• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.3 s.151
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• pp.470-480
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• 2006

Consumer may perceive needs of certain product information online rather than the number of pieces of information available for decision making. In addition, consumers may seek information that is more relevant to apparel category. Moreover, involved consumers intensify information seeking and seek certain information. The purpose of this study is to identify the perceived importance weight of each information cue when shopping apparel via the Internet, to investigate the differences of the perceived importance weight of product information cues in product category, and to examine the relationship between apparel involvement and the perceived importance weight of product information cues. This study employed a single-factor within-subjects design experiment that simulated online purchase situation for two product types, Jeans and a Shirt. A total of 125 college students participated in this study. Results indicated that selected information such size available, price, style, color description, item measurement, stock available, and item quality (in sequence) can be considered as global cues to judge product quality and influence purchase decision regardless of product category. The significant multivariate effects for product category on the perceived importance weight of product information cues were found. Personalization, fiber content, and fabric structure were product specific information cues. Consumers' product involvement significantly influenced the perception of information weight. Therefore, product information can be personalized based on consumer involvement

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.4
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• pp.177-186
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• 2015

Until Mandelbrot introduced the concept of fractal geometry and fractal dimension in early 1970s, it has been generally considered that the geometry of nature should be too complex and irregular to describe analytically or mathematically. Here fractal dimension indicates a non-integer number such as 0.5, 1.5, or 2.5 instead of only integers used in the traditional Euclidean geometry, i.e., 0 for point, 1 for line, 2 for area, and 3 for volume. Since his pioneering work on fractal geometry, the geometry of nature has been found fractal. Mandelbrot introduced the concept of fractal geometry. For example, fractal geometry has been found in mountains, coastlines, clouds, lightning, earthquakes, turbulence, trees and plants. Even human organs are found to be fractal. This suggests that the fractal geometry should be the law for Nature rather than the exception. Fractal geometry has a hierarchical structure consisting of the elements having the same shape, but the different sizes from the largest to the smallest. Thus, fractal geometry can be characterized by the similarity and hierarchical structure. A process requires driving energy to proceed. Otherwise, the process would stop. A hierarchical structure is considered ideal to generate such driving force. This explains why natural process or phenomena such as lightning, thunderstorm, earth quakes, and turbulence has fractal geometry. It would not be surprising to find that even the human organs such as the brain, the lung, and the circulatory system have fractal geometry. Until now, a normal frequency distribution (or Gaussian frequency distribution) has been commonly used to describe frequencies of an object. However, a log-normal frequency distribution has been most frequently found in natural phenomena and chemical processes such as corrosion and coagulation. It can be mathematically shown that if an object has a log-normal frequency distribution, it has fractal geometry. In other words, these two go hand in hand. Lastly, applying fractal principles is discussed, focusing on pulp and paper industry. The principles should be applicable to characterizing surface roughness, particle size distributions, and formation. They should be also applicable to wet-end chemistry for ideal mixing, felt and fabric design for papermaking process, dewatering, drying, creping, and post-converting such as laminating, embossing, and printing.

• Journal of Science of Art and Design
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• v.6
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• pp.81-99
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• 2004

For making something to use as a tool since the emergence of mankind, the initial pragmatic purpose has transformed into a new genre of art over time. Things defined like this have rooted in our culture as tradition so far. In the midst of today's various trends, a reflection of tradition and a modern search for tradition by re-creating it are much more needed. To any people in any time, a new trend would undeniably develop on the basis of its previous tradition in any form. The colors appearing in such artwork are also an expression of each people's unconscious potentiality as essential grounds for human aesthetic. The traditional Korean Bojaki, which was made out of women's pragmatic mind trying to recycle trashy pieces of cloth in the 19th century of Chosun Dynasty, appears as a symbolization of our nation's original form in unconsciousness. It includes Confucianism, Buddhism, Zen and the Yin-Yang and Five Elements thought, which have been together with naturalism. The five colors appearing in the Yin-Yang and Five Elements are the basis. Fourteen selected samples around the five colors seen in the color scheme of the Chosun era's Bojaki were measured and their color values were found by analyzing them based on HCV(Hue, Chroma, Value)of the five primary colors as well as the five secondary colors. After choosing a few colors with bare eyes close to traditional Primary Colors and Secondary Colors amongst 14 pieces of data which particularly used traditional Five Colors and examining them using spectrophotometer(JX777), the following conclusions were drawn. Comparing only colors in Primary Colors, the result was red 7.11R 4.59/10.69, blue 6.71PB 3.18/6.45, yellow 3.91Y 7.56/6.12, respectively. With regard to Secondary Colors, it was reported that red 7.96RP 5.42/10.3, blue 7.8B 5.16/5.53, green 8.03GY 6.05/4.34, yellow 2.73Y 7.47/4.07, purple 2.39RP 4.69/4.56, respectively. (diagram) As a result, the standard of Five Colors can be used in modern fiber color. There are differences in dyeing material, methods and kinds of fiber of that time, but women of Chosun Dynasty combined and made fabric which was circulated. Consequently, an applicable attribute of the aye-color values was considered.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.1
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• pp.133-143
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• 2002

