• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.1-14
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• 2015

This study is aims to study the background of how the shape of the wooden shoes developed and worn by Koreans and Japanese in the ancient times by sorting and examining the types and shapes. Relevant bibliography, which are mainly related to the excavated wooden shoes from 3 B.C.E to C.E. 8., were used as research materials. The formation of wooden shoes required easy access to raw materials -which is trees- for production. According to the analysis, both Korea and Japan made the flat wooden shoes using cuboid wood. Both countries bore a hole on a specific location to distinguish the right foot and left foot, however the style of the heel was different in the two countries. The slip-on(Undu-hyeong) wooden shoes were also common in both countries. The slip-on had no-heels and was made by digging-out a piece of the cuboid wood. Some slip-ons made by the Japanese had furrows on the bottom, and they were known to make different types of the slip-on wooden shoes depending on the purpose. Observation of the wearing methods show that commonality can be found between the wooden shoes of Korea and Japan, and this indicates that cultural exchanges between the Silla/Baekje and Japan took place from the 4th to the 6th century. Also, the flat wooden shoes in Japan developed rapidly, as the shoes became an integral part of its life and culture, which was closely tied to agriculture. Eventually, due to the difference in climate and life-style, the slip-ons became the primary type of wooden shoes in Korea, while the flats became the main type of wooden shoes in Japan. It is, however, clear that as the relationship between the two countries became closer, the cultural exchanges regarding the wooden shoes were considerable.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.452-458
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• 2019

This study provides basic research for developing dress forms of women's wear making. This study compared the average body size of Korean women by investigating the shape, composition and size of 417 dress forms for pattern making, sold at Korean and international online malls. The results showed that Korean brands produced torso-type and torso-crotch-type (94.13%), torso-type was the most dominant type made by Japanese Ki and French St (${\geq}80%$), and all US Al products were whole-body-type. The most common used internal filler of the dress forms was urethane for South Korean companies and paper for Japanese Ki and French St. In most cases, cotton was used for outer materials. Alternatively, linen and rayon were used as outer materials. Al did not indicate the materials used for filler and outer layers. Additionally, the sizing system of dress forms was commonly presented as a Numeric type. In addition to Numeric type, Ki presented body type + usage and Al used character type. When the dress form size for the average bust size of each age group was evaluated, waist measurements were smaller than the corresponding bust measurements. Dress form was presented in the KS interval and was compared with the $mean{\pm}1{\sigma}$ interval of each age group. The majority of the dress forms produced in South Korea were for body shapes in their 20s.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.834-843
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• 2020

This study develops 1/2 dress forms for draping. This study investigated the production status of domestic and foreign products in order to model their shape using CLO 3D. In addition, it developed torso-type and torso-crotch-type products that allowed for draping using a 3D printer. This study analyzed shape and size compared to developed ones after referring to the Size Korea 7th Survey data as well as seven domestic and foreign company websites. The results are follows. First, an investigation of the production status of the products for the size of most of the domestic ones (except K-4) indicated that the waist circumference was slimmer than Size Korea. Bust, waist, and hip circumferences ranged from 42.0 cm, 32.0 cm, and 45.0 cm - 49.0 cm, respectively, in Chinese products; 42.0 cm - 43.0 cm, 30.5 cm - 31.5 cm, and 46.0 cm - 46.5 cm in Japanese products; 43.0 cm, 35.0cm, and 46.5 cm in American products (Japanese body shape applied). Second, an avatar was produced on a 3D software with the average size of 20-24year-old women, and its file modified as a dress form for 3D printing with PLA filament to produce dress forms for draping, workable with pins, using quilting cotton and cotton cloth. Third, the comparisons of the form and flattening between the developed dress forms and the selling ones indicated that flattening was bigger in the waist part of the former than the latter. The waist is produced too slim in the existing dress forms; therefore, it is necessary to correct the waist circumference. Unlike existing dress forms, the developed ones were produced in proximity to the average size of 20-24 year-old women in the Size Korea 7th Survey.

• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.626-641
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• 2016

Maximalism in modern fashion, which is contrary to the current fashion market that emphasizes functionality and practicality, is an important notion that has been expressed in a variety of ways through designer's unique sense with a mixture of experimental design. With such creative work that suits a trend in novel fashion design, Rei Kawakubo is a current representative of Comme des Garcons who has not only introduced deconstructivism and Japanese-style avant-garde to the fashion industry for the first time. Our research, thus, analyzed the characteristic of maximalism's expression based on the features represented in her collection. Firstly, Expandability is classified as a method of distorting parts of a body and a method of excessively overinflating the silhouette of clothing. Secondly, decorations are expressed in the other as blending different types of materials together. Thirdly, fantasy evokes a fresh and stimulating surreal sensation that may only be felt in an imagination by assigning supernatural and amusing expression to the garment. The forth, fusion refers to a creation of novelty from combining various types of elements and images. The fifth, experiment is unique trait that develops mysterious images, consisted of various details. The sixth, non-structure is different from an initial form of garment that maintains a bilateral symmetry. The importance of our research lies in proposing a fundamental data for development of creative design as well as in expanding a range of possible expression for maximalism, by analyzing the characteristics of maximalism seen in Rei Kawakubo's collection.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.153-167
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• 2004

Korea had suffered the colony of Japanese imperialism and the Korean War from the invasion of the external circumstances. Such special situation made new influences on the clothing habits. The types of Korean women clothing could escape from the traditional style that had been maintained for thousands of years. The foreign clothes for Korean women had undergone various changes from the Liberation in 1945. The jackets that had been introduced to Korea at the Enlightenment period had become popular outfits for men. The jackets made big influences on the changes such as the social advances for women from the times background of the Liberation. The jackets possess very important meaning for the changes in the diffusion of feminism and fashion. Therefore, this research tries to investigate the forms, silhouettes, changes and structures of the jackets such as the locations of the collar, the sleeve, and the waste line. The process of the changes in the style of women jackets is also analyzed from the silhouette and the structure method. The development and changes will be understood of Korean women's jackets. The Korean women's jackets should also be examined further with the history of foreign clothing from now on. The fashion to be introduced from important society cultural phenomena and the Western Europe has been reflected into the changes in the style of Korean female jackets. Also, dramatic changes in the style of clothing indicate that the society had experienced a great deal of changes. It is verified that foreign clothes have been interacted with the stream of times worldwide. After the Liberation, the female jackets become a uniform style which just followed the Western European style. However, a season trend has been announced from the SFAA since 1990. Since then trendy jackets have been detailed more with this chance.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1629-1639
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• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.33-44
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• 2007

The purpose of this study is to examine the roles and costume of Sodong as shown in the illustration of Choseon Delegation to Japan. Results of the study can be described as below. First, as shown in the illustration, Sodong played roles as Tongin and dancer. As Tongin, Sodong provided services or made errands for his seniors. In the other role, while, Sodong danced to comfort his seniors and show dances of Choseon to Japanese people. Second, Sodong wore Kwaecha over Sochangeui throughout his march with the delegation as Tongin. This is probably because the two clothes made him feel convenient and easily active. In both 1700s and 1800s, meanwhile, Sodong also wore Jikryeong and Cheolik. Third, Sodong wore Kwaecha over Sochangeui, or Danryeong and Nansam all the time when he navigated together with the delegation. When passing through Tsusima into the Japanese mainland, which meant starting international exchanges between Choseon and Japan, Sodong sticked to formality to the utmost by wearing Danryeong and Nansam. Fourth, Sodong wore Kwaecha over Sochangeui when he performed as dancer. The two clothes were also worn by Mudong during outdoor banquets in Choseon at that time. In addition, it is thought that Sodong wore Jikryeong, Danryeong and Nansam like when he marched or navigated together with Choseon Delegation.

• Korean Journal of Poultry Science
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• v.17 no.4
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• pp.275-280
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• 1990

Comosomal polymorphism involving constitutive heterochromatin has been reported in mu, pigs, mouse, horse, chicken and so on. The chromosomal polymorphism of Japanese quail which includes constitutive heterochromatin as well the chromosomes without banding treatment has now been found. Through the use of a general technique that permits visualization of chromosome morphology and heterochromatin, three chromosomal variants have been found among birds ； ＋/＋ homozygous from, ＋/－ heterozygous form and －/－ homozygous form in chromosome 4. This variants appear to be common in the randombred population and stably inherited in a Mendelian fashion. These results suggest that the variants would be useful as chromosomal markers for various types of cytogenetic studies.