• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.839-853
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• 2016

This study proposes that Malevich's 1913 performance "Victory Over the Sun" was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. "Victory Over the Sun" did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in "Victory Over the Sun", and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on "Victory Over the Sun" from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on "Victory Over the Sun". and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.79-93
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• 2013

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts' form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea's Dakji, China's Sangpiji(桑皮紙) and Jukji(竹紙) and Japan's Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.

• Acta Via Serica
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• v.8 no.1
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• pp.31-54
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• 2023

The article deals with issues related to the tradition of carpet production on the territory of Kazakhstan where, for the most part, tribes engaged in nomadic livestock raising lived. Analyzing the technological component of this traditional craft, the author focuses on the main factor that influenced carpet weaving along with arts and crafts-the nomadic method of production of the Kazakhs. The study of the ideological component that accompanies the process of making various types of carpets allows us to conclude that it has a sacred meaning and subordination to myth, rite, and ritual. At the mythmaking level, the process of making carpets, like any other activity among nomads, personified the process of creating the world, the marriage of Kok-Tengri (Heaven) and Zher-Su (Earth), and the creation of the Cosmos from Chaos. The process of carpet weaving, as well as the process of making felt, symbolized the act of creation, the marriage of Heaven and Earth, and male and female principles. The study of various types of ornaments that Kazakhs and their ancestors used to decorate carpets allows us to conclude that the ornament applied to carpet products was the bearer of the most valuable information about the mythological worldview of the people. Carpets in their structure reproduced the structure of the Universe, which has a binary, ternary, and quaternary system. The ornament has turned into a kind of coded text, reflecting ideas about the cosmogonic structure of the Universe and an awareness of the harmony of the world. The location of Kazakhstan on the northern routes of the Sogdian Road (Great Silk Road) allowed the spread of various ideas, due to which carpet weaving was influenced by other peoples in technical and stylistic design.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.847-861
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• 2017

As the excavated costumes from the unknown tomb of the Joseon Dynasty were unearthed, estimating the age of the costumes became very important. This research investigat and estimates the age of the excavated costumes from Couple's Tomb for Lee General in Seosan, Chung-nam. By inspecting and analyzing the costumes, the features can be compared with other similar costumes that have been excavated from other tombs. The result of this study is as follows: First, the period with dopo, cheol-rik, jungchimak, and baji for females among the relics of General Lee can be estimated. For dopo, there are morphometric features such as the shape of moo; for cheol-rik, there is a ratio of top and bottom; for jungchimak, there is a ratio of width of arm and skit and a ratio of side tim, total length, etc. By comparing relics of same period, it can be estimated to be from the late 16 century around the Japanese invasion of Korea to the early 17 century. Second, the period with jangui and jeogori among the relics of Couple's Tomb for General Lee can be estimated. By comparing jangui with the arm and width of sleeves, and by comparing jeogori and the shape of the collar, arm, length, etc., with other relics identical to the period, it can be estimated to be from the late 16 century around the Japanese invasion of Korea, which is a similar date to the one with the husband to the early 17 century.

• Advances in nano research
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• v.11 no.6
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• pp.581-593
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• 2021

This model is proposed to describe the buckling behavior of Carbon Nanotubes (CNTs) embedded in an elastic medium taking into account the combined effects of the magnetic field, the temperature, the nonlocal parameter, the number of walls. Using Eringen's nonlocal elasticity theory, thin cylindrical shell theory and Van der Waal force (VdW) interactions, we develop a system of partial differential equations governing the buckling response of CNTs embedded on Winkler, Pasternak, and Kerr foundations in a thermal-magnetic environment. The pre-buckling stresses are obtained by applying airy's stress function and an adjacent equilibrium criterion. To estimate the nonlocal critical buckling load of CNTs under the simultaneous effects of the magnetic field, the temperature change, and the number of walls, an optimization technique is proposed. Furthermore, analytical formulas are developed to obtain the buckling behavior of SWCNTs embedded in an elastic medium without taking into account the effects of the nonlocal parameter. These formulas take into account VdW interactions between adjacent tubes and the effect of terms involving differences in tube radii generally neglected in the derived expressions of the critical buckling load published in the literature. Most scientific research on modeling the effects of magnetic fields is based on beam theories, this motivation pushes me to develop a cylindrical shell model for studying the effect of the magnetic field on the static behavior of CNTs. The results show that the magnetic field has significant effects on the static behavior of CNTs and can lead to slow buckling. On the other hand, thermal effects reduce the critical buckling load. The findings in this work can help us design of CNTs for various applications (e.g. structural, electrical, mechanical and biological applications) in a thermal and magnetic environment.

