• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• International Journal of Industrial Entomology and Biomaterials
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• v.18 no.2
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• pp.63-67
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• 2009

To increase utilities as functional materials, 173 strains of silkworm genetic resources in the form of silkworm powder were evaluated for antioxidative capacity, with minilum L-100 device and ARAW-KIT (anti-radical ability of water soluble substance). Silkworm powder was prepared with freezing method from silkworms at 5th instar 3rd day larvae. All strains of silkworm powder were prepared with 80% methanol extraction. The data of pupation rate, longevity of silkmoth with origin and voltinism were used for data base of silkworm genetic resources. The weight of a silkworm larva with freezing method at 5th instar 3rd day was measured. The average of antioxidative capacity of 173 silkworm strains was 429.68 nmol. The analysis of correlation among variables was significant, showing negative correlation of the antioxidative capacity with longevity of silk moth and weight of 5th instar silkworm larva. The strains from the tropic, Europe and some other origins were comparatively high. In conclusion, short longevity and low weight of 5th instar silkworm larvae showed comparatively effective antioxidative capacity.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.1
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.84-94
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• 2014

Among artworks of Shin Sa-Im-Dang, 'grass and insect painting' was drawn the rustic materials that cannot be seen without a loving attention because they are too small and insignificant creatures. Likewise, 'grass and insect painting' is work that can feel the wonder of life, simplicity, and womanly sensitivity unique. Therefore, beauty of Korea can be found through the works. It needs to develop high value-added culture products with her works which contained this unique beauty of Korea and artistic soul. In this study, I tried to develop the scarf textile designs which had Korean sentiment with the Shin Sa-Im-Dang's 'grass and insect painting' and to make the scarves with the textile designs developed. For the purpose, theoretical examination about her art world and artworks was first performed. And then six scarf textile designs which based on them were developed using adobe illustrator 10.0, computer design program. The textile designs developed were printed on 100% silk satin using textile digital printing system. Six scarves were made with them.

• Journal of Sericultural and Entomological Science
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• v.17 no.2
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• pp.155-160
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• 1975

The study was carried out to investigate the effects of various compositions of artificial diet for silkworms on the cocoon shell fibroin-hydrolyzing with the proteolytic enzyme. The obtained results are summarized as follows： 1. It was found that the fibroin-hydrolyzing ratio of the cocoon shell made by silkworms fed with artificial diets was lower than that of the cocoon shell made by silkworms fed with natural diet (mulberry leaf) 2. The amount of soybean meal in the artificial diet was negatively related to the sericin content of cocoon shell but it scarcely affected on the fibroin-hydrolyzing ratio. 3. The increase of sucrose in the artificial diet reduced the sericin content of cocoon shell but it didn't influence on the fibroin-hydrolyzing ratio. 4. A significant difference between male and female silkworms fed with artificial diets was found in the sericin content of cocoon shell but it was not approved in tile fibroin-hydrolyzing ratio. 5. The artificial diet containing 8 per cent of mulberry leaf powder increased the fbroin-hydrolyzing ratio more than that containing 10 per cent of mulberry leaf powder or that containing 8 per cent of mulberry leaf powder and a little of methionine did. 6. The artificial diet for all instars of silkworms increased the fibroin-hydrolyzing ratio more than the artificial diet for 1st to 3rd instars and natural diet (mulberry leaf) for the rest instars did.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.55-68
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• 2008

This study is aiming to set a characteristic design and a fashion trend by analyzing hat style trends and fashion images shown in fashion collections in recent seven years. Also, based on the result of the analysis on the five world's major collections, the influence and the interrelation of hat and fashion image were analyzed. The study was performed by the context analysis method and the image evaluation method. In the context analysis method, the 1,391 pictures for hat-styles which were believed to be the standard of fashion style from the S/S season of 1998 to the F/W season of 2004 were analyzed. The research is summarized as follows. Based on the result of the fashion collections, the kinds of hats came Bowler, Beret, Cloche, Capeline, Cap and Hood in order, and Casual, Feminine, Natural, Formal, Romantic, and Mannish came in order for the case of the fashion images for putting on a hat. The result of the analysis on the characteristic of fashion design according to the kinds of hats, the casual image, with highest frequency, was found from all of the kinds except Capeline. Bowler and Cloche were conspicuous in jackets/slacks, Capeline was conspicuous in one-piece shape, and cloth silhouette showed the highest frequency in H type. As for Bowler, the color of cloth and hat was mostly black, and as for Beret and Cloche, achromatic color showed the highest frequency. But as for Capeline, the cloth color, including chromatic color, was various. As for Beret, pattern and material image were various comparatively, but as for other kinds of hats, there were the materials with no pattern and with hard material image.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.13-27
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• 2015

The purpose of this study is to understand the general process from textile design till fashion design and to understand the relation between the body structure by using the x-ray technique. The research method was to see background of the anatomic feature and human skeletal X-ray projection through historical aspect of publications, the Internet, and paper. In terms of production, in order to present a design that takes into account the unique silhouette of the human body without distorting the shape of the human skeleton, X-ray images that were reconstituted using a computer graphic tool (Photoshop CS) were reproduced into the fabric as intense images through the digital Textile Printing technique that is capable of expressing fine and delicate details, and applied into the design. An original design was developed that emphasized the impression of the human body being projected and the shape of the human skeleton realistically expressed in terms of silhouette and detail. The results are as follows: First, Body has a anatomic formative characteristic and its formativeness becomes as a great motive for the artistic expression and thereby it becomes more unique and available for new design expression. Second, Using the 'body frame' as the motive of the research, there's mainly tried to make an unique expression. Third, according to reconstructing human skeletal X-ray projection by using Adobe Photoshop CS2, it can be expressed strong and unique design. Forth, DTP which is being used as an essential technique, expresses the body frame realistically and being used the special type of functional product and silk. Likewise by discovering the diverse formativeness of our body frame and reflecting the sense of humanity into the pieces there's been able to make and develop an unique fashion design. I sincerely hope there is a hug progress in this research in this area.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.111-124
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• 2003

The purpose of this study is to analyze how the women´s fashion with the design elements(silhouette, material, color, detail and trimming) of androgynous image which has appeared on our specialized fashion magazine from 1986 through 2000. As a result of this study I drew the following conclusion. 1. The bon silhouette led the market in the first stage of mid 1980. The wool and leather with the masculine image, cotton and soft material with unisex image were used to express the androgynous image. The dark and mono tone with the masculine image were used a lot in color. In women´s fashion the minimalism style with simple image was expressed escaping from the decoration, in which the detail and trimming was not found as in men´s wear. 2. It showed that more and more feminine image was accepted in the second stage of early 1990. Women´s wear silhouette with the androgynous image has changed from masculine box silhouette boomed in the first stage to hourglass silhouette and slim silhouette. The wool and leather were used a lot as the materials in the first stage but the usage of the cotton with unisex image and soft texture were getting increased. The main colors were the black and the blue but the usage of the white and the red were on the increase showing the range of the use was extending. In the meantime, the detail and trimming were hardly used like in the first stage. 3. In the third stage of the late 1990, the silhouette has changed to slim style. The wool and leather were mainly used as the materials but the cotton and silk were on the increase showing that the materials of the feminine image were used in the women´s fashion with the androgynous image as well as the materials of masculine image. In color, the black and the white of the masculine image were used increasingly by the effect of the minimalism and the usage of the colors were various for the rising frequency of the trend colors usage.