• 한국의류학회지
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• 제33권7호
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• pp.1098-1108
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• 2009

This study finds the meaning of Anti Couture in the examination of the tendency and characteristics of aesthetics sense of Anti Couture in Contemporary Fashion. Anti Couture disregards the traditional composition and takes some subcultural elements, moreover, have the Anti-decoration characteristics of disproportion, disharmony, asymmetry, inperfection, and irregularity such as Japanese fashion. This study analyzed 600 works from 2000 S/S to 2008 S/S to figure out the Anti Couture to summarize the eclectic, humorous, avant-garde, poor, and minimal tendencies. The characteristics of the aesthetics sense of Anti Couture according to the tendency are analyzed into ambiguity, deformation, eclecticism, deconstruction, and artless art.

• 스마트미디어저널
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• 제12권11호
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• pp.125-133
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• 2023

Traditional attire has assumed a pivotal role within the contemporary fashion industry. The objective of this study is to construct a computer vision model tailored to the recognition of traditional costumes originating from five distinct countries, namely India, Korea, Japan, Tanzania, and Vietnam. Leveraging a dataset comprising 1,608 images, we proceeded to train the cutting-edge computer vision model YOLOv8. The model yielded an impressive overall mean average precision (MAP) of 96%. Notably, the Indian sari exhibited a remarkable MAP of 99%, the Tanzanian kitenge 98%, the Japanese kimono 92%, the Korean hanbok 89%, and the Vietnamese ao dai 83%. Furthermore, the model demonstrated a commendable overall box precision score of 94.7% and a recall rate of 84.3%. Within the realm of the fashion industry, this model possesses considerable utility for trend projection and the facilitation of personalized recommendation systems.

• 한국의상디자인학회지
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• 제18권2호
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• pp.207-219
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• 2016

This study was performed to investigate shopping behavior of Chinese, Japanese, and US tourists in Korea. For this purpose, travel activities and shopping items were identified first. And thereafter the shopping satisfaction, travel satisfaction, intention to word-of-mouth, and intention to re-visit were compared by country, gender and age. Finally, the effect of shopping satisfaction on travel evaluations as well as the effect of demographics on shopping satisfaction were examined. Secondary data were used for this survey, while ${\chi}^2$ test, t-test, ANOVA, Duncan test and regression analysis were applied to analyze data. The results were listed below. First, main travel activities were shopping, followed by enjoying natural scenery and visiting historic sites. Apparel, cosmetics, leather goods, and shoes were major shopping products. Chinese and Japanese tourists preferred cosmetics and apparel most, while US travellers bought lots of apparel and shoes. Men and older tourists tended to buy food products more than women and younger people did. Second, degree of shopping satisfaction significantly differed by country and age. The US tourists showed highest satisfaction, followed by Japanese and Chinese ones. Younger people tended to be satisfied more than older people significantly. In terms of travel satisfaction and intention for word-of-mouth, the US tourists, women, and younger people revealed higher scores than the other counterparts. Intention to re-visit Korea were significantly different, based on country and gender, showing higher for the US people and women. Third, shopping satisfaction was found to affect travel satisfaction, intention for word-of- mouth, and intention to revisit Korea significantly. In turn, travel satisfaction was also shown significantly to affect on intention for word-of-mouth, and intention to re-visit Korea.

• 한국콘텐츠학회논문지
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• 제11권9호
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• pp.166-173
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• 2011

아시아는 약10년을 주기로 특정 국가의 문화가 유행을 주도하는 경향을 보여 왔다. 1980년대 홍콩영화의 유행을 '항류(港流)'라 칭했고, 1990년대 일본 TV드라마, 애니메이션, 게임 등의 유행을 '일류(日流)'라 칭했으며, 1990년대 말부터 '한류(韓流)'가 시작되었다. 이러한 '~류(流)'라는 표현은 '~식', '~스타일', '~파' 등의 뜻으로 일본에서 사용되어온 일본식 용어다. 최근 일본에서 유행하고 있는 대만 TV드라마와 특정 스타의 인기를 '대류(臺流)'라 부르다가, 중국 영화, 방송, 관광 등의 인기를 총칭하여 '화류(華流)'라고 부르는 것 또한 마찬가지다. 이렇듯 한류라는 용어는 일본에서 사용되는 '~류'의 일환으로 1999년 한국문화부에서 한국대중음악을 홍보하기 위해 배포한 음반 <韓流-Song from Korea>에서 공식적으로 사용되었다. 최근 한류의 열기가 한풀 꺾이며 화류의 열기가 그 자리를 대체하고 있음을 볼 때, 지금이라도 한류의 어원에 대한 잘못된 정보를 바로잡고, 한국문화를 표현하는 용어의 확립과 그 사용에 대한 연구가 필요한 시점이다.

