• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.19-33
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• 2008

Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.

• Journal of Fashion Business
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• v.10 no.1
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• pp.1-19
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• 2006

The purpose of this study is to investigate the social and cultural background of hand-knitting things with handcraft feeling which is appeared conspicuously after 2000. And to analyze the types and characteristics of hand-knit design. The resorts of this study is as follows: First, it is found that the pattern of stitch in their forms and ornament technique of handcraft feeling are the remarkable factors to decide the specific designs in the most of hand-knit designs. The major forms are plain stitch, rib stitch, cable stitch, lace stitch, relief stitch and pile stitch and the ornament techniques such as patch work, fringe, embroidery and collage are being widely used. Second, after 2000, due to peoples' preference for handcraft feeling manufactures, pursuit trend of artless luxury by retouch appeared, it made feeling for recurrence of the past and the warm humanity. In addition, the pro-eco trend using pro-environment materials and capturing the nature as images are on its way to advance. Through the mix & match of materials, details and items, it becomes possible to express many kinds of images. Thanks to those characteristics, the hand-knit designs are now acknowledged as luxurious with the couture sense attached and are shaking off their previous image of recycling.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.33-45
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• 2013

This work developed the basic motive design utilizing the physical beauty of the traditional ornaments used uniquely by Korean females and suggested some textile designs and fashion cultural product designs. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as well as literature examination. The motive was mainly based on the dwiggoji and ddeoljam, which are female ornaments. The formative shape in woman ornaments was classified into four kinds: plant, animal, geometry, and hybrid. The hybrid type was divided further into such combinations as plant, animal, and geometry, which came up with 8 fundamental motives for design development in total. With regard to the basic motive design, the coordinated concept was adopted with a combination of traditional taste and contemporary taste in harmony for the expression of delicate image on the condition that the basic format in female ornament is maintained. Textile design was processed with symmetry, rotation, repeat, and overlap as fundamental motive. As to the design for fashion cultural products, design mapping was proposed for neckties, handbags, clutches, shirts, and one-pieces. Utility and beauty in the traditional ornaments unique to Korean women could be recognized once again through this work. This work also assured the possibility for the endless improvement as a design development motive with originality.

• Journal of the Korean Society of Costume
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• v.37
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• pp.149-162
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• 1998

This study is thed Embroidery, Cross-stitchery, Weaving, Wax-Printing of technique and design appeared in textile of Miaos dwells in south-west among the minority people of china. The study is as follows. First, the technique of textile1) satin stitch, couching stitch, french-knot stitch, etc. using anther silk thread or cotton thread color 2) cross-stitchery 3) hand-weaving technique which is shaped other warp or weft using simple loom 4) the technique of dyeing of pattern using effect with wax. These methods are singly used mixing together, therefore doubled beauty. Second, these technuque of ornament have other independence, specially ornament apron, sling, sleeve borders, slack borderss, edge of upper garment, take off and put on easily, heighten effect of various ornament, can preserve many years. Third, Maker, female born in this country fashion by need of herself, used liberal method shown in unique creativity of life. This texture make standards capable female proud of intelligent and skill of herself. Fourth, Design appeared in textile like as pattern flying bird in the sky, strolling beast in the field, lion rolling gem, laughing dragon winding snake at gem, birks, flowers, fish, butterfly is used as the wish of long life, a lucky sign. They expressed creativity and unique conception using formation : the technique transform other shape using by omitting or adding or overestimating. Geometric pattern of tartan, revealing, Fifth, composition structure having balance and symmetry or contradiction towards center and circumstance of the center harmonized repeatedly method, expressed unique artful attraction by full composition.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.71-85
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• 2002

