• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.59-71
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• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.179-189
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• 2014

Peplums have a great advantage in easy styling for wearers to acquire desired physical and reminiscent images depending on the type and where it is placed on the waist line. However, the study of peplum blouses has not yet recognized. This study suggests a baseline data for visual appraisals as a determined key factor is changes. The result of this study as follows: First, peplums published between 2012 through 2014 collections are used for decorative effects on tops or bottoms as the finest decoration details of fashioning women's physical attractiveness. Its application has been extended to various fashion themes such as belts and overskirt that are made of peplum itself. Second, peplums published between 2012 through 2014 collections have close correlation of how the position, shape, and length of peplums are attached on bottoms. Peplum effects are categorized as extension of tops, expansion of bottoms, connections of tops and bottoms, and separation of tops and bottoms. Third, total of seventy nine peplum blouses that are found in the domestic online shopping mall are analyzed. The total length of peplum blouses are generally produced to 56 to 61cm, which is little shorter than or approximately equal to the hip line of women aged in between twenty to twenty four. In addition, the most popular peplum design is made of flare and cutting lines on the waist line and is 45.56% of samples. The most common location of peplums is identified as 3 to 6 cm above the natural waist line or the natural waist line and is 78.47% of samples. Fourth, the key factor of peplum blouse that can significantly influence the visual image is the total length of blouse, position of peplum, and peplum shape.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.253-260
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• 2010

The drop handle in the Chosun-Dynasty played a role lifting up the cabinet and box which was attached to and besides this had the decoration function. The scope of this study should include the drop handles from the $18^{th}$ century up to now by investigating and analyzing their definition & function and furthermore the types of their designs. The object of the study was the drop handle having 2 golden fixing parts which are definitive difference from ring or loop, and the design typology of drop handle was concentrated on the handle part, and it can be classified in two types. The one is the figuration of bow, bat, bamboo, fish and bird and so on from the motive of nature on the handle part, and the other one is the drop handle of the simple ㄷ-shape, the temple-symbol shape or geometrical forms. According to the analysis of relics & literature from the past it was found that there were more quantitative nature-motive figurations than the geometrical forms. The nature-motive figurations were again classified in box-, bat-, cloud- bamboo-, fish- and bird-type, and the geometrical forms in ㄷ-shape, the temple-symbol shape and others. The cases applied to furniture are roughly divided into the front-attached type and the side-attached type. In comparison of the drop handle in the Chosun-Dynasty with that of modern times, ㄷ-shape and bow-type keep the long tradition of the drop handles despite of the constructive change partly. Ring-type is similar to the just ring or loop of the part and drop handle with one golden fixing part, while the knob-type shows almost same forms in the past as well as in the modern times. Which type among handles in the modern times has little connection with the past is the reclaimed type, and it was showed in the Chosun-Dynasty and also is showed up to now identically that the man-made hole on the front side of the drawer for the function as handle.

• Journal of Fashion Business
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• v.1 no.3
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• pp.19-34
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• 1997

The role of fashion image in modern society is being diversified from product planning to consumer satisfaction. In this research, after surveying female college students, the diversified modern fashion image was patterned. On the analogy of the relationship between these patterned image and design factors, the following conclusion was obtained. 1. The most popular styles are jacket and pants suits, three-piece outfits, tight mini-skirts and X-silhouette. Little decoration is used in general. simplicity is shown as trend by utility fabrics in single color-black, brown, beige and blue-with no pattern. Various materials such as wool, cotton, wool or cotton blended with other materials, silk, satin, knit, lace, vinyl and leather are used. 2. Fashion image is divided into four factors; factors that show fad, dignity, activity and simplicity. 3. Factors that show fad; style of tops, material of bottoms and length of bottoms reflect fad. blousons, three-piece outfits, pants rather than skirts, X-silhouette and mini-skirts are prevailing. Vinyl, leather, knit, lace and satin are the materials well used. 4. Factors that show dignity; Style and material of tops, the way of top and bottom pieces are matched and length of bottom or pieces reveal the characteristics. Jackets, blouses, half-coats and one-piece outfits rather than two-pieces are popular. Tight skirts in natural or midi length or pleated skirts are common. Wool, wool blended with other materials, leather and X-silhouette are design factors that reveal dignity well. 5. Design factors that show active image; Straight pants, three-piece outfits, T-shirts, shirt -blouses, vests, and blausons are popular. Knit and lace are used for tops, leather and vinyl are used for bottom pieces and cotton is widely used. Y- or H-silhouette are used to show active image.

• Journal of Fashion Business
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• v.6 no.1
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• pp.155-166
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• 2002

As the whole world is rapidly becoming hollow connected by networks, the fashion world in the 21st century is about to mould the identity of one's own country by establishing image of one’s own country and originality. Therefore the purpose of this study is in the development of designs in order to making the image of Korean dress and ornaments firmly in the global fashion by grafting and applying the elements of Korean dress and ornaments to the modern fashion. The method of this study consists of production of works after investigation of the images of Korean dress and ornaments applied to the modern fashion or detail elements in the Korean research papers and works. The elements of images of Korean dress and ornaments which used for the production of works like Dongjeong, Baerae, Dangeu doryeon, Chima heori, Goreum, Jeogori, Euryeyong chima, Saegdong, Jogakbo, Jatmullim, Geumbakseuran are made of use as motives, and one or several mixed elements are designed in a work. The result of the production of work is as follows : First, the design which made use of the element of Chima jegori make strong image of Korean dress. And by grafting several elements to one work, the more strong Korean image was created. Second, in the design which made use of ornaments and detailed decoration method, ideas are offered for detailed design skills. The materials which was investigated academically along with the study through the actual manufacturing are expected to become a foundation stone of making firm images of Korean dress and ornaments.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.91-103
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• 2007

