• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.354-368
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• 2004

The purpose of this study is to investigate the effect of Shirts-color(Different-color, Same-color) and Hat color(Red, Blue, Beige, Grey), Hat design (Beret, Cloche, Bowler, and Capeline) on impression formation. The experimental materials developed for this study were a set of stimulus and response scales. The 7-point semantic thirty stimuli color pictures of various combination of hair length, hair style, and type of hat design were manipulated by computer drawing. The subjects were 360 undergraduates living in Seoul, Kyunggi and Kyungnam. The experimental design was composed of 3 factorial designs. The result of the study can be summarized as follows; Impression factor of the stimulus consisted of the 5 different dimensions. (concentration of attention, attractiveness, gracefulness, activity, tenderness). Concentration of attention, elegance, and tenderness in case of a hat as a clue, elegance and tenderness in case of the color of upper clothes as a clue, and all the factors except attractiveness and elegance in case of the type of hat as a clue were significant factors to differences of appearance. In regarding the effect of interaction between each variable, the combination of Hat color and Shirts-color had significant effects on tenderness, Hat color and type of hat design on concentration of attention, elegance and activity.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.5
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• pp.713-722
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• 2004

This study examined the effects of two kinds of functional sun hats through a head-manikin test and a climatic chamber trial for farm workers in summer. Experiment was composed of four conditions. The first condition was the condition without any hat (Control). The second was the condition with a sun hat on the market (Hat A). The third was the condition with a functional sun hat made of reflective fabric (Hat B). The last was the condition with a functional sun hat having a ventilating structure as well as reflective fabric (Hat C). For the subjects in the climatic chamber trials, 12 healthy males volunteered. Air temperature, relative humidity and globe temperature in the chamber was maintained at $33{\pm}0.5^{\circ}C,\;65{\pm}5%RH\;and\;39{\pm}1^{\circ}C\;(WBGT\;33^{\circ}C)$. Subjects did a simulated red pepper-work (50-min work and 10-min rest, twice repetition) for 120 min. As the result of head-manikin test, the surface temperature on middle of back-neck was the lowest in Hat B of four conditions and the surface temperature on top of head was the lowest in Hat C. As the result of climatic chamber trials, there were apparent differences between with (Hat A, Hat B, Hat C) and without a sun hat (Control). In rectal temperature ($T_{re}$), mean skin temperature ($\={T}_{sk}$), heart rate (HR), total sweat rate (TSR), The physiological heat strain was less in the condition with hats than in the condition without a sun hat. As the increasing rate in Tre, Hat B is the most effective hat for alleviation heat strain. As the subjective responses, Hat B was the most effective hat for thermal comfort even though the difference was not significant. Hat C was less effective than Hat B and the reason might be the increase of weight due to inserting the ventilating structure.

• Conservation Science in Museum
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• v.3
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• pp.29-36
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• 2001

The hat excavated from the tomb of Hojeo-myon Wonsung-gun in Kangwon province was dry-cleaned and restored. The hat was made of wool felt and decorated with several strands of silk cord. It was very dirty and moth-eaten. After getting rid of the particle soils on a surface with painting brush, the hat was dry-cleaned using perchloroethylene applying the minimum force, and blotting paper was used for drying. During cleaning, it was supported by the stainless steel net. The weight loss was 7.94% after cleaning. The soils sticked on the hat was removed clearly. The texture of the hat became softer after cleaning. Color difference(∆E) was 2.57, which is a noticeable change. The color became clear and changed to the red and yellow range. After dry-cleaning, the hat was repaired. Dislocated silk cords were fixed to the right place by stitching with silk yarn. To keep the shape of the hat, it should be supported by a hat-shaped stiff net during exibition and storing.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.141-158
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• 2016

The objective of this study is to examine the type and characteristics of hat, and also to analyze the formative characteristics of hats shown in $Pr{\hat{e}}t-{\grave{a}}$-porter Collection. The literature review focused on the relevant technical books and preceding researches while the case study targeted 1,561 photos of hats shown in the 'Donga TV Collection'. The research range was from the S/S season of 2012 to the F/W season of 2015/16. The results of this study are as follows. 1. A hat is composed of crown and brim. In the results of classifying hats based on it, there were 572 crown-type hats, 533 hat-type, 219 cap-type, 156 irregular-type, and 81 brim-type in the order. 2. For the crown-type hats, they were mainly like cylindrical-type, bell-type, dome-type, and circle-type, using colors like black, beige, brown, red, mustard, and grey, and materials like wool, fur, velvet, straw, and metal while they were decorated with bead or lace. 3. For the hat-type hats, they were mainly like bell-type, ladder-type, and hemisphere-type, using colors like peach, white, gold, brown, and khaki, and materials like silk, cotton, straw, and wool while they were decorated with feather and ribbon. 4. For the cap-type hats, they were mainly like hemisphere-type, using colors like white, black, khaki, mustard, and purple, and materials like fur, leather, and wool while they were decorated with wappen and chain. 5. For the irregular-type hats, they were mainly like sandglass-type, box-type, animal-type, trumpet-type, and bell-type, using colors like purple, orange, pink, yellow, and sky-blue, and materials like metal, feather, mesh, plastic, straw, and linen while they were decorated with ribbon, net, bell, and flower. 6. For the brim-type visor, they were mainly like square-type, using colors like transparent, yellow, and black, and materials like plastic, cotton, leather, and metal.

