• Journal of Fashion Business
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• v.1 no.1
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• The Korean Journal of Food And Nutrition
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• v.20 no.2
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• pp.103-107
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• 2007

Elsholtzia spp., a herbaceous perennial plant grown worldwide, have been used as a folklore medicine. Due to the presence of flavonoid in their extracts, Elsholtzia spp. have various functional properties. The objective of this research was to compare the amount of flavonoids in Elsholtzia spp. extracts in order to improve the potential of by using their functional properties. Elsholtzia spp. were collected in various areas of Korea. These were divided into leaf, flower, stem, and root. Each sample was dried using various drying method and ground to a powder. The powdered sample prepared was extracted with 80% ethanol. Extracts were analysed for the content of total flavonoids and apigenin by HPLC. Higher content of flavonoids was observed in the extracts of leaves and flowers. In previous study, apigenin among flavonoids was detected from Elsholtzia spp. so, apigenin content was analysed by HPLC. According to the results, the extracts of leaf and flower had the higher apigenin content than other samples.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• Journal of Fashion Business
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• v.4 no.3
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• pp.79-90
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• 2000

On the beginning of 21C, in which it is a facing problem that the expansive image of future in fashion should be proposed from the comprehensive analysis for the fashion trend. Therefore, in this study, the trends of capricious fashion are distinctly quantified by investigating the cue of fashion in each styles. Also, the systematic evaluation is carried out of analyzing photographs to which the four important fashion styles. In particular, this study takes the practical and numerical results through quantitative analysis by statistical treatment as well as through qualitative analysis that has been formerly used in the other studies. The purposes of this study are to examine fashion trends expressed in important styles in the 1990s, and to formulate productive fashion of the future. In the qualitative analysis, the four important fashions of neo-mods/jazz, neo-hippie/grunge, sportive-casual and techos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s A/W. It takes frequency, percentage, $x^2$-test and etc, by using the comprehensive tools for statistical treatment. There were significant differences between the A/W fashion. According to the cues, there are also significant differences between the fashion in the 1990s. The results of this study are summarized as follows: (1) In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. (2) 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special make-up. (3) 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. (4) 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.70-82
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• 2006

The purpose of this study was to analyze the trends and features of male fashion and hair style image and thereby, determine the relationship between fashion and hair styles, and thus, provide for some basic data for future studies about male hair styles as well as for new male hair style trends. For this purpose, relevant literature was extensively reviewed including some visual materials. The major references for this study were domestic and foreign books, journals and preceding studies about fashion and hair. The visual materials referred to for this study were domestic magazines specialized in fashion and hair, visual data supplied by hair product brands, Korea Beauty Parlor Journal, Beauty and Cosmetic Newspaper, Beauty Today, and such fashion special websites as $S{\cdot}F{\cdot}I,\;C{\cdot}F{\cdot}T$, firstview.com, fashionwide.com, etc. Based on the results from a questionnaire survey of master or Ph degree holders of apparel science, reputed designer were sampled and then, 80 works were finally sampled from their collections published between January, 2002 and April, 2005. As a result of analyzing the images shown in modern male apparel and hair style fashions by classifying them into natural, restored, folklore and eclectic ones, it was confirmed that both male apparels and hair styles have been reinterpreted in modern terms depending on social and cultural settings to be expressed as new styles, and in particular, that male hair styles have evolved diversely into new styles depending on fashion tendencies, while having been versatile in some relationships with their fashion tendencies.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.18-29
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• 2014

Modern male has displayed an increased desire to express their social influence and image, and the male fashion market has had to provide various styles and images to fill these needs. The current domestic menswear market, however, is unable to satisfy the needs of male consumers who have a need for diversity in a rapidly changing society; more segmented fashion images and styles are needed. The purposes of this study are to classify fashion images and to establish character of the types. This study was done by performing a literature review and a survey. This study proposed 10 categories of fashion style images. Men's fashion style is classified into the classic image, sophisticated image, urban casual image, chic modern image, mods modern image, basic casual image, ethnic image, avant-garde image, active & outdoor image, and street-kitsch image. In the case of the classic images, common in formal setting, men's formal wear is the main focus with the classic suit. The sophisticated image is that of a colorful formal wear seasoned with elegance. Urban casual image is contemporary image, and therefore is meant for city life wear. Chic and modern image conveys an urban image by seeking a simple and chic feel. Mods modern image is retro yet dandy, giving off a sense of youthfulness compared to the other classic images. Ethnic image expresses the exotic quality of folklore as the main representatives of the character casual wear. Avant garde image portrays strong character casual wear with oversized silhouettes or exaggerated details. Active & Outdoor image is leisure life wear conveying active, functional images. Street Kitsch image is men's street casual wear with graphic patterns such as pop art and graffiti. This study's significance lies in its presentation of fashion style data, which can be utilized in the design and marketing of fashion targeted to males.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.6
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• pp.1-10
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• 2002

