• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• KSBB Journal
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• v.28 no.1
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• pp.60-64
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• 2013

Two strains were isolated from the traditional Deep Blue Sediment Dye of Polygoum tinctoria, Niram, and temporarily named Niram A and Niram B, respectively. The phylogenetic analysis revealed that strain Niram A and B were closely related to the members of the genus Comamonas and Microbacterium, respectively. Strain Niram A exhibited the highest 16S rRNA gene sequence similarity to C. aquatica LMG $2370^T$ (98.06%). Strain Niram B showed 100% homology with M. oxydans DSM 20578T and M. maritypicum DSM $12512^T$. The growth of the strain Niram A and B was not inhibited in Niram medium containing high calcium concentration without free sugar as carbon source. The reducing Niram is greenish. Therefore, the reducing ability on the Niram of the strains Niram A and B were determined with the color difference of the $a^*$ values of Niram fermented-fluids. The $a^*$ value indicates the level of redness (positive value) or greenness (negative value). The green color is increasing towards the negative value. In all samples fermented for 10 days, the $a^*$ values among samples were no significant difference. However, samples fermented for 15 days have an appreciable change. After fermentation for 15 days, the control Niram sample had $-3.96{\pm}0.02$ of the $a^*$ value. On the other hand, the Niram samples fermented with the strain Niram A and B showed $-4.20{\pm}0.02$ of the $a^*$ value and $-7.86{\pm}0.03$ of the $a^*$ value, respectively. In the reducing ability on the Niram, the strain Niram B was significantly better than the strain Niram A.

• Journal of Ginseng Culture
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• v.1
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• pp.57-66
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• 2019

Ginseng has been recognized as a lifespan extending medicine which has been regarded as one of the medicines classified as top medicines, as the Boncho (medical herbs) study which is influenced by the idea of guidance's costume and food concept mainly in China is gaining its bona fide form. As the demand for ginseng has been expanded to other levels, the demand for ginseng has been increasing. Ginseng from the nature reached its supply chain limit due to its extinction and difficulty of picking, so it translated into ginseng cultivation of economy rather than harvesting in nature. After the start of ginseng cultivation, the ginseng cultivation was further enhanced by the rapid development of processing methods such as white-ginseng and red-ginseng, and the surge of consumption due to the traditional belief in ginseng drug efficacy and support of scientific research. In the Joseon Dynasty, the name Gasam (cultivated ginseng) had been created as ginseng was cultivated on farmland after the stage of SanYang (wild cultivated ginseng), the purpose of the new name Gasam is to differentiate from natural ginseng, and natural ginseng lost its firm position as the genuine ginseng as the Gasam replaced the genuine ginseng, and the natural ginseng got a new name of SanSam (wild ginseng). Because the real ginseng substance concept dissipated, and as Gasam is being called ginseng, the name Gasam was also disappeared. As a result, it was possible to grow large quantities according to the arrival of the Gasam era, and it was possible to supply the demand for ginseng, and it could become one agricultural industry. In this ginseng cultivation, in Japan where ginseng did not grow naturally, it was difficult to obtain ginseng from Joseon and faced with a shortage of ginseng at all times. Therefore, the shogun cultivated the Gasam systematically at the national level by the inside of the shogunate. However, since the natural ginseng is native to China and Korea, there is a concern about the deterioration of the quality of natural ginseng due to the incorporation of cultivated ginseng (Gasam). To protect the interests, the cultivation of ginseng was subject to control. For this reason, the lack of historical information on Gasam cultivation, which had to be started secretly, would be a natural result. In this paper, althouh not sufficient enough, the historical informations were used to summarize the history of ginseng cultivation in China, Japan and Korea.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.188-207
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• 2013

This study looks at the costumes for the crown prince based on the Hyomyeong of 1817, a collection of the National Research Institute of Cultural Heritage. The picture of School Entrance Ceremony of the Crown Prince (王世子入學圖) does not have the crown prince in the scene. However, it can be verified through literature that there are three different costumes for the ceremony. Chulgungui(出宮儀), the ceremony's first procedure, describes the departure of the prince crown from his residence toward Sungkyunkwan (成均館) with his escorting officials. The Crown Prince wears Seoyeonbok (書筵服) during this event. When the Crown Prince arrives at Sungkyunkwan, he participates in a series of ceremonies that consist of Jackhunui (酌獻儀), Wangbokui (往復儀), Supeiui (脩弊儀), and Ipackui (入學儀). At that time, he wears a confucian scholar's uniform. After returning from Sungkyunkwan, he attends Suhaui (受賀儀), the final procedure of the Crown Prince's School Entrance, at Simindang (詩敏堂) of Changgyong Palace(昌慶宮), At this time, the price crown wears Wonyukwanbok (遠遊冠服) as he is congratulated by royal family members and high ranking officials for his entrance to Sungkyunkwan in this ceremony. This point hereby concludes this study on the historical costumes for the prince crown based on the Hyomyeong Crown Prince's School Entrance in 1817.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Science of Emotion and Sensibility
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• v.24 no.1
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• pp.105-114
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• 2021

This study determines the differences between Korean female university students and their Chinese counterparts residing in Korea by evaluating the subjective sensation and tactile preference in fabrics for casual shirts. Seven types of white causal shirt fabrics were selected as specimens from those available in spring and autumn shirt collection. The fabrics were made from various fibers (cotton 100%, polyester 100%, flax 100%, polyester 80%/cotton 20%, polyester 65%/cotton 35%, polyester 50%/cotton 45%/spandex 5%, and polyester 50%/modal 50%). Forty Korean and Chinese female university students subjectively assessed the subjective sensation of fabrics used for casual shirts. Participants were asked to observe the seven types of fabrics and complete the questionnaire. The subjective sensation to be assessed for white casual shirt fabrics was classified into the following four factors: smoothness, lightness, softness, and stretchiness. Subjective sensation factors showed partially significant differences by nationality. Korean female students evaluated cotton fabric as being light, whereas their Chinese counterparts evaluated the polyester/cotton/spandex blended fabric as light. Korean female students evaluated polyester/modal blended fabric as being stretchable. The tactile preference for fiber composition of the fabrics showed partially significant differences by nationality. Korean female students preferred cotton 80%/polyester 20% blended fabric, polyester 50%/cotton 45%/spandex 5% blended fabric, and flax 100% fabric. The subjective sensation of the fabrics had different effects on preferences by nationality. Smoothness and softness had positive effects on preferences for the fabrics of Korean students. However, smoothness, softness, and stretchiness had positive effects on the preferences of Chinese students. The subjective sensation and tactile preference for casual shirt fabrics showed a difference between Korean female students and their Chinese counterparts. Therefore, when planning casual shirt fabrics for female university students, it is necessary to reflect on these differences in subjective sensation and tactile preference.

• (The) Research of the performance art and culture
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• no.35
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• pp.509-541
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.