• Journal of the Korean Society of Costume
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• v.21
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• pp.207-218
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• 1993

The desire of our contempories who wish to recover humanities fading away and get back recover humanities fading away and get back to the nature is emerging as a main theme of the fashion today the decade of facing 21st century. The prevalence of naturalness-ecology ru-ral peasant look-and ethnic look shows the tendency mentioned above. Kenzo Takada' works which exhibit this naturalness and ethnic look were picked and investigated. The objective of this research is to study the beauty of form and internal and investi-gate in what form the naturaless and Ethnic look in Kenzo's work. The result were as followings : <1> Draped form are mainly used as form and they are made neglecting the body line by straight-cut and provide the wearer ease and freedom of movements <2> As for the color fantastic original colors (red, blue, etc) and natural colors are used. And Strong color contrast is seen. In ethnic look original colors(red, blue, etc.) natural colors and ethnic colors are used. <3> As for the fabric Cotton neat skilk and wool etc are used mainly and use of such natural fibers represents the return to the natural well. <4> As for ornament natural things-straw hat flower feather pebble, shell-are used and exhibit natural feelings strongly. For the ethnic look ornaments representing each country's ethnic atmos-phere by hat scarf and neckcloth made of natural fibers. <5> As for naturalness Flower deer butter-fly leopard and plant etc, are used as motif. As for ethnic look flower geometric motif are used.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2002.11a
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• pp.614-618
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• 2002

Although there are a lot of file sharing mechanisms in the Internet such as NFS and P2P, FTP is one of the most common mechanisms used until now. In this paper, we propose a more enhanced file sharing mechanism, the Distributed File Server (DFS) method. The most remarkable feature of DFS is that it can be simply adopted in the current Internet FTP services by locating a DFS node between existing FTP servers and clients without changing any existing file transfer environment. To verify the proposed mechanism we implemented a DFS prototype on RedHat 7.2 system and we finally show that it can reduce the file storage problem caused by big-sized multimedia data.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2002.11a
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• pp.605-609
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• 2002

Reliable multicast data transmission in a 1:N environment needs more sophisticated error control mechanism than that of in 1:1 environment due to ACK implosion and duplicated retransmission. Although there have been many related research on error control in reliable multicast, real implemented protocols are rare. As one of the reliable multicast transport protocols, ECTP is selected as an international standard reliable multicast protocol by ITU-T and ISO and implemented on RedHat 7.2 machine by us. In this paper, we evaluate the performance of the error control mechanism in the respect of throughput and generated control packet numbers with a real implementation code. From the results, it is concluded that the suitable values of error control parameters can be obtained from the local group size and network environments.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.17-32
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• 2015

This study aims to examine the differences in impression formation according to the accessories and hairstyles worn by men, and to investigate the relation between men's appearance and occupation inferences. The subjects were 320 female university students residing in the Seoul metropolitan area. First, wearing eyeglasses gave an impression of more intelligent image and less mild image. It was evaluated that the men wearing neckties have a high dimension of intelligence, and men wearing no necktie have a high dimension of progressiveness. Men with classic hairstyles had a high dimension of intelligence, while men with sports hairstyles had a high dimension of progressiveness, conspicuousness, and attractiveness. Second, metal rims on glasses had a high dimension of empowerment and attractiveness when a red necktie was worn, while horn-rimmed glasses with no necktie had a high dimension of conspicuousness and progressiveness. The men with sports hairstyles, with no eyeglasses had the highest dimension of progressiveness when a red necktie was worn. Third, it was evaluated that wearing a cloche hat or baseball cap had a low dimension of empowerment, while wearing a necklace had a high dimension of empowerment, conspicuousness, and progressiveness. Fourth, the men who wore a suit, eyeglasses, and a necktie with a classic hairstyle were deduced to be professionals, with high-ranking or white-collar jobs. It was found that when men wore a suit with a sports hairstyle, no eyeglasses, and no ties, they were inferred to be engaged in a service job. The baseball caps were strongly associated with technical or simple labor job.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.239-275
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• 2010

