• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.53-64
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• 2013

Culture has played a pivotal role in fashion from time immemorial. The objective of this research is to explore the power of cultural affiliation in fashion. The selected study setting is the Kandyan Kingdom of Sri Lanka. The Kandyan Kingdom of Sri Lanka lasted almost 3 1/2 centuries from 1474-1815. The whole period faced different foreign cultural forces. As a result of such diverse cultural influences the Kandyan dress showed a hybrid formation of Western and South Indian and Sinhalese traditional sartorial features. Sewing techniques and unsewn dress arrangement methods were mixed together. The dress became an amazing blend of Eastern and Western dress items. They combined different aspects of foreign dress together to yield a unique result. The analysis comprises observational study of actual descriptions made by observer- participants, historical records, murals of the period review of ancient literature and research papers relevant to the subject. Reliability of the data was ensured. The pictorial data were cross checked from different literary sources. Many original sources were used. Results: Culture and fashion have strong interconnection. When features of culture change, trends of fashion are gradually correspondingly changed.

• Journal of Fashion Business
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• v.6 no.2
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of Fashion Business
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• v.4 no.1
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• Textile Coloration and Finishing
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• v.9 no.6
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• pp.58-67
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• 1997

PTCA(1,2,3-propanetricarboxylic acid) and BTCA(1,2,3-butanetetracarboxylic acid) are selected as new nonformaldehyde agents for ester crosslinking of cotton cellulose to replace the traditional DMDHEU reagent. A goal of this research is to propose unknown ester mechanism of cotton cellulose by PTCA or BTCA using crystal structure model suggested by Meyer and Takahashi. In pursuit of these goals, we have treated 100% cotton broad cloth with PTCA or BTCA and different catalysts. They were used with $NaH_2PO_2,\;NaH_2PO_4,\;Na_2HPO_4,\;NaH_2PO_2,\;Na_3PO_4,$ catalysts to produce nonformaldehyde fabric finishes. Treatments were applied to all cotton fabrics using a pad-dry -cure process. The esterfication of cotton treated with BTCA or PTCA was investigated using Fourier transform infrared(FT-IR) spectra and the breaking strength, abrasion retention and discoloration properties were determined to prove the durable finished fabrics. Patterns with respect to abrasion resistance were more complex. Because PTCA and BTCA add-ons were comparable, the data suggest that the more effective catalysts, $NaH_2PO_2$ and mixed phosphate $NaH_2PO_2/NaH_2PO_4$) are effecting either a great number of crosslinks in the cotton or producing crosslinks that differ in actual structure.

• Journal of Plant Biotechnology
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• v.49 no.3
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• pp.257-270
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• 2022

The aim of this work was to prepare a new biodegradable polyhydroxybutyrate (PHB) submicron fiber mat loaded with hypericin-rich Hypericum perforatum raw extract by centrifugal spinning technology, an alternative approach to the traditional method of electrospinning to fabricate nanofibers or microfibers from solutions at high speed and low cost. Hypericins in methanol/acetone extract of H. perforatum were determined by UHPLC-MS/MS and HPLC/PDA. Submicron fiber mats composed of pure PHB or PHB enriched with H. perforatum extract were prepared using a pilot plant demonstrator for the centrifugal spinning technology and characterized by SEM. Singlet oxygen production was quantified by the 1,3-diphenylisobenzofuran (DPIBF) method in hexane. The results proved a significant production of singlet oxygen by the prepared submicron fiber mat. We also found a significant antibacterial activity against the bacterial strain Escherichia coli CCM 5417 by a method in accordance with JIS Z 2801/ISO 22196 standards. The H. perforatum extract-enriched PHB submicron fiber mats showed potential for the development of self-cleaning and antimicrobial air filters.

• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• 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.

