• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• Proceedings of the Korean Vacuum Society Conference
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• 2016.02a
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• pp.410.1-410.1
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• 2016

Vanadium dioxide ($VO_2$) is a well-known material that exhibits a metal-semiconductor transition at 340 K, with drastic change of transmittance at NIR region. However, $VO_2$ based thermochromics accompany with low visible transmittance value and unfavorable color (brownish yellow). Herein, we demonstrate the adjustment of visible transmittance of $VO_2$ thin film by nanosphere template assisted patterning process using sol-gel method. 2-Dimenstional honeycomb shape was varied as function of diameter of nanosphere and coating conditions. The morphological geometry of the films was investigated by FE-SEM and AFM. Result shows that inversed shape of nanosphere was formed clearly and pattern width was altered according to the bead size. This structure creates the geometrical blank area from the position of nanosphere which improves the optical transmittance at the visible region. Moreover, such patterned $VO_2$ thin film not only maintains the optical switching efficiency, but also generate the gorgeous scattering effect which presumably support the glazing application.

• Journal of the Korean Home Economics Association
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• v.40 no.11
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• pp.157-170
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• 2002

This study is an attempt to establish an aesthetic and fashion sense of the heroine's image and fashion according to the social environment which is related to fashion transformation. Also, this study modem society's need for specific social occupational roles through fashion and clothing in cinema. first, individual people are estimating their social position and ability by his/her fashion style. Modem fashion styles are changing into various, complicated, gorgeous and attractive styles; however, the needs of professional women's clothing styles are fairly conservative. Second, classical, closed, and unobtrusive fashion styles are appearing in modem cinema's clothing depending on professional women's expertise in fashion styles. Third, changes of styles are varied by their colors and clothing design. Colors had not changed very much during the last 30 years; however, in the 1980's, white and grey colors, in the 1990's black and achromatic colors, and in the beginning of this century dark green and brown and also diverse colors have been used. But the brightness is so light and expressed by a quiet and cold style. Furthermore, the inner images are judged by their forms which is determined by how people choose their clothing styles. Consequently, women's clothing styles easily appear as a result of their preconceived ideas formed by their professional knowledge and ability.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.74-87
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• 2010

Jeokgwan(翟冠, crown decorated with pheasant motifs) is a queen's ceremonial headdress during the early Joseon dynasty. It originated from Bong-gwan(鳳冠, crown decorated with phoenix motifs) worn by the Chinese empress. Bong-gwan(鳳冠) was originally various types of hairpins worn with the topknot hair style, such as Bongchae(鳳釵) Hwasu(花樹) Bakbin(博鬢), but during the Sung dynasty(宋, 960-1279) these ornamental hairpins were combined with the crown worn by the empress. Bong-gwan(鳳冠) worn during the Ming dynasty(明, 1368-1644) varied according to the wearer's social status and it was worn both by the empress and other court ladies. Jeokgwan(翟冠), one type of Bong-gwan(鳳冠) worn by the queens and princesses of Ming dynasty, was given to those of the Joseon dynasty as a gift until the early 17th century. According to the portraits and remains of China, when women wore the Jeokgwan(翟冠), they were supposed to place the crown onto the hair, and then, fix the crown to the hair by putting on gorgeous hairpins. The lower edge of the crown was wrapped around with Gu-gwon(口圈), which was decorated with kingfisher's feathers. There are several flowery decorations on Gu-gwon(口圈), and this style is similar to Daeyobanja(大腰斑子), a queen's ceremonial hairband during the late Joseon dynasty.

• Journal of Fashion Business
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• v.14 no.3
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• pp.64-74
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• 2010

The purpose of this study is to broaden the realm of the fashion design using print hereafter and to urge designers to the better quality design by presenting successful case. As a method of the study, the literature and visual data in this study were reviewed focusing on the 1960's, which was Pucci's golden age. For the historical background, textual and visual data related to sixties fashion and Italian fashion were referred. Foreign literature was investigated to study life of Pucci and his design tendency in fashion because domestic papers and research data were rare. Out of this, characteristics of fashion design of Pucci and conclusion were extracted. Emilio Pucci was born to an illustrious Florentine aristocratic family in 1914. He was a designer, businessman and politician. Pucci's design has following characteristics. Firstly, gorgeous geometric prints with brilliant colors were key factor in Pucci's fashion design. Secondly, Pucci's design in fashion was a luxury sporty casual style symbolizing wearer's status and position in society. Thirdly, Pucci liberated the wearer's body using light and stretch material matching comfortable and active style. Lastly, Pucci developed total fashion dealing with various items widely including clothes and non-clothing products.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.3 s.25
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• pp.1-14
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• 1987

