• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.140-159
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• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.113-128
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• 2004

This study examined textiles used for ancient costumes of the $16{\cdot}17th$ century in Joseon period, focusing on fabric types and patterns of the costumes from tombs. The purpose of this study was focused on investigating the relationship between fabrics and social backgrounds, especially change in using fabrics through the war from Hidyoshi's Invasion of Korea in 1592. Since the war must have had an effect on the life of people's. The result of the study is that silk occupies $69{\%}$ of all textiles, and cotton, linen follow The weaving method of silk was primarily Plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo Period, were considerably decreased in Joseon Period. Types excavated fabrics in the $16{\cdot}17th$ century Joseon period can be said various. Of this, silk was the most remarkable one till Hidyoshi's Invasion of Korea in 1592, when the ratio of patterned silk dramatically decreased. Contrarily, the ratio of cotton and plain fabric increased rapidly in Hidyoshi's Invasion of Korea in 1592. It is supposed that the result is largely due to unusual condition of the war time. After the war, it is estimated that use of pattened fabric as well as silk was decreased. Patterns of textile fabrics in $16{\cdot}17th$ century were various. In result of surveying a trend of increment and decrement, it is known that the ratio of patterned textile fabrics decreased dramatically in Hidyoshi's Invasion of Korea in 1592 and Manchu war of 1636. Tendency of textile use by social Position is more notable. It is appeared that a lot of silk fabrics were used in High hierarchy. The excavated remain and ratio of silk were the highest in Kyonggi Province including Seoul.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.730-738
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• 2012

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata 'I Will Rise'. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of 'I Will Rise' is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

• Journal of Fashion Business
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• v.10 no.1
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.53-64
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• 2000

The purpose of this study was to investigate the historical changes of western men's underclothes in the first half of the 20C and analyze functions and features of men's underclothes. This study was to utilize many literatures in the analysis of historical changes of western men's underclothes. In the 1900's, the attached collar was giving place to the detachable, and the coloured shirt for day wear was becoming accepted. The correct wear fur various occasions was given. Double collar was the favourite for day wear. The dress-shirt protector worn over the dress-shirt front. Men preferred to vest and pants in one as a combined garment. In the 1910's, underclothes were permitting freer movement, but what was still more significant was the glowing inclination to reduce the layers which covered the body. The new conception of decency which was beginning to appear continued to characterize underclothing the symbols of social rank, expect for formal occasion, were declining. For day the white shirt was being displaced by the soft-fronted shirt. In the 1927-1930's, Underclothes were reduced in number, extent and thickness. Underclothing had lost two of its original function : it no longer preserved the warmth of the body, nor did it disguise its essential shape. Both sexes discarded the use of white underwear, In the 1930's, men saw an increasing preference for the coloured shirt. Combinations became increasingly popular and the singlet were displacing the under-vest in the 1930's. All undergarments were very commonly in natural colours. In the 1940's, for evening dress. shirt was plain linen front and square cuffs. Short trunks reached to mid-thigh, had a front waist yoke with three button fastening. Underclothes were pursued ease and activity.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• Fashion & Textile Research Journal
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• v.7 no.6
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• pp.577-584
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• 2005

The aims of this study are primary data offer to silver fashion enterprise. In order to deduce design from diverse needs of silver generation, this study is required expert knowledge. For this purpose, this study applied two rounded Delphi method in which 31 experts. As a result, the following findings were obtained; From the previous studies, we found the physical changes of women in silver generation; i.e. the size of their waist and abdomen gets larger, their breasts are sagging, their limbs are thinner, upper body is bending, their height and weight get shorter and lighter. Their choice criterion of design of clothing is hide their weak points in body, youthfulness, moderate, and fashion style. Youthful design but patterns should agree with their body line so that they should be easily fit and look young. They like a jacket and pants set best regardless of spring or summer and as upper garment, they like semi fit, as pants, they prefer straight line of ankle length, and as skirts, partial elastic band and pleats, and the length of the skirts just cover their knees. This pattern in choosing their clothes represents they consider functionality as well as the aesthetics. Their preferred color for spring is lt/pink, lt/violet lt/green for summer, white and blue. Their preferred materials are wool/poly/spandex and cotton/spandex for functionality for spring, and for summer, linen poly and cotton poly seersucker for cool feeling and stability. In both top and bottom item, solid pattern follows small one in their preference on patterns, which shows that they are in pursuit of an elegant style. Our research based on this survey tries to establish what the fashion design for the silver generation should take into consideration.

