• Human Ecology Research
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• 제56권4호
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• pp.407-416
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• 2018

This study investigated the characteristics and changes of Jeongbang-village silk culture Jeollanam-do Province during Japanese Colonial Rule with a focus in on Gokseong-gun & Damyang-gun Jeongbang-village. The results of the study are as follows. First, after Japanese occupation, it changed from a traditional silkworm species, the Joseon Silkworms and the mulberry tree to an improved Japanese species. Japan established a silk spinning mill called Jongyeon Textile factory in Gwangju and Jeongbang Village was formed in poor rural areas. Second, the way of village management consisted of buying a large number of land for mulberry plans and creating mulberry fields as a cheap way to utilize the labor force for women and men in rural areas. Third, since the end of the Japanese colonial era, mulberry fields in Jeongbang villages which the Japanese left, were sold at a cheap price to Koreans. After the Korean War, the Korean government's efforts to modernize the silkworm industry resulted in a continuous plan to increase the number of silkworms. The impact of government policies has also increased the production of silkworms in these areas. However, since the early 1980s, Korean companies have been affected by Japanese economic policies and dumping by China that has resulted in in a sharp decline in their production. In the case of Gokseong-gun and Damyang, the production of silk products was halted and switched to other crops in the early 1990s when the farming industry began to decline.

• 복식
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• 제66권7호
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• pp.69-88
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• 2016

The purpose of this study is to delve into the identity of the New-Hanbok style in modern fashion, and to survey its formative characteristics and internal values from the perspective of vernacular design. Arguments can be summed up as follows. The study historically examines the changes in Hanbok and concludes that the social and cultural backgrounds and factors that caused the advent of the New Hanbok are (1) the change and expansion of the basic social, cultural, and popular perception toward the Korean image, (2) the rapid spread of a subculture centering on the younger generation, and (3) the voluntary and systematic activities of nonprofit clubs, communities and private organizations. This is the cycle of the spread of Hanbok, which shows the subcultural selection and development process of upward propagation. Furthermore, the public, in addition to holding fast to an independent attitude regarding their choices, also show that they tolerate diversity. As a perspective of analyzing the New Hanbok style, the study suggests the characteristics of the vernacular design perspective as (1) a spontaneous indigenous nature (2) living everydayness (3) and the subcultural-ness of the era. From such a perspective, the study examines the formative characteristics of the basic costume configuration of the New Hanbok style including jeogori, traditional Korean skirts, Cheollik one-pieces, and Trompe l'oeil one-pieces, and draws out the meanings contained in the New Hanbok style, which are (1) spontaneous indigenous nature and directivity toward tradition, (2) living everydayness and modernity, and (3) open subcultural-ness.

• 복식
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• 제59권2호
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• pp.1-17
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• 2009

This study is to understand the characteristics of Korean Women's Jeogories in modern times on the changes of its color and coloration over the time. The research was that the characteristics of the costumes produced in modern times ($1890{\sim}2000$) can be categorized into six periods according to the change of times. 1106 women's Jeogories were researched intensively in order to understand them, the conclusions are following: When the Chi-Square Test is applied to conduct cross analγsis of the said six periods divided on the basis of relevant theories, it is found that there is just partial difference in the hues in1890-1959 while there has been a big change in the hues of all Jeogories since 1960. It also seems that such a sudden change In hues took place till the end of the 1970s but there have been no significant difference and no distinct changes in hues sin[e the 1980s. As for color tones, high luminosity and low chroma hues were mainly used in all periods, but low luminosity and high chroma hues have been frequently used since the 1960s. It indicates that the long-used conventional and traditional colors gave way to various colors which were freely applied according to the tendency of individualism In the selection of colors as well. As for the coloration, one-color arrangement was predominant in white clothes while the combination of main color Y and supplementary rotor R was overwhelming in two-color arrangement. After the 1960s, not just the five major rotors but diverse colors, including bluish green, dark blue, were used, even varied patterns for linings.

• 복식
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• 제59권8호
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• 패션비즈니스
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• 제25권1호
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• pp.80-95
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• 2021

In the modern fashion industry, the application of different materials along with an emotional design is emerging as an important factor stimulating consumer sentiment. This has led to the diversity of materials and continued active research on materials. Traditional Korean paper is expressed in various ways in the field of visual arts based on Korean sentiment and unique formative characteristics. Hanji costumes have been produced in various ways over the past 20 years utilizing Hanji's physical characteristics, showing unique surface texture and various techniques that differentiate them from existing fabrics, making it symbolic in expanding the area of fashion materials. In this work, various techniques were developed by utilizing the nonwoven characteristics and excellent variability of Hanji while considering visual images, focusing on the delicate decorations and materialistic representations of wedding dresses. In addition, minimal wedding dresses with unique textures were produced to realize fantasy ideas and show surface aesthetics, confirming as a fashion material different from that of existing wedding dresses. The direction of high value-added creation for the industrialization and globalization of Hanji wedding dresses was presented, and the usefulness and scalability of Hanji materials for practical and industrialization were identified in materials that expressed visual art. To in the fashion industry, which is changing in both the wedding industry and the global market, the development of materials with high sensitivity images and original and solid identity should continue.