The purpose of this study was to compare with the Persian texile design having an out-standing skill in fertile designs with the Byzantine textile dosing being influenced a lot by Christinity and many Oriental factors including Hellenism. These two textile design have some similarities and differences in their patterns. The results of the study were as follows: Similarities ; 1. The Persian traditional animals, hunting scenes and cavaliers are used as the major subject in both patterns. 2. Decorative designs enclosed circular are used in both patterns. Differences ; 1. The Persian textile designs are based on Zoroasterianism, and their animal designs have the Zoroasterian religious meanings. While the Byzantine designs are affected by the Christianity. In the Byantine textile designs, the mythical subjects from ancient Rome and Greece, and the circus scenes are dominent. 3. The Persian textile designs are combative, momentary, dignifed, and realistic pattern, while the Byzantin textile designs are playful, sketchy, humouristic, and evasive pattern. 4. Vivid color effect was found in the Persian textile patterns: however, more refined and gorgeous color was used by the Byzantine textile patterns. Thus, the Persian and the Byzantine textile patterns have interrelations with each other. In general, the Persian textile patterns have affected a great deal on the Byzantine textine textile patterns. They are essentially corelated with each other, but each of them has its own characteristics.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.39-49
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• 2005

The purpose of this study is to analyze the consumption value and characteristic of content in cosmetics & perfume advertisement in men's fashion magazines in order to understand the changes of men's cosmetics market which is recently getting great attention along with the craze for 'florally handsome men', and 'eolzzang'(=gorgeous face), and examine the changes of the culture of men's make-up. I selected Esquire which had firstly produced men's fashion magazine in Korea, and implemented the content analysis, the quantitative analysis method, by separating linguistic elements ken visual elements. The results are as follows: In the analysis of consumption value revealed in the linguistic elements of cosmetics advertisement, emotion value was the highest in both cosmetics and perfume, while function value was the second highest in cosmetics and rarity value was the second highest in perfume. About the changes of content characteristics of visual elements, in both cosmetics and perfume advertisement, there were a lot of visual advertisements focused on figures without the mixture of linguistic expressions. Between advertisement in 1990s and that in 2000s, there were meaningful differences only in types and object of meaning of used symbols.

• Fashion & Textile Research Journal
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• v.8 no.4
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• pp.441-448
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• 2006

This research is the hair damage as treating a permanent wave before and after that is compared and analyzed the change of physical and mechanical properties. This is the survey of women's hair in 20 years old. On the basis of this we would like to analyze a extend of hair damage. Also, we would to show a basic data for hair damage prevention and hair improvement to keep the beautiful and healthy hair. The conclusion is as follow. : The swelling degree after the treatment was found to be greater than before permanent wave treatment. For the formational characteristics wave, untreated hair certainly had more elastic S curl wave than damaged hair in all the permanent wave treatments, and damaged hair and extremely damaged hair had less elasticity and had saggy S curl wave. The protein permanent and soft permanent wave had thicker, gorgeous, and better elastic wave than the regular permanent wave and direct heating permanent wave in all the hair condition. As the degree of damage on hair got greater, the tensile strength dramatically decreased and as the degree of damage got greater, the elongation was great as well. For treatment method, direct heating permanent wave showed the greatest effect, causing the most damage.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.3
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• pp.373-384
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• 2000

This study is to demonstrate purple color characteristics by analyzing various purple clothing from Antiquity to modern fashion. In this respect, both documentary and investigative studies have been performed. Through, the documentary studies, the changes and examples of purple clothing were scrutinized, and images of purple were classified based on the Color Image Scale. Purple color samples applied during a period from 1993 to 1996, were collected from 33 women's domestic brands, and the colors were measured by the CE 7000 spectrophotometer and analyzed by Munsell HV/C. The results were shown as follows; 1. In Antiquity, the symbolic value of purple was heavenly color, because it was a bearer of light, a sign of the epiphany of the gods. 2. With the advent of synthetic dyes, purples were in the vanguard. This chemical synthesis gave purple, historically a regal prerogative, to the people, and enjoyed a memorable vogue in the mid-mineteenth century. 3. The purple images in fashion were changed by the factors such as culture-art, technological advances, political-economical situations, sports ect., and appears in modern fashion romantic, natural elegance, classic, gorgeous, chic, and dandy images. 4. In the result of analytical study on women's purple dress in domestic market, 10PB hue and P tone were mosetly used from 1993 to 1996.

• Journal of Fashion Business
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• v.6 no.6
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• pp.43-55
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• 2002

This study intends to consider the characteristics of Tudorian costume and find out how the thoughts and cultures in those days had influences on the costume trends of low and middle class. In terms of the Tudorian costume which generated new cultural mainstreams along with blossomed civil culture, this study focuses on the characteristics and trends of costume at low and middle class, which have been little addressed in studies on western costume history or related fields, turning from the costume of upper class based on wealthy noblemen who showed off its dignity and authority along with jewelry and gorgeous ornamental craftsmanship. This study used related pictures, museum material and other literatures as its reference. It first looked into the general characteristics of western costume and considered the characteristics of costumes popularized in professionals at middle class such as apprentice, yeomen and low-class people. Professional or other middle class almost typically used to wear tunic, doublet, shirts, coat or long gown. Black was mainly used as clothes color. Similarly to upper class, silk or velvet was very often used as material. People at low class enjoyed wear costumes with simple and easy style for working. They also preferred natural color and cotton or wool as material. This study intended to find out which type of costumes people at low and middle class enjoyed wearing, rather than compare costume between such two classes.