The textile industry is petting increased effort to manufacture the value-added products that gives the differentiated characters at every level of fiber and fabric production. The color is an important element to be used strategically in order to push up the value-added design. The colors of apparel products have a close relationship with the skin colors of consumers and their preference colors. This study was carried out to cluster the skin colors of the Korean women into several similar skin colors and to analyze their preference colors by the classified groups. We measured the skin colors of 354 Korean women. With color spectrometer, JX-777, we measured 4 points of the body; cheek with removing cosmetics off, forehead, rear neck and arm on the interior part near elbow. All subjects had been shown with 40 color chips and answered the preference colors and preference colors of apparel. Data were analysed to classify skin colors using K-means Cluster Analysis and Duncan test, Frequency and Chi square test on the preference colors about the clustered 3 groups. In doing so, we used in SPSS Win 10 statistical package. Findings were as fellows: 1) The skin colors of the Korean women were clustered into YR, R, and Y skin colors. The majority of the subjects, 324 observations had YR skin colors and the subjects were classified into 3 kinds of skin color groups who had YR skin colors. 2) The average skin colors of total 324 subjects was 5.23YR 6.49/4.09 in Munsell Color System(MCS), 66.56 in L value, 10.53 in a value, and 20.67 in b value. 3) The average skin color of Type 1 was 7.98YR 6.24/4.14 in MCS, 64.10 in L value, 15.05 in a value, and 24.0 in b value. For Type 2 was 7.30 YR 6.56/3.28 in MCS, 67.24 in L value, 6.89 in a value, and 18.4 in b value, and Type 3 was 7.01 YR 7.20/4.38 in MCS, 73.53 in L value, L 16.04 in a value, and 24.87 in b value. 4) The average face color of total 324 subjects was 7.31YR 6.65/3.56 in MCS, 68.13 in L value, 9.53 in a value, and 20.18 in b value. 5) The average face color of Type 1 was 4.19 YR 6.92/5.05 in MCS, 70.78 in L value, 13.2 in a value, and 25.32 in b value. For Type 2 was 5.24YR 6.33/3.79 in MCS, 64.94 in L value, 9.84 in a value, and 19.08 in b value. Type 3 was 5.4YR 6.85/4.68 in MCS, 70.1 in L value, 11.73 in a value, and 23.92 in b value. 6) The difference of mean values between the clustered 3 skin color groups showed significantly different except the a value of neck and H value of cheeks and H value of foreheads. 7) All 3 groups showed that the most preference colors and the most preference colors of apparel was 5R 4/14. and their preference colors were much more than the preference colors of apparel.

• Journal of the Korean Home Economics Association
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• v.44 no.10
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• pp.47-55
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• 2006

The purpose of this study was to analyze and compare the color characteristics of preferred clothing textiles of college students. One hundred nine male and female college students were evaluated for their preference to clothing textiles in previous research. To analyze the color characteristics, spectral data were measured. Color, color tone, and values of $L^*,\;a^*,\;b^*$ according to clothing item were compared. In addition, chromaticity diagram was drawn. The results of this study were as following. 1. The color of the shirts textile that college student preferred most in spring/fall was PB(purple blue) color, lt(light) tone. In general, the preferred textiles for shirts represented a simple color that is close to achromatic color with light and soft shade. The color of the blouse textiles that college student preferred most was PB color, d(dull), g(grayish) and W(white) tone. 2. The most frequently shown color of upper garment was PB, followed by Y(yellow) for shirt and R(red) for blouses. College students prefer a simple color which is close to achromatic color, and a light and soft color was preferred for shirts fabric and they preferred various, medium shades, but closer to pure colors for blouses because college students tend to consider that the aesthetic side is important and usually wear blouses less often than shirts. 3. For slacks, the colors of the preferred textiles were B(blue), PB color and lt.g.(light grayish), g, d and bk(black) tone. Therefore, the preferred textiles for slacks represented simple colors such as bluish or close to achromatic color with light or dark shade. For skirt, YR(yellow red), PB color and lt.g, lt, d. tone were preferred. Therefore, soft light or moderately toned various colors that are close to pure color were especially preferred for skirts. 4. The colors of preferred fabrics for slacks and skirts differed. The colors of the preferred fabrics for slacks were mostly cold color, whereas those of skirts were mostly warm color. And college students preferred various, medium shaded and closer to pure colors for skirts because they tend to consider the aesthetic side as being important. 5. The pattern of preferred fabrics was mostly solid, regardless of clothing item, and melange was the second most preferred pattern. 6. Through the analysis of $L^*,\;a^*,\;b^*$ values, shirt and blouse textiles showed higher $L^*$ value than that of slacks and skirt. The preferred textiles of college students were generally close to achromatic color because the values of $a^*$, and $b^*$ were very low, as confirmed by the result of the chromaticity diagram.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• Journal of Fashion Business
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• v.10 no.4
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• pp.1-15
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• 2006

