• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• Korean Membrane Journal
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• v.4 no.1
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• pp.7-11
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• 2002

A radial pleat module using a polysulfone membrane was developed. The permeation characteristics of the radial pleat module were compared with those of a flat plate module. The average module efficiency of the radial pleat module for the applied pressure range was 82% and was always greater than that of the spiral wound module. For the radial pleat module, in general, as the applied pressure increases, the flux increases and the rejection reduces. The concentration polarization causes the decrease of the flux for the long time operation. But it has been found that the radial pleat module is more efficient for the reduction of the concentration polarization because it has the more effective area per unit volume and can induce the turbulent flow in the module.

• Particle and aerosol research
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• v.8 no.4
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• pp.133-141
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• 2012

A new depth filter media was designed and samples of flat sheet as well as cartridge assembly were prepared and tested to evaluate the filtration performance and compare with the commercial product. The arrangement of the depth filter media layers is important to reach the optimal filtration parameters like filter pressure drop, particle collection efficiency and dust holding capacity. Initially, both flat sheet samples of new media and commercial product have been tested using standard test units. Tests with new depth filter media cartridges of various pleat count were conducted in order to find the optimal pleat count which would represent the lowest pressure drop. These tests give an insight on how the pleat count and the assembly configuration affect the performance of the depth filter media cartridge. By comparing the samples with a commercial product we could confirm relatively high filtration performance of the sample cartridge with pleat count 150 made of new depth filter media. The cartridge with the same pleat count exhibits better performance without the outer mesh.

• Proceedings of the KSME Conference
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• 2001.06e
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• pp.154-157
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• 2001

The effects of pleating parameters on the performance of cylindrical cartridge air filters was experimentally studied. The tested filters are 150 mm in outer diameter and 700 mm in length. As the pleat count increases, the pressure drop across a cartridge filter is decreased for a constant pleat depth and flow rate. This is due to the increased filtration area which brings out less pressure loss of the filter. However, in the case of the filters having the pleat depth of 40 mm, the inner diameter of the cartridges is so small that the pressure loss is greatly increased.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.51-60
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• 2013

The study is intended to produce a modern Cheollik style one-piece dress that stays within the traditional concept of beauty. Specially, the study focuses on Cheollik of the Joseon Dynasty among various traditional costumes as its motif. As the Joseon Dynasty changed, the forms of Cheollik changed with it. People of all classes from the commoners to king wore it. Cheolik was different from other traditional costumes because the top and bottom were connected and so it was an easy to wear one-piece clothing. Initially, the ratio of upper and lower parts was one to one, but later on, the ratio changed to 1:2 as the topcoat became wider and length of the skirt was lengthened. Diverse types of pleat emerged such as fine pleat, opposite pleat and long pleat. Collar and string were also diversified and studied by applying the components. To study it, the author considered the previous studies about Cheollik first. Then, the Cheollik of the Joseon Dynasty was reproduced. Thirdly, with the motif of Cheollik components, the materials suitable to a one-piece dress design were selected, dyed naturally. Finally, One piece dress design was utilized by using the components and features of Cheollik. 8 pieces of one-piece dresses were made as an ordinary dress and the materials such as ramie, Oksa, hemp, silk, Yeon-hwamun dan and artificial silk were used. Hopefully, other traditional costumes can develop as a practical and ordinary dress.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.1-13
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• 2002

This paper investigated the costumes of young girl dancers in Yon wha dae moo(연화대무: Lotus Stage dance) which were documented on the Ak-hak-guae-bum(악학궤범: Protocol of music) and the Jin-yeon-eui-guae(진연의궤: Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(합립: silk hat), Dan-eui(단의: long jacket) and Sang(상: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(유소: decorated cords). In the second phase. it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-gwan(연화관: Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu( 자지무: chinese dance) that originated in West and Central Asia. In both dances. young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(단령: male coat with round neckline). And it satisfied the need of mobility for the dance which was Performed mainly with jump.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.157-173
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• 2013

In the pleats of the statue in the ancient Greece, a vivid expression is included about clothing, which has organic relationship with a human body. This study examined about diverse expressions of pleats that were shown in the Greek sculpture, based on understanding about a pleat meaning and function, and clothes. As a result, the clothes, which were shown in the statue in the ancient Greece, were reflecting spirit and fashion of the times. The pleats, which were expressed in clothing, are closely related to a human body and simultaneously are those that a sculptor showed own creative intention in a work by reflecting a historical demand, thereby having become an important element of dominating the image in the whole clothing. Also, a change and development in expression were being progressed according to a flow of each period. Amidst what expressiveness based on lines are excellent, the unity and the dynamic formative characteristic were forming the mainstream. The design-based elements related to these characteristics are judged to possibly give many inspirations to designers in the modern fashion design sphere, which is mixed diverse styles, and are considered to be able to be helpful even for establishing newer and more creative design.

• Journal of Korean Association for Spatial Structures
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• v.7 no.2 s.24
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• pp.45-52
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• 2007

The purpose of this study is to explore folding as a tool diversifying structures and shapes or forms, and to consider the role and possibilities as structural design sources. First, the morphological characteristics and the elements for transforming pattern of folding are investigated and the way of forming space is also shown. Secondly, the application methods and systems of folding are descrived.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.787-800
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• 2020

This study aims to derive the criteria of folding techniques and their characteristics through analysis of literature and previous studies. This will be realized by performing a case study on male fashion design and folding. It will propose diverse directions and data for male fashion design, by making men's jackets using a folding technique. The concept and terms of folding were clarified through examination of existing literature and previous studies. Specifically, four pieces were created with motifs of the four seasons. Among the types of pleats expressed in the works, composition pleats include double ruffles, gathers, and draperies, while processed ones include box pleats, knife pleats, and accordion pleats. This study expresses continuity, fluidity, scalability, and ambiguity through the use of such pleats. The results of the production are as follows. First, in terms of the continuous use of regular and repetitive pleats, a possibility of rich pleats was confirmed because they varied depending on the gap between the pleat and target material. Second, in liquid but irregular pleats, diverse moods were created by the pleat movement. The overlapping of repeated pleats expresses diverse spaces and shapes in a 3D extended silhouette. Third, in pleat classification, ambiguity was confirmed with the use of continuous accordion pleats in the printed gradation fabric. It is anticipated that more diverse and creative designs could be created using more extended techniques in future studies.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.