• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.173-196
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• 2004

Miroku belief observed in Japanese folklore and popular religions is originated from the faith in a bodhisattva called Miroku (Maitreya) who, depending on Buddhist account, is supposed to appear in this world to save all mankind. This faith, together with the millenarianism inherent in it, was disseminated into many areas of East and Southeast Asia. It developed in various ways, being associated with the religious tradition of each area where it was accepted. In Japanese folklore and popular religions the aspiration for the "World of Miroku", the ideal world expected to be realized in the future, has been its most notable feature. This paper examines the notion of the "World of Miroku" developed in the cult of Mount Fuji in early modern Japan. In particular this paper focuses on the "World of Miroku" appearing in the teachings of Fuji-ko and Fujido, which were the organizations of lay believers. Through the examination this paper made the following facts clear. (1) The notion of the "World of Miroku" developed by Fuji-ko and Fujido had its bases in Miroku belief of Japanese folklore. (2) However the notion of the "World of Miroku" in the teachings of Fuji-ko and Fujido was quite different from that of the folklore. While the "World of Miroku" appearing in the folklore is characterized by good harvest and abundant gold and silver, Fuji-ko and Fujido leaders thought that all people, including the emperor and the shogun, would earnestly carry out their house business, do their best to promote the happiness of the others, and pray for the salvation of all mankind in the "World of Miroku". (3) The notion about the changes of the world, which was particular to Fuji-ko and Fujido, accounts for such development in the concept of the "World of Miroku". According to the notion the current world was recognized as the second stage, between the original world in the past and the "World of Miroku" in the future, in the history of human beings. This idea helped the leaders of Fuji-ko and Fujido to develop the theories of world renewal, in which the wrong doings of the rulers and poor morality of the people were to be corrected in the "World of Miroku". (4) One of the most important features of the "World of Miroku" was the equality between men and women according to the teachings of Fujido. Both Fuji-ko and Fujido had opposed to the prevailing view of women, in which women were regarded as being sinful and polluted. Fujido further tried to improve the status of women in their families and the society. (5) In accordance with such an innovatory view, Fujido challenged the custom of excluding women from sacred places, Mount Fuji in particular. Through clarifying these facts this paper shows that Miroku belief could function as a basis for developing the ideas concerning the world renewal in early modern Jap

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• Journal of Fashion Business
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• v.24 no.5
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• pp.52-71
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• 2020

This study examines the color characteristics of the usage of the color pink in menswear by analyzing its usage status and method. It involves an empirical research method establishing the frame of the study through a document study centered on trend, gender neutral considerations, and the utilization of the color pink in men's fashion, by analyzing the characteristics of color and tone by extracting the pink color shown in menswear collections as well as analyzing and categorizing the fashion image and genderless characteristics. Analyzing the color and tone of the pink color shown indicate that bright, light and pale tones had higher proportions. Pink color can also be said to be utilized as a design element that gives off a younger and more vital color image in menswear. Further, the use of brighter and softer pink colors can be interpreted as reflecting modern society's demands of masculinity to change into a more sophisticated and soft image. To analyze the characteristics of the color pink utilized in gender neutral fashion, fashion images were presented as the analysis standard. An image grouping technique was used to classify pink while utilizing genderless types-fashion style. The result showed that even with the same pink color, the fashion image can vary with different methods of expression in terms of clothes and styling. The results of this study can serve as basic data for planning fashion design concepts as it analyzed pink-using fashion images and the genderless concept type.

• Journal of Fashion Business
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• v.10 no.1
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• pp.164-177
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• 2006

The purpose of this study was to analyze the differences in the image perception of dress shirts, the shirts style preference, the men's fashion consciousness, the shirt purchase attitude, and the usage of the information source between the Daks group(44 respondents) and Renoma group(21 respondents), for developing the possibility and strategy of the dress shirt market in men's wear market for the apparel marketers and manufacturers. For this study, the data obtained from 65 respondents were analyzed by descriptive statistics, Pearson's simple correlation, ANOVA. The results from the study were as follows ; The 6 stimuli for image perception rated on 5 point Likert-type scales in the 12 features were evaluated by perceivers. By the best 3 features abstracted from each stimulus, the shirts styles were named, they were Basic style, Soft style, Sophisticated style, Modern casual style, Mannish style, and Trendy style. There were significant differences in the image perception of Mannish style, the preferences of shirts style, the fashion consciousness, the shirt purchase attitude, and the usage of the information source between the Daks group and Renoma group.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.2
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• pp.471-474
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• 2015

