• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• Archives of Plastic Surgery
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• v.39 no.6
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• pp.593-599
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• 2012

Background This study aimed to investigate the possibility of isolating mesenchymal stem cells (MSCs) from human thigh adipose tissue and the ability of human thigh adipose stem cells (HTASCs) to differentiate into hepatocytes. Methods The adipose-derived stem cells (ADSCs) were isolated from thigh adipose tissue. Growth factors, cytokines, and hormones were added to the collagen coated dishes to induce the undifferentiated HTASCs to differentiate into hepatocyte-like cells. To confirm the experimental results, the expression of hepatocyte-specific markers on undifferentiated and differentiated HTASCs was analyzed using reverse transcription polymerase chain reaction and immunocytochemical staining. Differentiation efficiency was evaluated using functional tests such as periodic acid schiff (PAS) staining and detection of the albumin secretion level using enzyme-linked immunosorbent assay (ELISA). Results The majority of the undifferentiated HTASCs were changed into a more polygonal shape showing tight interactions between the cells. The differentiated HTASCs up-regulated mRNA of hepatocyte markers. Immunocytochemical analysis showed that they were intensely stained with anti-albumin antibody compared with undifferentiated HTASCs. PAS staining showed that HTASCs submitted to the hepatocyte differentiation protocol were able to more specifically store glycogen than undifferentiated HTASCs, displaying a purple color in the cytoplasm of the differentiated HTASCs. ELISA analyses showed that differentiated HTASCs could secrete albumin, which is one of the hepatocyte markers. Conclusions MSCs were islolated from human thigh adipose tissue differentiate to heapatocytes. The source of ADSCs is not only abundant abdominal adipose tissue, but also thigh adipose tissue for cell therapy in liver regeneration and tissue regeneration.

• Korean Journal of Plant Tissue Culture
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• v.28 no.3
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• pp.165-171
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• 2001

New visible and fast assay system have been developed for tobacco transformant introduced with adenosine deaminase (ADA) marker gene, which converts cytotoxic adenosine analogues to non-toxic inosine analogues and ammonia. Ammonia was changed to blue color in the solution of phenol-nitoprusside and alkaline-hypochlorite. It was possible to detect activity of ADA visibly on the holes of 96 well plate using tiny explant of transgenic tobacco leaves within 1 hour incubation time. As substrates of ADA enzyme from transgenic plant on the plate, a number of adenosine analogues such as 9-D-arabinofuranosyl adenine, cordycepin, 2'-deoxyadenosine, adenosine and xylofuranosyl adenine were possible for detection of ADA activity. Optimal condition of substrate for ADA enzyme was each 10 mM and pH 7.5 in adenosine solution. Especially, transgenic plant did not convert adenosine to inosine and ammonia in the presence of ADA inhibitor deoxycoformycin, which means that ammonia produced from transgenic plant is due to expression of ADA gene. Now, we show that this detection system can be easily, sensitively, fast and cheaply as well as visibly assayed in vitro as GUS gene system with very small size of transformant explant.

• Food Science of Animal Resources
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• v.37 no.6
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• pp.926-930
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• 2017

High-quality meat is of great economic importance to the pig industry. The 1-acylglycerol-3-phosphate-O-acyltransferase 5 (AGPAT5) enzyme converts lysophosphatidic acid to phosphatidic acid in the mitochondrial membrane. In this study, we found that the porcine AGPAT5 gene was highly expressed in muscle tissue, influencing meat characteristics, and we also identified a non-synonymous single-nucleotide polymorphism (nsSNP) (rs196952262, c.673 A>G) in the gene, associated with a change of isoleucine 225 to valine. The presence of this nsSNP was significantly associated with meat color (lightness), lower cooking loss, and lower carcass temperatures 1, 4, and 12 h after slaughter (items T1, T4, and T12 on the recognized quality scale, respectively), and tended to increase backfat thickness and the water-holding capacity. These results suggest that nsSNP (c.673A>G) of the AGPAT5 gene is a potential genetic marker of high meat quality in pigs.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.617-625
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• 2013

Along with and <1Q84> Murakami Haruki sees through human nature that fades away with time in his latest work with 'color and memory'. This is the type of character or story to read with the deployment of instrument. Costume of characters conceived in the expansion of the body, the inner expression of personal notes. To others what you want to look, how they formed on the body, with a range of social, if you are claiming a statement. To form the body by forming self-practice is that there becomes. This paper the inside of the characters and the apparent strong interest in the set, costume characters, especially characters were recognized as representing the device of novel. Work directly in the results, or is described as a symbolic system of the body and clothing that embodies the meaning of the symbol you want to the structure of the exchange.

