette, heart-shape neckline was perceived to be prettier than the others, while in bell silhouette, off-shoulder neckline was perceived as prettier than the others.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.955-965
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• 2008

This study used the method that measure the participants' responds on the experiment, and the measurement means is a survey. The primary factor plan is $5{\times}2{\times}3{\times}2$. The independent variable are neckline(5), trousers or skirt style(2), somatotype(3), culture(2), and the dependant variables are physical visual effect and the favor of clothe design. In cases of Korean, thin somatotype had better were V-neckline suit for looking shoulders wide because they have too narrow shoulders, and were pants suit than skirt suit for looking pelvis major. thin somatotype person who wants to look tall should wear china collar or tailored collar suit with pants. If she wears round neckline suit with skirt, the lower part of body and the height look tall. Pants suit with V neckline and skirt suit with china collar make standard somatotype looked having wide shoulders. Standard somatotype person with wide shoulder should avoid this style. The size of waist and pelvis was looked thick in round neckline and was looked thin in V neckline. So it will be better to find the right suit for one's weakness. Obesity had better wear V neckline to look neck slim and not wear stand and tailored collar. When obesity person wears pants suit, she is looked having slim waist than skirt suit. In case of American, thin somatotype in pants suit looks much taller than in skirt suit when she wears round neckline and stand collar suit. Standard somatotype has no difference because it is the basic shapes. Generally, it goes with all kinds of suit design. The belly and pelvis of American's obesity look fatter and bigger than Korean's obesity. The same with Korean, round neckline suit makes obesity looked belly and pelvis fat and big.

• Journal of the Korean Society of Costume
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• v.36
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• pp.97-107
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• 1998

This is a studying on Chinese round neckline. Chinese round neckline is originate from Kucha and Bei-Wei. After round neckling was flown into Chinese, it had been worn in all classes including Emperor as well as common people. Women-talents and court ladis-likes to wear it too, especially Tang Dynasty. This study is describe processes of changes and characters of Chinese. The first inflow time of round neckline into China was assumed in Bei-Wei. In Bei-Chi, it changed right lapel and it fastened by a button. In Chinese each dynasty, Round neckline had been worn in Emperor, common people talents and a part of court ladies.

• Korean Journal of Human Ecology
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• v.10 no.4
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• pp.391-398
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• 2001

This research is focused on how to divide the upper chest type and to find out the amount to be removed at the neckline according to the different upper chest type and different neckline depth. The result of the research is as followed. 1. In the result of the factor analysis, the upper chest could be explained by six factors such as the shape factor of the upper chest, shoulder curve factor, shoulder sloping factor, space factor from shoulder to waist, upper chest slope factor, and the bust size factor. 2. The shape of the upper chest could be divided by three groups. The first group is characterized as lagging and bent backward shoulder, slight slope of upper chest, and small bust. The second group is comparatively curved at the upper chest and big bust. The third group is rising and bent forward shoulder, slight curved upper chest. 3. The amount to be removed at the different neckline depth and in these three types of upper chest had a difference due to the differences of the upper chest shape containing the shoulder shape.

• Journal of the Korean Home Economics Association
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• v.39 no.8
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• pp.107-120
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• 2001

The purpose of this study is to characterize the preference for fashion design according to fashion value of Net generation's. This study has 824 samples of individuals aged from 13 to 24. These sampling data are analyzed by frequency analysis, cross-tabs analysis, T-test, LSD-test, MANOVA and ANOVA utilizing SPSS WIN package. The results of this study are as follows; Net generation's is economic value higher than other fashion value and prefer for ring cuffs, mandarin sleeves, shirt collar, round neckline, tailored pants, blue color, check pattern according to economic value. It is proved that in case of shirt, people prefer ring cuffs, raglan sleeves, shirt collar, for jacket, prefer coat cuffs, mandarin sleeves, tailored collar, for jumper, they prefer single cuffs, set in sleeves, soutien collar and for T-shirt, prefer round neckline. For the design and length of pants, people prefer long tailored pants, color of blue and check designed one. It is proved that women haute a higher degree of preference for sleeve-design, neckline-design and color than men do.1318 teenagers have a higher preference for sleeve-design, neckline-design and color than semi-adult. Above university educational-course Net generation has a higher degree of preference for sleeve-design, neckline-design and color than high school educational-course Net generation does. A class of average monthly income of 2-3 million won has a higher degree of preference for neckline-design and color than other lasses do. And there is no difference at the preference for the fashion design when considered classes of average monthly expenditure on purchasing clothes.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.981-992
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• 2011

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a $2{\times}5{\times}4$(hairstyles${\times}$wedding headdresses${\times}$necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.247-260
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• 2021

While it is an important element of clothing construction, research has so far been very limited on the similarities between virtual and real clothing in terms of the type of neckline. The purpose of this study is to verify the similarity, accuracy of virtualization, and actuality of neckline, which all play an important role in individual impressions and image formation, and require considerable modification when fitting real samples. A total of 5 neckline models were selected through the analysis of dress composition textbooks. The selected designs were then planned and manufactured in muslin. The specimen clothes were then tested on a female model in her 20s. 2 kinds of virtual bodies were created in order to compare the real and the virtual dressing. The first virtual body was made through an Artec 3D Eva scan of the model, and the other was made by entering the model's measurements in a CLO 3D program. A visual image of the front, side, and back image of both the real and virtual dressing were subsequently collected. The collected images were then evaluated by 20 professional fashion workers who checked the similarity between the real and the virtual versions. The current study found that the similarity between the actual and virtual wearing of the five neckline designs with reality appeared higher with the virtual wearing image using the 3D-scanned body. The results of this study could provide further information on the selection of appropriate avatars to clothing companies that check the fit of clothing by utilizing 3D virtualized programs.