• Bulletin of the Korean Chemical Society
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• v.32 no.9
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• pp.3229-3232
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• 2011

A FRET-based high-throughput screening system was developed for the discovery of competitive smallmolecule Hsp90 inhibitors. The biarsenical fluorescein derivative FlAsH and dabcyl-conjugated Hsp90 inhibitor GM were employed as the FRET donor and quencher, respectively. The spatial proximity perturbation between FlAsH-labeled Hsp90N and GM-dabcyl upon treatment of a small molecule led to changes in the FRET-induced fluorescence, monitored in a high-throughput fashion.

• Cross-Cultural Studies
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• v.25
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• pp.131-158
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• 2011

In the Sakha(Yakutia) Republic, culture and politics continue to be interwined. Shamanism recently has come out of hiding after Soviet repression, and into fashion. Images of the shaman are changing in villages, where traditional healers have maintained their practices in difficult conditions, and in cities, where a resurgence of spirit belief and healing has led to the revitalization of their nationalism. Shamans and folk healers manipulate their own images, and in turn are changed by the upheavals of politicized cultural revitalization. In this complex and interactive context, folklore about traditional shamans has become especially rich and accessible. I argue here that religion has become an idiom through which competing definitions of homeland and national pride are being shaped. Until September 2002, Yakutsk had never had a 'temple' devoted to the practice of traditional shamanic beliefs. Indeed the whole concept that a building 'Archie Jiete' could contain or represent the beliefs, values and rituals of the Sakha people was new, and highly controversial.

• Journal of Fashion Business
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• v.13 no.6
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• Journal of Fashion Business
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• v.11 no.4
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• pp.135-151
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• 2007

This study is human body measurement of 200 adult males in their 20s by both direct and indirect methods in order to reveal the representative male upper body types. Composition factors of body types were classified while the combination of direct-indirect measurement values was chosen. The following are the findings: 1) The analysis of direct-indirect measurement statistics showed the following results: 173.80cm (height), 69.87kg (weight), 95.58cm (chest girth), $24.67^{\circ}$ (right shoulder angle), and $9.34^{\circ}$ (shoulder width angle). 2) The factor analysis of the body types by direct measurement produced 5 factors: 1 (front length of upper body), 2 (front length of upper body), 3 (back length of upper body), 4 (circumference of upper body), and 5 (shoulders length). These factors accounted for 90.08%. Also, the cluster analysis of factor scores led to 3 types: 1 (33%, short, comparatively wide shoulders and full in the hips), 2 (25.1%, well-developed upper body in tall, inversed triangle), 3 (41%, average height, short upper body). 3) The body-type factor analysis by indirect measurement resulted in 6 factors with the explanation of 83.24%: 1 (rear upper bady thickness), 2 (front upper body width), 3 (front chest thickness), 4 (left-right shoulder angle), 5 (front width of protrusion distance in chest and shoulders), and 6 (neck's front-rear side angle).In addition, the cluster analysis of factor scores brought about 4 types: 1 (15%, well-developed front chest, beardless waist), 2 (23.5%, flat chest, with shoulder, drooping shoulders, strait neck), 3 (39%, with shoulder, curved back), and 4 (22.5%, narrow and thin, curved waist). 4) Among the 118 subjects (75%), 58 subjects commonly appearing in indirect measurement values group and direct measurement values group were chosen the representative body type group according to asterisk indexes. They had the highest frequency in direct type 3 and indirect type 3, whose combination represented the physical characteristics of the representative body types.