Cette ${\acute{e}}tude$ a pour but de proposer une $m{\acute{e}}thodologie$ de critique avec la $s{\acute{e}}miotique$ ouverte. La critique de $th{\acute{e}}{\hat{a}}tre$ commence ${\grave{a}}$ lire le $th{\acute{e}}{\hat{a}}tre$, l'analyse et juge son valeur. Il arrive souvent qu'on juge avec intutition. On dit que c'est une critique d'impressionnisme. Cette critique est subjective, mais pas objective. La $s{\acute{e}}miotique$ de Saussure offre la $m{\acute{e}}thodologie$ scientifique ${\grave{a}}$ la critique. A $c{\hat{o}}t{\acute{e}}$ de la critique d'impressionnisme qui est subjective, la $s{\acute{e}}miotique$ peut expliciter la raison objective. On ${\acute{e}}tait$ admiratif devant sa scientisme, pourtant $apr{\grave{e}}s$ quoi on critique sa non-$subjectivit{\acute{e}}$ et sa non-$historicit{\acute{e}}$. Dans l'opposition de $l^{\prime}objectivit{\acute{e}}$ et de la $subjectivit{\acute{e}}$, on tente de rechercher un model $int{\acute{e}}gr{\acute{e}}$ dialectiquement entre l'impressionisme(subjective) et la scientisme(objective). Pour cela, on doit aux Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$ ($publi{\acute{e}}$ en 2002 chez Gallimard). Ces Ecrits nous aident ${\grave{a}}$ amener la $s{\acute{e}}miotique$ $ferm{\acute{e}}e$ sur la $s{\acute{e}}miotique$ ouverte et ${\grave{a}}$ $red{\acute{e}}couvrir$ la $pens{\acute{e}}e$ de Saussure. Ils nous font ouvrir un nouveau champ de recherche pour la $s{\acute{e}}miotique$ ouverte. L'essentiel de la $th{\acute{e}}orie$ saussurienne du signe $d{\acute{e}}pend$ de l'arbitraire et du circulaire du signe. On $red{\acute{e}}couvre$ la notion ${\acute{e}}largie$ du signe, dans Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$, contre le courant majeur de linguistique et de structuralisme. Cette notion s'y focalise, ${\grave{a}}$ la valeur, ${\grave{a}}$ la $relativit{\acute{e}}$, ${\grave{a}}$ la $diff{\acute{e}}rence$ et au $syst{\grave{e}}me$. Avec elle, on tente d'adopter la $s{\acute{e}}miotique$ ouverte pour rechercher une $m{\acute{e}}thodologie$ de critique qui se veut objective et ${\grave{a}}$ la fois subjective. Il s'agit d'une difficile combinaison de l'impressionisme et de la scienticisme. Pour cela, la $m{\acute{e}}thodologie$ se $d{\acute{e}}veloppera$ en trois ${\acute{e}}tapes$. $1{\grave{e}}re$ ${\acute{e}}tape$: c'est lire le $th{\acute{e}}{\hat{a}}tre$ comme un signe total pour 1er jugement d'impressionnisme. $2{\grave{e}}me$ ${\acute{e}}tape$: c'est retrouver sa structure invisible dans la $relativit{\acute{e}}$ des signes. $3{\grave{e}}me$ ${\acute{e}}tape$: c'est juger, dans leur $relativit{\acute{e}}$, comment les $d{\acute{e}}tails$ de signes se fonctionnent. C'est lire les $d{\acute{e}}tails$ de signes et puis $r{\acute{e}}affirmer$ le jugement en $1{\grave{e}}re$ ${\acute{e}}tape$. Selon les $derni{\grave{e}}res$ deux ${\acute{e}}tapes$, on pourra comparer le premier jugement (impressif) et le dernier jugement (objectif), et enfin s'assumer comme critique. Selon la $m{\acute{e}}thodologie$ $propos{\acute{e}}e$, on pratique la critique sur ${\acute{e}}crit$ par Jean Genet, et mise en $sc{\grave{e}}ne$ par Lee Youn-Taek et par Park Jung-Hee. Pour la critique intertextuelle, on la fera en comparant les deux spectacles avec la $pi{\grave{e}}ce$ de Jean Genet. $D^{\prime}apr{\grave{e}}s$ la comparaison, Lee Youn-Taek met en $sc{\grave{e}}ne$ avec $fid{\acute{e}}lit{\acute{e}}$ la structre et les signes de $d{\acute{e}}tail$ de l'auteur, Park Jung-Hee change sa structre et ses signes pour mettre en $sc{\grave{e}}ne$ la $pi{\grave{e}}ce$ de Genet. Ils se $diff{\grave{e}}rent$ l'un et l'autre: Lee incite le discours de la classe sociale dans le spectacle, et Park y incite le discours du $d{\acute{e}}sir$. La $diff{\acute{e}}rence$ des signes dans la $relativit{\acute{e}}$ apporte la $diff{\acute{e}}rence$ de la signification de discours $th{\acute{e}}{\hat{a}}tral$, et enfin se font changer les significations de deux spectacles.