• Advances in nano research
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• v.15 no.4
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• pp.295-304
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• 2023

In this paper, a powerful photocatalyst based on carbon nanocomposite is developed in order to obtain a new material applicable in water treatment and especially for the discoloration of effluents used in the textile industry. For that, TiO₂-graphene nanocomposites have been successfully synthesized by a mixture of Functionalized Graphene Sheet (FGS) and tetrachlorotitanium complexes to form FGS-TiO₂ nanocomposite. In the presence of an anionic surfactant, we used a new chemical process to functionalize graphene sheets in order to make them an excellent medium for blocking and preventing the aggregation of TiO₂ nanoparticles. The components of these nanocomposites are characterized by means of X-ray diffraction (XRD), Fourier Transform Infrared Spectroscopy (FT-IR), Scanning Electron Microscopy (SEM) and Transmission Electron Microscopy (TEM), which confirms the successful formation of the FGS-TiO₂ nanocomposite. It was found that the TiO₂ nanoparticles were dispersed uniformly on the graphene plane which possesses better charge separation capability than pure TiO₂. The FGS-TiO₂ nanocomposites exhibited higher photocatalytic activity compared to pure TiO₂ for the removal of three dyes: such as Methylene Blue (MB), Bromophenol Blue (BB) and Alizarin Red-S (AR) in water. The removal process was fast and more efficient with FGS-TiO₂ nanocomposite in daylight (in the absence of UV irradiation) compared to pure TiO₂ nanoparticles without and under UV in all pH range.

• The Korean Journal of Community Living Science
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• v.22 no.1
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• pp.77-94
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• 2011

It is not clear to assume the history of dyeing by persimmon juice without an early knowledge of an accurate record. However, the beginning of persimmon dyeing in Korea is estimated to be around the $13^th$-$14^th$ century, even though there are no supporting records. On the other hand, there are definite records of persimmon dyeing in Japan from around the 17th century. Persimmon juice was originally used for fishing tools in both Korea and Japan, but upon entering the Modern Era it eventually transfigured into a dye for fabric. In Korea, persimmon-dyed fabrics were used for traditional clothing until it also became a popular choice for modern clothes in the 1990s. In Japan, persimmon juice was originally used for varnishing surfaces of household items, but it recently became a material for arts, crafts, and even apparels. The main difference between persimmon dyeing of the two countries is the presence and absence of the fermentation process. In Korea, persimmons are picked and water is immediately added to its juice to produce the dye. In contrast, Japan produces a fermented persimmon dye. As a result, in Korea the dye can not be preserved for long periods, whilst in Japan it is matured in the storage for 2-3 years. Today's pursuit of eco-friendliness and wellness has prompted an inclination towards natural material clothes. Therefore, it is necessary for both countries to push scientific research into improving the storage methods and colorfastness of persimmon-dyed products for the increase of use consumption in other areas of persimmon and arrowroot dyed fabrics, and the development of environment friendly materials.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.581-587
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• 2023

During the global pandemic period, The world has created a new paradigm using digital technology, aligning one direction with the highest value of life and survival. Untact has changed from a convenience value to an essential value with quarantine and sanitation. And the industry process has shifted from face-to-face to non-face-to-face. The platform formed an community in a virtual space, and companies started a new service based on presence. For a sense of reality, information is expressed and stored from 2D centered on images to 3D multifaceted. Companies are marketing using 3D modeling, focusing on augmented reality, virtual world, and mirror world of Metaverses. The purpose of this study is to analyze the current status and examples of 3D modeling in the E-commerce environment of domestic and foreign jewelry brands in this era of change, and present ways to use 3D modeling in jewelry industries.