Background: Male and female breast cancers were investigated for variation in the clinicopathologic characteristics and expression of steroid hormone receptors in the northeast of Iran. Materials and Methods: Tumor specimens of 17 males and 338 females with breast cancer were collected at the hospitals of Mashhad University of Medical Sciences. Immunohistochemical expression of hormone receptors and clinicopathologic features of breast cancer were compared between two groups. Results: The mean age in men was 15 years higher than women (p=0.000). Males and females were mainly in stage II and III respectively (p=0.007). Although more than 60% of male and female patients were grade II, the respective figures for grade I and III were 25% and 12.5% in men but 7.1% and 27.2% in women respectively (p=0.025). ER was significantly more positive in men against women; 82.3% versus 53.4% (p=0.016). The related measures for PR was 58.8% and 50.3%, respectively (p=0.424). Males also showed significantly more ER expression than postmenopausal females; 82.3% versus 48.9% (p=0.010). Conclusions: Breast cancer in males and females contrasted in age at diagnosis, histological type, stage, grade and ER expression which emphasize they are separate diseases with different behaviors.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.113-130
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• 1998

This is a study on the ㄱ-shaped church in Korean Protestant churches. Since the Protestantism had been introduced into Korea, the style of ㄱ-shaped church was the popular style that have been fashioned in all the country of Korea. When the Protestantism was introduced into Korea, ideology which ruled over the Society of Chosun Dynasty was the Confucianism that emphasized the precepts, for example, the loyalty for the King, distinction between the sexes and so on. The Korean Protestants built the church which had ㄱ-shaped plan, so that they solved the second problem : 'distinction between the sexes'. The style of the ㄱ-shaped church is one of the characteristics which distinguish the Korean church from other nations'. Actually the ㄱ-shaped churches had been built by Korean Protestant denominations, from the early days of introducing the Protestantism till the end of 1920's. Even though most of the style of the ㄱ-shaped church is replaced with the modern style according to the extension of religious influence, luckily the ㄱ-shaped two churches : Kumsan Church(1908), Toodong Church(1929) are in existence in the Provice of ChonBuk. The purpose of this study is to make the architectural characteristics of the ㄱ-shaped church clear. This study is based on the actual survey of the ㄱ-shaped churches in existence: Kumsan Church, the Toodong Church and on the documents, photographs, interviews and so on for investigation not existing one now. The ㄱ-shaped church have the plan to separate men's side from women's with a right angle and have a pulpit which was placed at the meeting point of the front part of men's and women's sides. Generally, seen from the court, the churches have men's side in left and women's one in right. There was a screen blocking both sides in the church. But it disappeared in 1920's according to the change of the social conventionality. Most of its structural form is the Korean wooden style. The ㄱ-shaped church appeared in a transition period of the Korean church architecture.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.96-104
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• 2011

Assuming that different spatial types involves the change of observation time to acquire the spatial information, this study intended to analyze the observation time by interior space types and derive the proper time for spatial evaluation. Coming to the study method, in order to analyze the characteristics of observation time in the image evaluation of interior space by types, it looked into the observation time chosen by the testees during evaluation. The findings of this study are as follows: First, the observation time differed by genders and spatial types: men's average time was longest for modern (93.3 sec.) and natural (89.4 sec.) spaces; women's average time was longest for classic space (110.7 sec.), which was the shortest for men. Second, the intensity of observation time zone differed by spatial types: this finding can imply that different design types require different establishment of observation time for evaluation even if the spatial elements are the same. Third, analyzing the distribution of time zones chosen by most testees showed that men's observation time zones were more intensely distributed than those of women. Fourthly, the observation lime for general space could be derived from the gender-based comparison that excluded the difference by types, but considering that different design types lead to different observation time, it could be seen as proper for evaluation of interior space to establish the difference of observation time by spatial types. Finally, Analysis showed the highest preference to the time '(3)'. However, obtaining information presented is the most highly effective time is '(6). Thus, the preferred time zone is different and effective, according to the results of the analysis.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.423-438
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• 2021

This study compared and analyzed the direction of Louis Vuitton creative directors Kim Jones and Virgil Abloh. Accordingly, 485 photos(251 Kim Jones, 234 Virgil Abloh) were collected. For data analysis, statistical and content analyses were combined. First, as for the overall design characteristics of creative director Kim Jones, complex colors, colorful barrels, tone-in-tone color schemes, H-line, plain fabrics, soft materials, heterogeneous material combinations, casual style. Second, as for the overall design characteristics of creative director Virgil Abloh, achromatic color, colorful tone, tone-on-tone color scheme, I-line, plain fabric, soft material, similar material combination, casual style. There were significant differences in color, tone, color scheme, silhouette, pattern, material type, material combination, fashion image, detail, trimming, top and bottom that differed in the creative directors' design direction. Therefore, it appears that Kim Jones has been directing the luxurious and unique men's wear through H-line, coat and slim pants, colorful color combination, soft material, heterogeneous material combination, plain fabric, and chic active sensibility. Meanwhile, Virgil Abloh is directing men's wear in a loose and trendy street mood through the I-line, jacket and wide pants, achromatic color, soft material, plain fabric, similar material combinations, and soft and sophisticated modern sensibility.