The purpose of this study is to investigate the types and functions of brand labels on clothing. We surveyed the materials and manufacturing methods for brand labels by visiting the label stores and label manufacturers. 200 pieces of children's wear were surveyed. The label attributes that were studied were: the number of labels, the location of the labels, the attachment system for the labels, the color of the labels, the materials used to make the labels, manufacturing methods, and the size of the labels. From this investigation a brand label was classified into a main label and a point label. The main results were: 1. Materials such as fabrics, nonwovens, leather, suede, rubber, PVC, silicone, and metals are used for brand labels. The manufacturing methods for brand labels are weaving, printing, high frequency, heating, and molding. 2. More than 54% of clothes have more than two brand labels attached. This percentage exceeds the attaching of only one brand label in rate. An inside brand label is located at a certain place. This inside label uses only fabric material reflecting inherent brand color and design. The outside brand label is located at several places with consideration of the clothes design. This label uses various materials, colors, and characters matching with the clothes. As for the size, an inside label is mainly medium in size, whereas an outside label is small. 3. A brand label is classified into a main label (first label) and a point label (second label), which are defined as follows. A main label indicates the brand name and is located inside at a certain place using an inherent brand design and a fabric material. A point label is an additional label to express brand image and is located outside at various places for decoration using various characters and design and materials.

• Journal of architectural history
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• v.18 no.5
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• pp.41-58
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• 2009

The purpose of this study is to investigate the symbolic meaning of pattern designs attached on the main building of Chungcheongnam-do Provincial Government (CPG). While most of researches mainly focused on the value and evaulation of the CPG building in terms of architectural history, relatively little insight has been gained on the symbolic meaning and mature of the pattern designs. What king of connections are related between the emblem of Governor-General of Chosun(Korea) and those of CPG? What symbolic meanings are engraved on the pattern designs? The researcher then took up the task of elucidating symbolic meanings of patterns and their relation to the building. The existing pattern of the outer wall of the CPG building consists of the symbol of sun(太陽輪), mums(菊花輪), and angle of stairs(雁大角). According to the Japanese Studies of emblems, these visual elements symbolize 'the sun of Japan'((日の丸) or 'the emperor', 'the royal family', and 'rays of the sun'. Based on these preliminary findings, the researcher considered the following in-depth connections: (1) relations with the emblem of Governor-General of Chosun, (2) relations with the emblems of local autonomous entity, Kyoungsung in Chosun. (3) relations with the emblem designs of the local provinces in Japan etc. In conclusion, patterns of the main building were not just an architectural decoration, but they had significant meanings utilizing design elements and methods adopted by local autonomous entities in Japan, The patterns found at the ceilling and floor of hall in the CPG building were associated with the emblem of Governor-General of Chosun. Therefore, all the patterns of the CPG building are powerful symbols that have meanings for the colonial rule by using the shape and method of city identities that Japanese local provinces had enacted. That is, it came out into the open that they were designed for special meanings that Korean and Japanese are united as a single body(內鮮一體) for a subject of the Emperor of Japan(皇國臣民).

• Journal of Digital Convergence
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• v.15 no.12
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• pp.495-502
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• 2017

Modern ceramics is exploring the expansion of the area with various expression techniques. The silhouette technique among various expressive decoration techniques is a representative expression technique of object form expression. This emphasizes the outline of the form and expresses it and omits the inner form. It gives simplicity and intensity, and awakens aesthetic sensibility and imagination. Therefore, the researcher designed the material related to the core image of the story by designing it as a silhouette technique by using the "Acorn Story" as a subject and then making the transfer paper by using the vector graphic. The transferred paper was expressed on a ceramic plate by transferring technique. Therefore, I hope that this research, beyond the merely decorative function of ceramic expression, will become a ceramic design that will awaken imagination and aesthetic sensibility in digital information age.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.2
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• pp.55-67
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• 2004

This study aims to analyze the actual state, the satisfaction index, and the satisfaction factor of the residents in the apartment adopting thematic outdoor rest space design. This study also proposes the basic data for the standard of resident-centered rest space design, not designer-centered or fashion-followed design. The results are as follows : First, most residents use near by rest space, and more use occur during the evenings; 17 hr. ∼ 21 hr. Most of residents use the rest space with their children, partner, or family. Residents usually take walks and take a rests in the rest space. Most residents use the rest space quietly. Of the rest facilities in the outdoor rest space, benches are most used, walks and pergolas are more frequently used. But waterscape facilities are not particularly used. The satisfaction index of the outdoor rest space is generally low. However, the satisfaction index of the rest space and facilities type shows that the evaluation of rest facilities(e.g. benches) is high. The satisfaction index of the decoration shows that the evaluation for the color and design of facilities is high. In the satisfaction index of the physical environment, the item about the size of rest space is highly appreciated. In the mental satisfaction index of the rest space, the item about whole atmosphere is highly appreciated. Of the factors affecting the general satisfaction index with outdoor rest space, the factor of physical environment is the most important independent-variable. Physical environment and facilities are more important influential factors than the atmosphere of outdoor rest space. In the future, the practical study searching for the preferences of the residents and the activation of use should be preceded.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.384-397
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• 2019

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children's collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children's clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children's collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in $appliqu\acute{e}s$ and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children's clothing collections. Fifth, playfulness functioned to enhance the children's clothing's wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing's value by fusing with other characteristics such as handcraftedness and naturalness.