The purpose of this study is (1) to research on the diverse evaluation criteria suggested in the existing literatures, selected the contents of the evaluation according to the evaluation factors, and examined whether they are appropriate for the evaluation of websites that offer Clothing and Ornament related information through reliability analysis - all to set the evaluation criteria for the websites that acquire data. In addition. (2) contents of evaluation which are deemed important by the users and developers were compared and recommended as the detailed evaluation contents according to evaluation factors. The results of this study were as follows. 1. The evaluation factors for the fashion websites that provide Clothing and Ornament related information were selected as follows: contents of the information(11 contents of evaluation), ease of use(12), screen design(10), accessibility(9), sensitive enjoyment(4), scope of information use(3), purpose(1), and target user(1). As result of reliability analysis. Cronbach's a contents of the information (0.76), ease of use (0.77), screen design (0.85), accessibility (0.81), sensitive enjoyment (0.71), and scope of information use (0.52). 2. When the level of importance for the detailed evaluation contents was examined from the user and developer point of view, recency of information. rapid speed for the websites access. fast loading of webtext and fast transmission speed topped the list as first, second and third places.

• Journal of Fashion Business
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• v.5 no.1
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• pp.131-144
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• 2001

The purpose of this study is to examine the type of stitch and designs of knitwears using handcraft ornament techniques. This paper will also go on to develop and merchandize high value generated by design development. Knit is largely divided into weft knit stitch and warp knit stitch which are respectively woven by weft knitting machine and warp knitting machine. For clothing, circular knit and flat knit are frequently used while plain stitch, rib stitch and purl stitch are perceived as the basic stitches. Denbigh stitch, cord stitch, atlas stitch, which belong to tricot stitch, are the basic of warp knit stitch. There are also numerous fancy fabrics adapting the previously mentioned stitches and these are made into solid pattern and yarn dyed pattern. The handcraft ornament techniques in knitwears design are embroidery, beads, sequin, stone, printing, applique and fringe, etc. By applying these techniques thus creative expression, which cannot be expressed in other fashion items, is feasible. The women's knitwears are tries by mixed and various techniques, develope to high value knitwears, escaping from simple and practical items.

• Journal of architectural history
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• v.17 no.5
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• pp.55-69
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• 2008

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.

• Journal of the Korea Furniture Society
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• v.28 no.2
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• pp.126-134
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• 2017

This study explores PyeongSang, a piece of traditional Korean furniture, in order to make people know the details about what the piece is in the first paper. And based on the paper, PyeongSang will be developed as moulded multi-useful beds and sofas adapting the joint and ornament from the structure and pattern of the piece in the next paper. As the result, it appeared as two styles such as bed types mentioned as SalPyeongSang and ttulmaru in Korean. The pieces have been used from the three Kingdoms period in Korean history. The styles appeared as the structure of four parts with the lower fences called as nangan, the seats jointed by thin wood pieces, the wind hole, and the legs of foot types. The parts were beautifully carved with the ornament such as lattice patterns like geokjamun and manjamun, flower patterns like dangchomun, elephant eyes patterns like ansangmun from the Korean tradition. And the legs showed various shapes such as supports transformed from horse foots, tiger legs and bamboo, and board types carved with elephant eyes and geometric patterns. Hence, in the next paper based on this paper, PyeongSang will be developed as moulded multi-useful beds and sofas adapting the joints and ornaments from the structure and patterns of the piece.

• Current Optics and Photonics
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• v.7 no.2
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• pp.183-190
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• 2023

Three-dimensional (3D) displays provide a significant advantage over traditional 2D displays by offering realistic images, and table-style displays in particular are ideal for generating 3D images that appear to float above a table. These systems are based on multiview displays, and are typically operated using temporal or spatial multiplexing methods to expand the viewing zone (VZ). The VZ is an expanded space that results from merging the sub-viewing zones (SVZs) from which an individual view is made. To increase the viewing angle, many SVZs are usually required. In this paper, we propose a table-ornament electronic holographic display that utilizes 3f parabolic mirrors. In holography, the VZ is not simply expanded but synthesized from SVZs to implement continuous motion parallax. Our proposed system is small enough to be applied as a table ornament, in contrast to traditional tabletop displays that are large and not easily portable. By combining multiview and holographic technologies, our system achieves continuous motion parallax. Specifically, our system projects 340 views using a time-multiplexing method over a range of 240 degrees.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.