• Asian Pacific Journal of Cancer Prevention
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• v.14 no.9
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• pp.5421-5425
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• 2013

Background: To assess the antioxidant effects of gamma-oryzanol on human prostate cancer cells. Materials and Methods: Cytotoxic activity of gamma-oryzanol on human DU145 and PC3 prostate cancer cells was determined by proliferation assay using 3-(4, 5-dimethylthiazol, 2-yl)-2, 5-diphenyl tetrazolium bromide (MTT) reagent. mRNA levels of genes involved in the intracellular antioxidant system, superoxide dismutase (SOD), catalase (CAT), glutathione peroxidase (GPX) and glutathione reductase (GSR) were determined by reverse transcription-polymerase chain reaction (RT-PCR). Cancer cell lysates were used to measure lipid peroxidation using thiobarbituric acid reactive substance (TBARS). Glutathione contents of the cell lysates were estimated by the reaction between sulfhydryl group of 5, 5'-dithio (bis) nitrobenzoic acid (DTNB) to produce a yellow-color of 5-thio-2-nitrobenzoic acid using colorimetric assay. Catalase activity was also analysed by examining peroxidative function. Protein concentration was estimated by Bradford's assay. Results: All concentrations of gamma-oryzanol, 0.1-2.0mg/ml, significantly inhibited cell growth in a dose- and time-dependent fashion in both prostate cancer cell lines, DU145 and PC3. Gene expression of catalase in DU145 and PC3 exposed to gamma-orizanol at 0.5mg/ml for 14 days was down regulated, while mRNA of GPX was also down regulated in PC3. The MDA and glutathione levels including catalase activity in the cell lysates of DU145 and PC3 treated with gamma-oryzanol 0.1 and 0.5mg/ml were generally decreased. Conclusions: This study highlighted effects of gamma-oryzanol via the down-regulation of antioxidant genes, catalase and GPX, not cytotoxic roles. This might be interesting for adjuvant chemotherapy to make prostate cancer cells more sensitive to free radicals. It might be useful for the reduction of cytotoxic agents and cancer chemoprevention.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1019-1034
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• 2008

The purpose of this study is to grasp creation background and social position of courtesan which is treated in social and cultural context and its effect on fashion and research representative courtesans from ancient hetaera to the 19th century and their costume characteristics. Its another purpose is to analyze the costume of Violetta, who is a heroine of opera and its costume characteristic as a courtesan. Most Courtesan clothing were made from bright color, silk and lace which were light, or transparent materials. Using silk and cashmere which were the symbols of class, she took the cutting edge fashion and struggled to break the social barriers. The clothing which the Courtesan wore always became a gossip among people and popular to the designers who could show their creativities because the Courtesan boldly wore the cloth like movie actresses or stars. The Courtesan who led the fashion not only showed the fashion as a simple expression of the beauty but also as a socio-cultural phenomenon which reflected their social awareness with arts, and changed according to the situations of the time and people. Violetta's party dress which was shown in the first and third acts of showed the shoulders and chest because of the deep and wide cut decollete, the waist was tightened with a corset as much as possible, and the opulent hips were inflated by the crinoline so when they walked it was swaying. Also it was decorated with splendid materials such as silk and lace, and sparkling jewels, fans, and neckless and even in case of the general clothing in the second act, it was decorated with braids and lace, frills and ribbons. In the third act, the weakness of the sick woman who was closing her life as the splendid Courtesan was emphasized by using colors of white and light purple and thin transparent materials.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• Journal of Fashion Business
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• v.24 no.2
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• pp.1-16
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• 2020

Hijab as a symbol of women's oppression due to the opening and reform of Islamic State group, is becoming more diverse as younger generation begins to dress more freely than ever before, spreading the perception that it is a fashion item. In response, this research conducted a theoretical review about the history of hijab, various forms of hijab, and characteristics of hijab using relevant literature, media reports, and fashion media articles. As an empirical study, image-oriented photo data shared by Tehran Street Fashion from 2015 to November 2019 were analyzed separately by fashion majors into color, pattern, and hijab-making forms. According to the analysis, six different fashion images were categorized as romantic feminine, modern chic, natural elegant, classic formal, sporty casual and gorgeous ethnic. For Muslim women in the past, hijab was worn as a repressive and closed sense by the religious system. However, in modern times, it is a way to express one's style and ideas as a fashion item. It is also and a means to express one's thoughts and beliefs. Through aesthetic consideration of Hijab as a fashion item, it was found that it was a medium for freedom of expression and a medium for beauty and individuality.