• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.23-31
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• 2004

The purpose of this study is to analyze the satisfaction, practical use, preference in design and recognition of the Saenghwalhanbok in the adult females living in Gyeongnam province. The data used for this study were collected by questionnaires and 420 questionnaires were used for statistic analysis. The data were analyzed by using the SPSS 8.0 to perform the ANOVA, $X^2$-test, t-test. The results of this study can be summarized as follows; Most women have Saenghwalhanbok for wearing in festive days. who showed good impression on the Saenghwalhanbok is high-educated people, and high-incommer showed positive preference as well. The color of blouse and skirt is different each other. The most preference color is soft color. The purchasing behavior on the Saenghwalhanbok was verified that there are planning of purchase because of convienience in wearing. The primary reason for not buying Saenghwalhanbok is price. So the goods of various level of price should be prepared, and the preference factors of purchasing for younger ages were color, patterns and design, and for old ages were quality of clothes, colors and patterns. Major application of the Saenghwalhanbok was found that wearing for festive days as it is Korean traditional costume.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.133-148
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• 2017

The purpose of this paper is to develop waist coat designs that can be worn in the present day by researching design techniques and traditional waist coat forms shown on Korean patchworks called 'Jokakbo', which was commonly used in our traditional culture. By selecting patchwork as the primary motive in particular. The Bojaki, also known as deungguhli or baeguhli(背巨里), gives off a natural and vibrant color sensation. A new design that could be practically worn with modern clothing was developed by sufficiently reflecting this color sensation as well as the aesthetic quality of its geometric shape. On the basis of theoretical consideration of traditional cloth and vest, total of 7 points were designed and produced. These works contain diverse application of the traditional Bojaki and vest. The design of the Bojaki grants rhythmic sense to the side where diverse colors and formative patterns shown on the cloth can be seen as monotonous. The entire side opening of the traditional waistcoat can cover multiple sizes. Depending on the movement, the front and back naturally spreads. The vest can also be worn in layers or used as a cotton quilt depending on the season. And after minimal design alterations, it will be possible to wear the vest with diverse modern clothing due to its straight line and form.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.169-179
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• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.6
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• pp.2300-2305
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• 2010

This study was performed about color-contained mud to provide fun and diversity for the event of mud self massage as a core program of Boryeong Mud Festival which has become one of representative festivals in Korea. Adjusting its own lower brightness of mud and based on the primary study performed about the expressivity of yellowish colors, inorganic colors (oxidized steel in red, ultra marine pink, ultra marine blue, chrome oxide green) were added for the development of colored mud in diverse colors on the basis of Korean traditional colors. It had been judged about each expressivity of color by methods of colormeter, naked eyes inspection and feeling of usage, etc. For the color decided, it had been examined about the coloring when it got wet with the cleaning condition so that it can be used for the event of mud self massage as a program of Boryeong Mud Festival to increase diversity of the Festival and also attempted to develope colored mud to show Korean traditional colors.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Korean Journal of Human Ecology
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• v.7 no.1
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• pp.43-50
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• 2004

The purpose of this study is to reach silk protein added in differing amounts to Jeolpyon, Korean traditional rice cake, using rice powder as its primary material, estimation of the micro organism quality, physicochemical property, sensory evaluation and the property of storage period (20${pm} 5 ^{\circ}C$). In the physicochemical property, the content of proximate composition of rice powder was measured as 38.11% of moisture, 56.62% of total sugar, 5.11% of crude protein, 0.52% of crude lipid, 0.25% of ash. And the raw material of silk protein was measured as 6.61% of moisture, 91.22% of crude protein, 6.41% of crude lipid and 0.75% of ash. The pH of raw material for rice powder and silk protein Jeolpyon showed mild acidity as 6.41 and 6.23, respectively. In rice powder and silk protein, total free sugar contents was 0.89% and 0.02%, and total amino acids contents was 4.28% and 52.21 %, respectively. For sensory evaluation. color, taste, softness and adhesiveness were significantly acceptable in control and adding 1 % silk protein. Control and samples added 1$\sim$3% silk protein had high sensory score color in overall acceptance. In conclusion. Jeolpyon can be manufactured with nutritious Jeolpyon by adding silk protein.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.180-199
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• 2021

This study investigated natural aroma fragrance on the fashion image of Galchon, a traditional natural dyeing textile made with immature persimmon from the Jeju area, Korea. Nine fabric pairs consisting of differently colored cotton and silk Galchon with various tones and fabric types were used for subjective evaluation. Thirty five female college students evaluated the specimens using a 7-point scale questionnaire for fashion image-related adjectives. A specimen with three different presentation types that included fabric without fragrance (FO), fabric with citrus fragrance, and fabric with chamaecyparis (FCP) were randomly provided to a subject. As a result, color variables of Galchon were found to be the primary influence on fashion images for both cotton and silk Galchon that showed interaction effects with presentation types. The citrus fragrance increased the feeling of 'Active' while chamaecyparis tended to contribute to a stronger perception of 'Elegance' for cotton Galchon. Finally, these results were used to develop prediction models for fashion images of Galchon that employed color variables and presentation types.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.