• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.35-50
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• 2013

This thesis is based on the study of formativeness and versatility of Sarong. For the aim of the research, Sarongs were classified into two types: rectangular and tube, using its original form as the basis. These two types of Sarongs were divided into more detailed groups depending on the purposes of attire, such as skirts, dresses, and capes. To look into the formativeness and versatility of Sarong, the usage of wear and expression methods were observed based on these categories. The following results were found regarding the versatility of Sarong: First, Sarong has a wide degree of versatility in terms of usage. It can be worn as a skirt, a head scarf, a dress, a cape, or used as a carrier or even a sleeping bag, based on one's intention. The change of usage is often accompanied with the change of forms, as can be shown by the longyi of Myanmar, the tube type Sarong, which is used as briefs. Second, Sarong has a wide degree of versatility in terms of function. Variations of instrumental and expressive function of Sarong are observed simultaneously. The physical function sometimes coincides with the changes of usage as mentioned above. The way that Sarong's are expressed in different social situations changes depending on the wearer's social status, religion, or origin. So by looking at the way a Sarong is worn, others can tell if a person is going to social events such as festivals and weddings. Third, Sarong has a wide degree of versatility in terms of design. However, even if same usage and function is pursued, the design can be different based on an individual. This is because the external change of Sarong is affected by individuality or aesthetic sense of the wearer.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• KSBB Journal
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• v.8 no.1
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• pp.75-82
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• 1993

The inhibitory effect of cacao bean husk (CBH) extract on glucosyltransferase(GTasc) from Streptococcus mutans B13 was investigated. Water solube extract from CBH showeda sarong inhibitory effect (88-89%) on GTase from Streptococcus mutans Bl3. GTase inhibitors from sequential extraction by hot water or water-methanol had the strongest inhibition. Sources, fermentation, and types of solvents and fumigation processes did not influence the effect. These active compounds proved to be polyphones through acid hydrolytic analysis of the precipitates by ammonium sulfate or ethanol and proteinase K. It was also confirmed by additional column chromatography of Sephadex G-50, Sephadex LH-20 and DEAE-Sephdex A-50.

• Journal of Animal Science and Technology
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• v.62 no.5
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• pp.648-658
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• 2020

The objective of the study was to evaluate the effects of Lactobacillus, cellulase, and molasses on chemical composition, fermentation qualities, and microorganism count of sugarcane bagasse silage after 30-days fermentation. The treatments were arranged according to a factorial arrangement (2 × 2 × 2) + 1, in a complete randomized design. The first factor consisted of two levels of Lactobacillus casei TH14 (TH14, 0 and 0.05 g/kg fresh matter; the second factor consisted of two levels of cellulase enzyme (C, 0 and 10⁴ U/kg fresh matter); and the third factor consisted of two levels of molasses (M, 0 and 5 g/ 100 mL distilled water). A treatment (+1) referred to the use of rice straw without any treatments. The result showed that dry matter increased by 4% and neutral detergent fiber decreased by 2% of sugarcane bagasse when ensiled as a combination of additives as compared to untreated sugarcane bagasse. The pH and ammonia nitrogen were significantly dropped to 3.5 and 2.3 g/kg dry matter. Furthermore, lactic acid was increased by 64% when compared to untreated sugarcane bagasse, respectively. Lactic acid bacteria count was increased by 28% as compared to untreated sugarcane bagasse. Based on this experiment, fermenting with L. casei TH14, cellulase, and molasses in combination resulted in the promotion of the best qualities of sugarcane bagasse silage.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Journal of the Korean Society of Costume
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• v.26
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• pp.69-85
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• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.392-402
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• 2012

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.