• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• Journal of computational fluids engineering
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• v.5 no.2
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• pp.47-54
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• 2000

A robust Navier-Stokes code has been developed to efficiently predict hypersonic flows in chemical nonequilibrium. The HLLE+ flux discretization scheme is used to improve accuracy and robustness of hypersonic flow analysis. An efficient LU approximate factorization method is also used to solve the flow equations and species continuity equations in fully coupled fashion to implicitly treat stiff source terms of chemical reactions. The HLLE+ scheme shows lower grid dependency for the wall heating rates than other schemes. The developed code has been used to compute chemical nonequilibrium air flow through expanding hypersonic nozzle and past two and three dimensional blunt-nosed bodies. The results are in good agreement with existing numerical and experimental results.

• Genomics & Informatics
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• v.6 no.1
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• pp.50-53
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• 2008

We have released five Java Application Programming Interface (API) packages for viewing three-dimensional structures of proteins from the Protein Data Bank. To this end, the user interface of an earlier version has been refactored in an object-oriented fashion, in which refactoring is the process of changing a software system to improve its internal structure, without altering the external behavior. Various GUI design and features have been provided conveniently thanks to the Model-View-Control (MVC) model, which is an architectural pattern used in software engineering. Availability: The source code and API specification can be downloaded from https://sourceforge.net/projects/j3dpsv/.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.3
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• pp.391-401
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• 1999

For proper communication among manufactures in various countries and for consumers' convenience in purchasing garments imported from foreign countries the ISO revised the size designation system in 1969. Since 1970's various countries have revised their standard sizing system by adapting the ISO system . The purpose of this study is (1) to satisfy domestic consumer's needs by developing a sizing system based on that of ISO for Korean women in their early twenties and (2) to contribute to entering the international fashion market by manufacturing high quality apparel products The results were as follows: (1) By measuring and analyzing of 464 female between the ages for 18 and 24 the data indicated that body height could be divided into following three groups. S(Short) : 152cm (19.2%) R(Regular) : 160cm (57.8%) L(Long) : 165cm(22.6%) (2) According to the results to analyzing body type of this study the medium hip(drop 6) is 47.4% the large hip(over drop 12) is 42.7% the 2 types covers 90.3% (3) Comparing Korean women's size with foreign women's size DOB size code is 17 JIS size code is 9AR, FNOR size codes are 36n. 38n. and Italian size cods are 40, 42

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1309-1321
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• 2008

Military style is not limited to a single period but represents various image communications related to items, synthetic images and different periodical culture backgrounds. The purpose of this study is to define the communicational function of the military style beginning from the 1st world war up to the modern days, and furthermore explain the characteristics and contents of military styles in different periods by studying the nowadays various symbols of the military style in denotative and connotative aspects. The research method is documentary studies through the literature and academic paper, and examined masters' and doctors' thesis, domestic and overseas books and fashion magazines, photographs and materials collected from the internet. As a result, first, the military style is a significant fashion code in understanding modern fashion by serving as a strong communication function representing people’s ritual through various image items called the 'military look'. Second, the meaning of the image communication through military look changed throughout the different periods. During the 1st and 2nd World war the military look supported Fascism by serving as a media representing extreme patriotism and at the same time social images like functionalism, women liberation, regulation and saving. During the cold war period it was used by young progressives like hippies and punks to send an opposing message towards war and commercialism. Since then up to the 80s it was a medium representing the ‘new role of women’, who possess same social rights and power as the men. However in the 90s the military style had to go through a paradigm transition period. Since this period it got affected by the post modernism and designers, consumers alike adopted military style to create unique beauty It can also be said that it began to be used as a pure fashion code representing intertextuality. It was rather expressed as a metonymy than a metaphor and combined with elegance and feminine factor, which contrasts to the original military concept, it now represents totally new hybrids such as difference, dissemination and varieties.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Smart Media Journal
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• v.10 no.1
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• pp.116-123
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• 2021

Due to the rapid growth of the online fashion market and the resulting expansion of online choices, there is a problem that the seller cannot directly respond to a large number of consumers individually, although consumers are increasingly demanding for more personalized recommendation services. Images are being tagged as a way to meet consumer's personalization needs, but when people tagging, tagging is very subjective for each person, and artificial intelligence tagging has very limited words and does not meet the needs of users. To solve this problem, we designed an algorithm that recognizes the shape, attribute, and emotional information of the product included in the image with AI, and codes this information to represent all the information that the image has with a combination of codes. Through this algorithm, it became possible by acquiring a variety of information possessed by the image in real time, such as the sensibility of the fashion image and the TPO information expressed by the fashion image, which was not possible until now. Based on this information, it is possible to go beyond the stage of analyzing the tastes of consumers and make hyper-personalized clothing recommendations that combine the tastes of consumers with information about trends and TPOs.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.148-159
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• 2006

The objective of this study is to consider the uniform as visual communication, and analyze the expression of symbol shown on the uniform design by the pattern by applying the visual symbol in the communication and operation of the meaning. Also, it is to construct the systematic modeling method of the expression of design symbol by the pattern of uniform in th e various fields. This study is to analyze the symbolic expression method of the uniform design by the pattern by suggesting the symbolic expression method as a frame through the visual symbolic approach of the uniform design and the analysis of semantic symbol according to that. As a result, there arose simplification and emphasis and a method of symbolic expression with the national flag, a conceptual factor characteristically in the sports uniform design. The characteristics of symbolic expression of uniform design were mainly used in the symbolic expression with the customary code and symbol. Also, the uniform in the enterprises were widely used in the expression of uniform with the suggestion and code by the color. As for the characteristics of symbolic expression shown on the event uniform design, the method of symbolic expression by the pattern of uniform was grasped differently asa result of symbolic expression through the image. The method of symbolic expression suggested on this study could be used on a basis of uniform design in the future. Accordingly, this study has a meaning of suggesting the methodology of uniform design that would be a parameter.

• Fashion & Textile Research Journal
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• v.24 no.1
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• pp.117-126
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• 2022

This study aims to analyze the sizing information of women's ready-to-wear pants as indicated on online retail websites and to suggest better sizing communication that can assist customers in making successful apparel size selections. We gathered size specifications and size reference information for basic straight pants from 34 online apparel retail websites. Although the Korean standard recommends labeling the body dimension-based sizing code and specification, most websites preferred to use various types of sizing codes. Body measurements were only used by a few websites, and garment dimension descriptions were the most common method to indicate product size. Many websites provided size reference information through customer review boards and fit model images, however, there was insufficient body size information to allow customers to infer the fit of their body type. When using the size guidance tools, the major data input points were stature and weight measurements. However, the waist measurements of pants sizes guided only by stature and weight values revealed inconsistent ease allowance for corresponding body size populations, especially in the overweight group. Based on our findings, we propose a more effective method of communicating the size information of pants online. We expect that this will contribute to the efficiency of online apparel product display and build a better shopping environment that satisfies both sellers and consumers.