• 한국의류산업학회지
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• 제13권1호
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• pp.32-43
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• 2011

This study investigate the transition about Japanese national costume kimono. The prototype of the present kimono is a kosode. The origin of kosode dates back to the mid-Heian period, when this type of kimono served as the everyday wear of commoners and an undergarment for court nobles, both men and women. In the Muromachi period, particularly after the Onin war, the kosode began to be by people of all classes. In the Muromachi period, kosode consisted mainly of woven textiles. In the Momoyama period, kosode became very elaborate, employing such various techniques as tie-dyeing, embroidery, metallic leaf(surihaku) and free-hand painting. These were further combined resulting in such techniques as tsujigahana dyeing and nuihaku, which are now considered to epitomize Momoyama-period textile design. A category of kosode of the early Edo period, known as Keicho kosode, is fashioned mainly from black, white, or red figured satin(rinzu), or from figured satin segmented in these three colors. Books of kosode designs began to be published in the Kambun era, when the merchant class was becoming economically powerful, kosode began to reflect its taste. During its final stage of development in the late 17th and early 18th centuries, yuzen dyeing achieved wide acceptance. From the late 18th century toward the early 19th century, kosode worn by the merchant class underwent drastic changes, while those worn by the samurai class changed little. In the after the late 18th century, clear differences in design and decorative methods appeared between the kosode worn by rich merchants and those worn by middle and lower class merchants.

• 복식
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• 제60권9호
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• pp.58-76
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• 2010

In this study, the shapes of po worn by military officers who served During the period of Japanese Invasion of Korea(1592-1598) were investigated. Findings of the study can be summarized as follows. Various types of po that military officers usually wore during the period of Japanese Invasion of Korea includes jikryeong, dapho, dopo, cheolik, aekjureum, jangeui, jungchimak and bangryeongpo. Out of these types, cheolik and jungchimak were most often used by the officers. Po that were usually worn by military officers during the period of Japanese Invasion of Korea as above mentioned is characterized as no difference in length between the front and back of the costume, kalgit and a pair of coat strings which are directly attached to po. The sleeves of the costume are bean chaff-shaped in some cases and just narrowly shaped in other cases. Similarly, the outer seop of po was either double-layered or single-layered. For jikryeong and dapho, mu is usually type of outside wrinkle. For dopo, its rear kit has the inner hem whose right and left edges are usually distant, respectively by 6~16cm, from the back center of the costume. Cheolik and aekjureum usually have either fine or broad pleats. For jangeui and jungchimak, mu is usually trapezoid in shape. Among various types of po which were usually worn by military officers during the period of Japanese Invasion of Korea, most representative are jikryeong from the tombs of Bae Cheon jo, dapho from Shin Yeo Gwan, dopo from general Bak and Bae Cheon Jo, cheolik from Nam Yoo and Cho Gyeong, aekjureum from Shin Yeo Gwan, jangeui from Kim Ham, jungchimak from Bae Cheon jo and bangryeongpo from Cho Gyeong.

• 한국의상디자인학회지
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• 제9권2호
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• 한국의상디자인학회지
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• 제8권1호
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• pp.137-144
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• 2006

Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.

• 패션비즈니스
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• 제23권3호
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• pp.101-114
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• 2019

This study aims to analyze the color characteristics of Japanese cultural product shops and differences in business categories by analyzing the colors of the Gion Shopping Street in Kyoto, Japan. Through the study, the traditional colors are reflected not only in the domestic cultural products but also the interior colors of shops. That way, visitors can be influenced naturally and gain indirect cultural experience to form a good image of Korea, which can help to improve sales of cultural products. The analysis was conducted through the colors of Munsell to determine the overall, dominant, assort, and accent colors based on categories of goods to identify the characteristics of the traditional Japanese cultural product shop. Among the 85 shops that were surveyed, YR and W frequently appeared as chromatic and neutral colors. Dominant was W, and assort was YR. B, P and Y also showed up. In color combination analysis, 35.3% was contrasted. For the hue, 32.9% was dark. Based on goods categories, confectionary shops used YR mainly, while souvenir and fashion accessory shops used W the most. Restaurants mostly had W as thedominant and YR for assorting. Cafes and art shops used Bk the most. The interior colors of cultural products shops should maintain the atmosphere of tradition and convey images of the products well. Based on this research, Korea also needs to actively reflect the interior designs of cultural product shops using traditional colors.

• 한국생활환경학회지
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• 제24권1호
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• pp.95-106
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• 2017

The purpose of this study was to evaluate comfort functions while wearing firefighters' protective gloves in dry and wet conditions at $70^{\circ}C$ air temperature with radiant heat. Four types of firefighting gloves from Korea, Germany, United States, and Japan were evaluated in both dry and wet conditions by eight male firefighters. Firefighters put their hands and forearms wearing gloves into a hands-radiant chamber that maintained at an air temperature of $70{\pm}2^{\circ}C$ ($T_a$) and globe temperature $106^{\circ}C$ ($T_g$). During the exposure, subjects followed a fixed protocol of manual movements and stopped the exposure when they felt being intolerable. Results showed that completion time was extended by 6 min on average when gloves got wet and 15 min for the Japanese gloves was extended when compared to its dry condition (p<.001); microclimate humidity on the palm at the last stage was greater for wet conditions than dry conditions in the all gloves; and skin temperatures on mid-fingertip, palm, and hand were significantly lower for wet conditions than dry conditions especially for Japanese gloves (p<.001). These results indicate that the exposure time without thermal pain to radiant heat could be extended by wetting gloves during the low radiant heat exposure.