• Journal of Fashion Business
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• v.5 no.2
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• pp.49-65
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• 2001

This thesis aims to reveal the unsatisfactory unfitting factors in the tight collars of adult males' dress shirts for the purpose of improving neck-collar fitness. For this study, nine adult males were chosen as the subjects. When the subjects erected their necks upright, the researcher conducted an experiment, using the direct anthropometrical measuring method and the gypsum method by turns, in order to understand neck shapes by way of right-neck lateral flection, left-neck lateral flection, neck flection, neck extension, right neck rotation, and left neck rotation. And then, the propriety of allowances from body surface alteration was verified by analyses through the measurement of wearing comfortableness and clothing pressure in two sorts of ready-made dress shirts, which had different allowances. The consequences of this study are as follows: 1. In length alteration to movement, a decrease was found in the opposite (and an increase in the identical) directions of right-neck lateral flection, left-neck lateral flection, and neck flection movements. Also, when the subjects shook their heads, an increase was seen by 0.42$\sim$0.63cm in neck girth, 0.31$\sim$1.12cm in 3cm-above-the-neck base girth, and 1.16cm in neck extension of 3cm-above-the-neck base girth. 2. As a result of the drafts of surface measurement, the alteration ratios of dimensions and vertical length dropped in the identical directions of the movement, but grew in the opposite directions. A reverse change was shown in horizontal length. The rough widening gaps for making drafts were 0.7cm in front left and right, and 0.2cm in back left and right of 3cm-above-the-neck base girth. On the whole, the space was about 1.8cm, while there was no significant variation between the upright stationary test and the movement test. 3. There were important differences between the two kinds of ready-made dress shirts (Type A: 1cm allowance in neck girth; Type B: 2cm allowance) in clothing pressure and wearing comfortableness. That is, Type A had higher pressure and more uncomfortable sense of wearing. In other words, as clothing pressure and wearing comfortableness are negatively related to each other, Type A's greater clothing pressure led to worse wearing comfortableness.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.1
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• pp.80-90
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• 2011

The purposes of this study are clarifying the characteristics of women's hair style in the late Joseon Dynasty by inquiring into that hair style and, by extension, having a new understanding of the aesthetic consciousness of women in those times. The typical hair style of married Joseon women was Ungeonmeori and Jjokmeori, with Ungeonmeori being much more popular. Regardless of socioeconomic status, women used a big Gache as long as conditions permitted. Meanwhile, some women who led the trend or followed the national policy did Jjokmeori and wore Jokdoori. The Joseon Dynasty had a strict clothing system. However, giseangs were free from this restriction and they were free at attire. Therefore, they led the fashion trend. Both noble and common women followed the trend, imitating giseangs' attire. Women's hair style was used as a tool to express one's personality in the late Joseon Dynasty when the hierarchy was already weakened. In fact, it seems that women in those times cared more about hair style trend than clothing trend. This means that those women already had such a high quality of aesthetic consciousness that they showed their hair which is the closest to the face to advantage.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

• Journal of the Korean Society of Costume
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• v.30
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.93-106
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• 2016

The aims of this study are to elucidate the relationship between the luxurious trends of costumes and the importation of Ming's patterned textiles in the $17^{th}$ century, and to analyze the similarity between certain Joseon and Ming fabric patterns. After Imjinwaeran[임진왜란] and Byungjahoran[병자호란], more diverse Joseon textile patterns appeared. Generally, wars lead to a shortage of luxury goods and basic commodities. However, $17^{th}$ century Joseon had an abundance of luxury goods, which allowed even some commoners to have clothing made of Chinese silk. That was the result of free trade between the Koreans and the Chinese merchants in Joseon. Ming's merchants followed the Ming's troops into the Korean Peninsula and targeted Koreans to sell their goods, such as fur coats and fur hats. Free trade between Ming and Joseon took place at Junggang [중강] and Donggangjin [동강진]. Joseon imported Chinese textiles there and resold them to Japanese merchants. Some of the Changgi Chung's excavated fabrics might be an evidence of the import from the Ming. These fabrics had the inscription and were similar to Ming fabrics. It can be assumed that trade occurred between Joseon, China, and Japan, as fabrics found in the countries had similar patterns such as flower, bee, and four seasons, which represented longevity. Furthermore, Chinese fabrics might have triggered Joseon's weaving skills to develop, which led to the ability to weave refined and beautiful brocade satin at Sangbang [상방]. According to Uigwe[의궤], Sangbang could weave silk fabrics in the 1620s and 1630s. The improvement of weaving techniques might make it possible to weave some popular patterns at Sangbang.