• Journal of Fashion Business
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• v.20 no.1
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• pp.82-97
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• 2016

This study attempted to summarize the characteristics of fashion in the 1930s which were the background of 'Bonnie and Clyde' and analyze how fashion in the 1930s was expressed through costume in the movie, focusing on some critical scenes. For this, previous studies and domestic & foreign books, magazines and DVDs relating to movie costume were examined. For analysis of movie costume, 'Bonnie and Clyde (1967)' DVD was referred to. In the movie, meaningful scenes were captured using a GOM Player. Then, the study results found the followings: First, in terms of women's fashion in the 1930s, adult look and slim & long silhouette which naturally revealed breast, waist and hip with a long skirt, a military look with strong shoulders and tailored costume were found. In terms of men's fashion, in contrast, the Duke of Windsor Style (a slim silhouette jacket and loose pants) was popular. Second, in the movie, Bonnie's costume started with a slim linen H-line dress at her first meeting with Clyde. While committing crimes and becoming a famous gangster, she displayed the fashion styles which were in vogue in the 1930s such as fancy and luxurious slim dress, tailored suit and trench coat. Third, in terms of Clyde's costume, from his first meeting with Bonnie to his first crime, he put on common costume (ex: pants, vest, shirts, etc.) which revealed his open and unconventional character. After he became a famous gangster, he would wear the Duke of Windsor style (jacket, vest and pants). The study results well describe movie costume's role as visual language which expresses characters' inner circumstances and outer situations that reflect socio-cultural background.

• Asian Pacific Journal of Cancer Prevention
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• v.14 no.1
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• pp.75-80
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• 2013

Background: Breast cancer is the most common cancer diagnosed in females in Sri Lanka and early detection can lead to reduction in morbidity and mortality. Aim: To evaluate selected aspects of breast cancer early detection services implemented through well woman clinics (WWCs) in the Gampaha District. Methods: The study consisted of two components. A retrospective descriptive arm assessed clinical breast examination (CBE) coverage of target age group women (TGW) of 35-59 years in all the WWCs in Gampaha district over 2003-2007. A cross sectional descriptive study additionally assessed quality of breast cancer early detection services. The Lot Quality Assurance Sampling (LQAS) technique was used to decide on the lot size and threshold values, which were computed as twenty and six clinics. Checklists were employed in assessing coverage, physical facilities and clinic activities. Client satisfaction on WWC services was assessed among 200 TGW attending 20 WWCs using an interviewer-administered questionnaire. Results: CBE coverage in the Gampaha district increased only from 1.1-2.2% over 2003-2007. With regard to physical facilities, the number of clinics that were rated substandard varied between 7-18 (35-90%). The items that were lacking included dust bins, notice boards, stationary, furniture and linen, and cleanliness of outside premises and toilets. With regard to clinic activities, punctuality of staff, late commencement of clinics, provision of health education, supervision, CBE and breast self-examination (BSE) were substandard in 7-20 clinics (35-100%). Client satisfaction for WWC services was 45.2% (IQR: 38.7-54.8%) and only 11% had a score of ${\geq}70%$, the cut off set for satisfaction. Conclusions: Breast cancer early detection service coverage in the Gampaha district remained low (2.2%) in 2007, 11 years after commencing WWCs. All 20 clinics were substandard for overall CBE and BSE.

• Child Health Nursing Research
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• v.17 no.4
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• pp.238-246
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• 2011

Purpose: The purpose of this study was to identify pediatric nurses' attitudes to, and compliance with, standard precautions in the prevention of hospital infections by enhancing their practice of standard precautions. Methods: The participants were 206 nurses who worked in pediatric nursing departments of a general medical institution in Seoul. The questionnaire was a modification of Kim (2008) and consisted of 18 questions about hand washing, personal protective equipment, sharps, linen and patient care equipment. Collected data were processed using SPSS 15.0 WIN. Results: Mean scores for attitudes to standard precautions and for compliance with standard precautions were 4.43 (${\pm}0.83$) and 4.22 (${\pm}0.44$) respectively. This difference was statistically significant (t=3.368, p=.001). The nurses' compliance with standard precautions differed significantly according to the general characteristics of age (F=8.705, p<.001), total clinical experience (F=9.426, p<.001), current department experience (F=6.555, p<.001), and education experience (t=0.616, p<.043). There was a positive correlation between attitudes to, and compliance with, standard precautions (r=.156, p=.025). Conclusion: The results of this study indicate that educational programs and policy on infection control and standard precautions for pediatric nurses are needed. Also these results should contribute to baseline data for establishing appropriate clinical policy on infection control.