• 복식
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• 제57권3호
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• 복식
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• 제59권5호
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• pp.41-52
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• 2009

In contemporary art, soft materials are used in various forms and ways as a medium expressing contingency beyond a simple nature of materials. In the late 1960's, the appearance of soft sculpture as a refusal of the stereotyped 'Erection' characteristic of traditional sculpture served as an opportunity for more attention to soft materials. Fashion is the reflection of age, and the mirror of society, culture and arts. In other words, soft sculpture and fashion are artistic behaviors in the same context, which have neither been fixed nor erected. This study finds its significance in analyzing correlation between soft sculpture and fashion, and the importance of contingency as artistic expression means in this age when boundaries between genres are obscure, and artistic values are given to fashion. By doing so, it aims to present the direction toward which fashion should face in the future, establishing a new aesthetic consciousness with which more creative and various expressions are available in fashion as well. This study presented as its theoretical background the concept of soft sculpture affected by Marcel Duchamp among representative examples of the contingency that started to appear in art starting in the early 20th century. It also analyzed the soft sculpture appeared in 1960s and the expression methods and features of contingency appeared in fashion after late 1990s through a new approach of piling up, hanging up, and tying, three categories classified by Maurice $Fr{\acute{e}}churet$. Common features of the contingency expressed in soft sculpture and fashion were derived in the analysis, which are intensive effects of energy, values given to physical properties themselves, and esthetics of anti-form.

• 복식
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• 제59권5호
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• 한국의류학회지
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• 제34권11호
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• pp.1844-1858
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• 2010

Ethnical tendency follows the current political, economical, and cultural influence eastwards, highlighting films, architecture and interiors as well as fashion. With this tendency, the ethnic outfits are expressed by various styles. This study analyzes the features of current ethnic styles with 1,535 ethnic image pieces from 2005 S/S to 2010 F/W of Pr${\^{e}}$t-${\'{a}}$-Porte in Paris and Milan. First, 'ethnic' is to refer to the distinct features of an ethnic group or a country. 'Ethnic look' refers to the adaptation or re-arrangement of various ethnic group's traditional costumes, dying, textile, patterns, color, silhouettes, and accessories. Second, the most popular ethnics in the modern fashion is the African style, followed by India, Japan, China, and Latin America in both collections. Third, the proportion of ethnics decreased, 2005 (14.9%), 2006 (12.8%) and 2007 (8.2%). In 2008 the proportion increased again. 2010 (27.3%) and compared 2010 to 2007, it increased by 20%. By season, S/S had 1.4 times more ethnic styles than F/W with the prevalence of African and Indian styles. Fourth, as of 2005, the ethnic style became colorful and went through changes to combine various images. This is from the polycentric tendency of co-existing various styles with a prevalence of low tone and various colors. It also shows warm colors in front to show a sense of nature.

• 한국근적외분광분석학회:학술대회논문집
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• 한국근적외분광분석학회 2001년도 NIR-2001
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• pp.1272-1272
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• 2001

Eutrophication processes of aquatic environment are strictly correlated with the concentration levels of nitrogen, phosphorous, organic matter and biological parameters such as phytoplankton and chlorophylla (Tremel, 1996; Burns et al., 1997; Young et al. 1999; Wei et al.,2000). Accordingly, the monitoring and evaluation of these factors will provide useful information about the health of aquatic ecosystem. However, the traditional types of auqatic chemistry analysis and ecological monitoring of phytoplankton are time-consuming, costly, and further resulting in secondary pollution due to the use of reagents. NIR (near-infrared) spectroscopy, as a rapid, non-destructive, little sample preparation and reagents-free technology (Hildrum et al., 1992), has been extensively applied to the characterization of food (Osborne and Fearn, 1988), pharmaceutical (Morisseau and Rhodes, 1995) and textile materials (Clove et al.,2000). Currently, NIR technology has been used indirectly in inferring lake water chemistry by two approaches, suspended (Malley et al., 1996) or seston (Dabakk et al., 1999), and sediments (Korsman et al., 1992; Malley et al., 1999). In addition, the evaluation of trophic state and the identification of the key factors contributed to the trophication are the key step to restore the damaged aquatic environment. Moreover, an understanding of the factors, which regulate the algal proliferation, is crucial to the successful management of aquatic ecosystem. In the paper, NIR technology will be used to study the environmental factors affecting the algal proliferation in combination with the trophic state index and diversity index. This novel developed system can be applied in monitoring and evaluating allopathic water environment and provide real time information services for the aquatic environment management.