The purpose of this study was to analyze the image perception of dress shirts according to perceiver's residency and shirts style, and to investigate the shirts preference according to style of dress shirts, and to find out the men's aesthetics consciousness for shirts, and to analyze between the image perception and the usage of mass-media, for developing the possibility & strategy of the dress shirts market in men's wear market for the apparel marketers and manufactures. For this study, the data obtained from 321 respondents were analyzed by descriptive statistics, Pearson's simple correlation, ANOVA. The results from the study were as follow ; The 6 stimuli for image perception rated on 5 point Likert-type scales in the 12 features were evaluated by perceivers. By the best 3 features abstracted, shirts style concepts were decided such as, Basic style by the best 3 features of the first stimulus, and Soft style by the best 3 features of the second stimulus, and Sophisticate style by the best 3 features of the third stimulus, and Modern casual style by the best 3 features of the fourth stimulus, and Modern mannish style by the best 3 features of the fifth stimulus, and Trendy style by the best 3 features of the sixth stimulus. The modern casual style was estimated highly by respondents in Daejon. The respondents in Seoul prfered the basic style to other style. There were significant differences in evaluating between preferences of shirts style and pattern. Of the 82 respondents(26.8%) with the preference of bold london stripe, the 52 respondents estimated Modern casual style in bold london stripe. The fashion consciousness of the respondents in Seoul was estimated higher than in Daejon. But, the respondents in Daejon in the consciousness for the coordination knit cardigan and V zone was estimated higher than in Seoul. Also, the 31 respondents with the preference of Sophisticate style were the highest in fashion consciousness. The respondents estimated that the first important thing in buying dress shirts is 'Design(41.4%). and next is quality(17.8%). Results revealed that Daks ranked best brand (13.7%), and Renoma ranked best two brand (6,5%). And, the 35.5% respondents estimated that the first important information which influenced on buying dress shirts was the store display, next was internet(15.9%). Finally, I propose that the best strategy for men with low fashion consciousness is to upgrade salesmen' coordination technic and fabric knowledge, and store management with story attracting customers.

• Journal of Fashion Business
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• v.10 no.4
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• pp.16-28
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• 2006

The purpose of this study is to investigate the content and changes of modern Korean men's wear advertisement from the 1960s to the 1990s by reviewing fashion magazines and pictorials. Research problems were as follows.; First, analyze the types and their units of measurement in men's fashion advertisements from 1962 to 1998. Second, examine the differences of quantitative change in men's fashion advertisements according to each period. The total 857 advertisements were selected from Shin Dong-A, Joongang Magazine, and Bokjangwolbo from 1972 to 1998. For analyze the result, frequency analysis and $x^2$-test were used. Results were as follows. First, through the review of literatures and pre-tests, 6 units of measurement were identified. They were product type(formal wear, casual wear, sports wear, dress shirts, accessory, inner wear, fabric and the others), brand type(national brand, licensed brand, imported brand, others), appeal type(image, product, others), representation type(photograph, illustration, others), medium type(man, product, others), and color type of advertisement(black & white picture, color picture). Second, for the types of advertisements, formal wear, national brand, image appeal, figure medium, photograph for presentation and color picture are the most frequently shown in men's fashion advertisements from 1962 to 1998. Third, for product, more accessory advertisements were found than the clothing in the 60s and the 70s, and casual wear advertisements in the 80s and formal wear advertisements in the 90s were dominated. National brand type was dominant through all four period. Product appeal type in the 60s and the 70s and image appeal type in the 80s and the 90s were prevailed. For medium, product type in the 60s and the 70s and figure type in the 80s and the 90s were dominated. Black & white picture in the 60s and the 70s and color picture in the 80s and the 90s were prevailed. Lastly, photograph was the most frequently used for presentation type through all periods.