• Acta Via Serica
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• v.7 no.2
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• pp.39-64
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• 2022

Ancient Iranians highly esteemed the horse and horse tacks, one of which is the jul (saddlecloth). It is a felt, sheepskin, or woven pad placed between the horse's back and saddle. The aim of this paper is to identify and categorize jul designs in the Sāsānian period. The research questions are about the variety of jul designs and how to categorize them. This is fundamental research and the method is descriptive and analytical. Neither a jul nor a saddle-cover remains from the Sāsānian period, therefore the statistical population includes all available items, such as metal and stone items and parget and plasterworks, in which juls are recognizable. Due to the scarcity of such items, all the available samples were studied; so the sampling method is a total enumeration. This is documentary research by means of note-taking and using reliable websites; the data has been analyzed qualitatively. The results show that jul designs were not diverse in the Sāsānian period. All-over designs were dominant. In terms of pattern types, these designs are classified into five groups, each of which has its own formal and aesthetic characteristics: all-over design with a four-petal flower pattern, allover design with a checkered pattern, all-over design with a spotted pattern, allover design with a tiger stripe pattern, and all-over design with a zigzag pattern.

• Archives of design research
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• v.19 no.1 s.63
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• pp.59-68
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• 2006

Scarf has played an important role not only as keeping warm of human body but also as accessory of clothes. These days with taking a growing interest of accessory, scarf had thrown off a subsidiary part and gradually had a leading place which guides the overall mode of fashion. Because scarf design of Korea does not get out of imitation step of foreign countries brands it is necessary to develop the scarf design which can show the cultural identity and originality of Korea in international society. Therefore in this study, I chose lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth as the subject material of scarves design development, and my intention for this study is to develop scarves designs of Korean images by adding modern scenes. For that, first I researched lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth. Among those materials, I selected to had been presented modern image. And by using computer design program of adobe illustrator 10.0 I designed the basic patterns of three types and developed the square scarves design and rectangle scarves design with those.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.

• Journal of the Korean Home Economics Association
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• v.37 no.12 s.142
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• pp.1-11
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• 1999

The purpose of this study is to investigate the color preference of women living in Seoul, to provide materials which is useful for setting up the color plan for a better costume, and to suggest new information in the apparel study. This study is done on the basis of color preference only by age and the range of this study restricted on womens' clothes. The subjects of this research are 1,100 young adult women and 1,244 elderly women photographed in the street. The data are analyzed by frequency and percentage. The results of this study are as follows ; The preference of chromatic color and achromatic color, tint and tone, pattern of textiles are different mainly by age. 1. Elderly women prefer achromatic colors to chromatic colors. The most preferred achromatic color is black, especially elderly women prefer black. 2. Analysis of tint shows that blue, red and yellow red are commonly preferred by women. Especially blue is preferred by young women : red and yellow red are preferred by elderly women. 3. Analysis of tone shows that vivid, pale, dark tones are commonly preferred by women. Especially vivid tone is preferred by elderly women, while pale tone is preferred by young women 4. Analysis of pattern of textiles shows at, pattern textiles are preferred by elderly women rather than by young women. The most preferred pattern for elderly women is a flower pattern, and for young women a stripe pattern.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 1997.10a
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• pp.295-298
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• 1997

Recycl ing of PP/EPR based bumper coated with polyester urethane paint has been per formed by chemical decoating method. Electronic Speckle Pattern Interferometry (ESP11 has been applied to characterize the deformation of polyolef in based bumper. In additon, physical properties and processability of recycled materials have been investigated by dynamic mechanical thermal analysis, impact test and melt flower index measurement. The results show that the deformation ratio of recycled material is higher than that of virgin one. The morphological change of EPR, degree of distribution and dispersion during the recycling process seem to be the most important factor for the deformation and the mechanical properties of recycled materials. The experimental results obtained show that ESPI is very powerful technique to study the thermal mechanical property of polyolefin bumper system.

• Journal of Animal Science and Technology
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• v.54 no.5
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• pp.363-368
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• 2012

This study was conducted to investigate the effects of dietary garlic and may flower powder on $CO_2$ and $CH_4$ emission by Hanwoo cows fed TMR (Total Mixed Ration) based diet. Animals were housed in a hood-type respiration chamber and the environmental temperature was maintained at $20^{\circ}C$. Gases were measured for 24 hours using the multi-detector instrument gas monitoring system (Mamos-300, Australia). The treatments composed of groups with no intake of garlic and may flower powder (Control), with intake of garlic at 0.5% of DM (T1), with intake of garlic at 1% of DM (T2), with intake of may flower at 0.5% of DM (T3), with intake of may flower at 1% of DM (T4), with intake of garlic and may flower at 0.5% of DM (T5) and with intake of garlic and may flower at 1% of DM (T6). The results indicated that $CO_2$ emission in T3 was 53% lower than that of control (p<0.05), and $CH_4$ emissions was 57% lower than control (p<0.05). Also, the hourly pattern of $CO_2$ and $CH_4$ emissions in T3 showed the least difference with all treatments. Gas emissions pattern peaked after 1 hour of feeding and this gap was wider in the afternoon than in the morning hours.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.3
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• pp.37-48
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• 2003

'Pattern' is of very unique nature in each and every country around the world, and its aesthetic feeling of 'pattern' has been handed down according to its nationality and cultural development process. That is, 'pattern' is ornament to symbolize each country's aesthetic standard or choice through some shape, reflecting social consciousness or religion philosophy. Mostly based upon literature survey and case study, this survey paper analytically compares oriental botanical pattern with occidental botanical figure, which has been influenced by Buddhism-Confucianism and Christian religion respectively. The results show that some patterns are commonly used in both area, while meaning differently in some cases: lotus (life), pomegranate (wealth and prosperity in orient, resurrection in occident), grape (fecundity in orient, wealth in occident), dangcho (fecundity in orient, victory in occident). And the other patterns look uniquely used either just in orient or only in occident. For instance, oriental area had its own patterns such as peony (meaning wealth and honour), peach (longevity), ume flower (happiness), orchid (fecundity); while occidental area used lily (purity), olive (peace), palm (victory), and so on. Interestingly, the botanical patterns were used as main patterns in orient whereas as minor in occident.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.