The purpose of this study is to establish a model of cultural sustainability in the traditional village. Cultural sustainability is being advanced by promoting the viability of traditional arts and the unique regional features of traditional culture, such as folklore, traditional landscapes, buildings and other environments of outstanding historical value. These cultural resources were also created or occurred at specific geographic locations at certain points in time by different individuals. The content of this study was to develop a model using indicators for cultural sustainability, and to apply and evaluate the model. In older to evaluate the model, Sonwon-ri village in Yongchon, located in Kyungsangbuk-do, was selected as the case study area. The major findings are as follows: 1) Sonwon-ri village has maintained the vernacular landscape except at the entrance of village. Also, the village people have pride and have adapted to the natural environment. 2) Sonwon-ri village has a self-sustaining system and circular network within its environmental capacity. Sonwon-ri village has many historical sites and buildings such as important folk resources, cultural assets, traditional houses and pavilions. 3) The people how the theory of fens-shui which interprets the location of village in relationship to a crane mountain with the village situated as a crane head. These symbolic and cultural elements have an important role in establishing the boundary of the village. From the research it can be seen that Sonwon-ri village kept many cultural sustainability indicators in terms of active factors, physical factors and psychological factors. By analysing the participation of different scientific disciplines and identifying disciplinary categories, this study provides a basis for understanding how cultural sustainability is subjected to research in the field of landscape planning and design.

• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.1 s.26
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• pp.1-11
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• 1988

This study dealt with the Dopo, one of the representative ceremonial dress that acclasical scholar used after the middle of the period of the Chosun dynasty. This study represents the period of Dopo's formation and its origin, and the characteristics of the weary of Dopo in Young Dong Province Area is arranged by folkloric method on the base of the exisitng facilities. Dopo has worn since the middle of the period of the Chosun dynasty. It is the kind of Jig young Po that its back is cuffed for convenience and has another cloth as a ceremonial dress. It is thought to be one of the national customs pos formed by the mixture of the big sleeve type which is influenced by confusion life feeling. It seemed that the name of DoPo comes from the Jigchal, an ordinary dress of a high official in China, which is call Dopo. This Dopo is changed and received and so disappeared but it is still used such as ceremonial dress, the necessary articles for marriage of the bride, a bridegroom's liturgical vestments of a memorial service held on the anniversary of the death of a person, mourning dress and a shroud grave clothes. This area has different characters on wearing customs. It is changed into the kind of Dopo, with its back not cutting. The hemp sack is almost used as its subject matter. It doesn't have collar strip for the classification of one's family in any case, and Dopo which is prepared for necessary articles for marriage can not be taken tack after seperating by divorce.

• Journal of Fashion Business
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• v.2 no.1
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.638-653
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• 2014

The structure of noble centered social status of the late Joseon Dynasty collapsed due to the commoner's higher status and increased level of consciousness caused by the growth of commerce and agriculture. In art, the a Korean and ethnical style dominated; however, with a diversity in the depiction of human figures in portraits, Buddhist paintings, genre paintings and folklore paintings. This study examines the diversity in human figures expressed in the paintings of the late Joseon Dynasty by expanding the common aesthetic fixed to the typical Joseon style of renowned painters. The conclusion of this study is as follows. The human figure is categorized into three different types of 'realistic', 'ideal', and 'distortion' based on the aesthetic category. First, the realistic type is defined literally by its realistic and detailed depiction of noble class portraits classified as extreme type and general type. The extreme type's formative element is hypersubtlety which includes a simultaneous aesthetic of aptness and ugliness. The general type shows subtlety with aesthetic of aptness. Second, the ideal type is defined by representing the standard form of time and criteria classified as beautified type, absolute type, and dignified type. Each shows a different character of gender of femininity, androgyny, and masculinity. Third, distortion types are defined by a characteristic expression of humans by transshaping the features in various methods categorized as grotesque, abjection, friendly, rustic, and caricature type. Each shows different formative elements of bizarre, patheticness, voluptuous, inartificial, and immaturity.