• International Journal of Industrial Entomology and Biomaterials
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• v.4 no.2
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• pp.93-100
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• 2002

Cocoon production, which is a representative of traditional sericulture shifted into silkworm powder production in the spring of 1995. This, infect, signifies the change from the dress-centered textile business to the bio-industry and the functional resource industry. One of the most outstanding shifting is utilization of silkworm larvae for anti-diabetic agent. In Asian countries including Korea, silkworm powder derived from the domestic silkworm (Bombyx mori L.) has long been favored for anti-diabetic agent, but its efficacy was not tested until last decade by modern scientific methods. In this article, we reviewed the major researches on the silkworm powder as a blood glucose-lowering substance. After the beginning test of the efficacy of silkworm powder by a cooperative research between Department of Sericulture and Entomlogy, NIAST, RDA and Kyung Hee University, substantial data have been accumulated so far, In a serial experiment to select best condition, the fifth instar larvae prepared by freeze dry method turned out to have the best blood glucose-lowering effect. In the pharmacological experiment to understand the mechanism of silkworm powder in small intestine, the silkworm powder turned out to inhibit the activity of ${\alpha}$-glucosidase, by competitively binding to $\alpha$-type disaccharides. The animal experiment showed that the extract of silkworm powder prevents a rapid increase of blood glucose level after meal and prevents hunger and law blood glucose level during empty stomach. In the experiment to isolate the major component of silkworm powder, which exerts blood glucose-lowering effect, 1-deoxynojirimy-cin (DNJ) was eventually mass-purified, and it turned out that DNJ isolated from silkworm powder was excellent in its blood glucose-lowering effect. In the experiment to understand the personal difference of the efficacy of the silkworm powder, clinical candidates were divided on the basis of the criterion of traditional Chinese medicine: Tae-Yang, Tae-Um, So-yang, and So-Um. The result showed that silkworm powder has a tendency to reduce blood glucose level at fasting and at 2 hours after meal, and this trend was somewhat obvious in the Tae-Um body type. In summary, we reviewed scientific papers on the efficacy of silkworm powder and its purified DNJ as a blood glucose-lowering agent. These suggest that silkworm powder truly possesses blood glucose-lowering effect as documented in the traditional Chinese medicine, although further researches will be required to develop them as "medical" resource instead of functional food.

• Journal of Science of Art and Design
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• v.6
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• pp.249-266
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• 2004

Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.711-720
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• 2009

Leaf fibers have many good properties; they are strong, long, cheap, abundant and bio-degradable. Since they, however, contain a great quantity of non-cellulose components, they have been used for the materials of mats, ropes, bags and nets rather than those of clothing. In this study, we investigated the characteristics of leaf fibers in order to promote the use of leaf fibers for the materials of clothing as well as develop the high value-added textile fibers. Leaf fiber plants including New Zealand Flax, Henequen and Banana plant, which have various nature and shape, were used. New Zealand Flax and Henequen leaves were cut from lower part of plants. Banana leaves and pseudo-stems were peeled and cut from the stem of Banana plants. First, the thin outer skins like film of leaves, veins and stems were removed before retting. The chemical retting had been processed for 1hour, at 100 in 0.4% $H_2SO_4$ aqueous solution(liquid ratio 50:1). Then, the retted leaf fibers had been soaked for 1hour, at room temperature in 0.5% NaClO solution(v/v) to remove the miscellaneous materials. We investigated the physical characteristics of three leaf fibers including the transversal and longitudinal morphology, the contents(%) of pectin, lignin and hemicellulose, the length and diameter of fibers, the tensile strength of the fiber bundles, and the fiber crystallinity and the moisture regain(%). The lengths of fiber from three leaf fibers were similar to their leaf lengths. The fiber bundles were composed of the cellulose paralleled to the fiber axis and the non-cellulose intersecting at right angle with the fiber axis. The diameters of New Zealand Flax, Henequen and Banana fibers were $25.13{\mu}m$, $18.16{\mu}m$ and $14.01{\mu}m$, respectively and their tensile strengths were 19.40 Mpa, 32.16 Mpa and 8.45 Mpa, respective. The non-cellulose contents of three leaf fibers were relatively as high as 40%. If the non-cellulose contents of leaf fibers might be controlled, leaf fibers could be used for the materials of textile fiber, non-wovens and Korean traditional paper, Hanjee.