• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.113-127
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• 2021

This study aims to analyze the style of men's suits and extract expressional words for the development of semantic differential scales of visual images according to the change in silhouette. Research methods are literature studies, case studies, and questionnaires. The stimuli were created using CLO 3D, a virtual sewing CAD. This study's results are as follows: 1) The British suit jacket has an angled shoulder line using thin pads, and a slightly higher waistline. The pants of the suit have a high waistline and two pleats, so the thighs of the pants are wide. The American suit jacket has a natural shoulder line, and the waistline is not emphasized. The width of the jacket is relaxed, and the length is long. The pants of the suit have a higher waistline, and the pants are wide as well. The Italian suit jacket has wide shoulders, and the waistline is connected lower with a soft curve, and the length is relatively short. The trousers of the suit are tapered and get narrower as it goes down to the hem. 2) Because it originated in the practices of true bespoke tailoring, traditional British suits have a far more 'fitted' silhouette than the mass-produced styles that became emblematic of the American style. By the late 1950s, a sack-style suit was standard American business attire. This technique gives the sack suit its characteristically 'boxy' silhouette. The "Continental" presented a highly tailored silhouette, with padded shoulders, a slim, tight-fitting chest, and a closely tapered waist. The story was that Italian culture valued aesthetics over all else and thus sought the 'slim' suit style as much as possible. 3) The main expressional words of visual images for men's suits differ greatly depending on the silhouette of suit. The visual images are ranked in the order of 'neat', 'classic', 'educated', 'hard', 'mature', for fitted silhouettes. The words of 'masculine', 'basic', 'comfortable', 'simple', 'mature', 'conservative', 'modern', are ranked for boxy silhouettes. And the words of 'slim', 'young', 'neat', are noted for slim silhouettes.

• Journal of Advanced Navigation Technology
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• v.25 no.1
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• pp.8-16
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• 2021

In this paper, locations of vertiports were selected and evaluated to operate urban air mobility (UAM) in the Seoul metropolitan area. Demand data were analyzed using the data from the survey of commuting population and were marked on a map using MATLAB. To cluster the data, the K-means algorithm function built in MATLAB was used to identify the center of the cluster to as the location of vertiports, and using the silhouette technique, the accuracy and reliability of the clustering were evaluated. The locations of the selected vertiports were also identified using satellite maps to ensure that the locations of the selected vertiports were suitable for the actual vertiport location, and, if the location was not appropriate, final vertiports were selected through the repositioning process.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.31 no.6
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• pp.1105-1114
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• 2021

Due to the recent surge in popularity of cryptocurrency, the threat of cryptojacking, a malicious code for mining cryptocurrencies, is increasing. In particular, web-based cryptojacking is easy to attack because the victim can mine cryptocurrencies using the victim's PC resources just by accessing the website and simply adding mining scripts. The cryptojacking attack causes poor performance and malfunction. It can also cause hardware failure due to overheating and aging caused by mining. Cryptojacking is difficult for victims to recognize the damage, so research is needed to efficiently detect and block cryptojacking. In this work, we take representative distinct symptoms of cryptojacking as an indicator and propose a new architecture. We utilized the K-Nearst Neighbors(KNN) model, which trained computer performance indicators as behavior-based dynamic analysis techniques. In addition, a K-means model, which trained the frequency of malicious script words for script similarity-based static analysis techniques, was utilized. The KNN model had 99.6% accuracy, and the K-means model had a silhouette coefficient of 0.61 for normal clusters.

• The Research Journal of the Costume Culture
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• v.31 no.2
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.95-103
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• 2024

This study examines the works of Yohji Yamamoto, one of the most influential fashion designers in 21st century Japan. The research focuses on the Yohji Yamamoto Women Ready To Wear collections showcased at Paris Fashion Week (2019F/W-2024S/S). The research methodology includes case analysis and summarization of images. The study analyzes the Yohji Yamamoto brand development and design style. A total of 399 runway images from 2019F/W-2024S/S were downloaded from VOGUE and analyzed based on four aspects: silhouette, color, material, and item. The analysis of these aspects reveals the aesthetic characteristics of Yohji Yamamoto: Zen-like, simplicity, naturalness, and elegance. The findings indicate that these aesthetic ideas are the core elements of Yohji Yamamoto's unique aesthetic and play a significant role in shaping the brand's style.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.3 s.151
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• pp.412-424
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• 2006

This paper starts out with a review of the concepts of naturalism and natural clothes. Based on these concepts, the paper aims to create nature-friendly and high-value modem designs by grafting natural images from butterflies into human bodies. The images of butterflies are combined to show distinguished luxury and diversity with natural materials such as denim. As for the design technology, Adove Illustrator 10, Photoshop 7.0, and Prima Vision Textile Design System are used since they are very popular in the CAD system. The followings are the main findings of our research. Naturalism displays its objectivity based on its inherent interest in human nature and its factual description in scientific approaches with an intention to find a true meaning of human life in nature. Natural clothes can be defined as the clothes of natural silhouette which are made of pure materials in natural colors and dyes from natural motifs such as animals, plants or natural phenomena. We have realized that the visually distinguished looks of butterflies are indeed far more luxurious than those of any other insects and this visual distinction can be utilized to attract the attention from designers. Lastly, it turns out that the digital printing technique can create more variety in colors and design forms than the manual printing, thereby providing designers with more options and practicality.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.958-967
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• 2009

Just as various religions of the world have multiple systems based on their own belief system respectively, religious costumes, which are the expression of religion, are varied in forms according to different religions. Nonetheless, this research attempts to examine the universal features of the variety of religious costumes. Since the range of this research is broad and the limit of study is clear, this research confines the study objects into world's four high religions. The purposes of this research are as followings; first, the investigation of the world's high religions, second, the study of the figurative attributes of religious costume to study and discuss the universality of figurative beauty and aesthetic value. Figurative attributes are distinct in religious costume. First, the non structural feature of composition, and the manner in which the costume is worn. Second, the rich silhouette covering the body. Third, the restraint and inhibition of decoration, and fourth, the preference of achromatic color and monotones. 'The beauty of concealing', derived from the religious absolute and chastity, 'The beauty of chastity' influenced by the restraint of decoration and design, and 'The beauty of nature' as the drapery and non structural feature are the universal aesthetic values. Human beings tend to contact the divine beings by pursuing the essential thing and concealing the body through religion. The forms of concealment and chastity, mentioned above are reflected in the usual costumes, affected by religion as well as religious costume.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.6
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• pp.354-362
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• 2006

This paper suggests a method for generating high qualify stereo video avatar to support visual communication in a CAVE$^{TM}$-like system. In such a system because of frequent change of light projected onto screens around user, it is not easy to extract user silhouette robustly, which is an essential step to generate a video avatar. In this study, we use an infrared reflective image acquired by a grayscale camera with a longpass filter so that the change of visible light on a screen is blocked to extract robust user silhouette. In addition, using two color cameras positioned at a distance of a binocular disparity of human eyes, we acquire two stereo images of the user for fast generation and stereoscopic display of a high quality video avatar without 3D reconstruction. We also suggest a fitting algorithm of a silhouette mask on an infrared reflective image into an acquired color image to remove background. Generated stereo images of a video avatar are texture mapped into a plane in virtual world and can be displayed in stereoscopic using frame sequential stereo method. Suggested method have advantages that it generates high quality video avatar taster than 3D approach and it gives stereoscopic feeling to a user 2D based approach can not provide.