• Journal of Fashion Business
• /
• v.14 no.2
• /
• pp.95-109
• /
• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• Fashion & Textile Research Journal
• /
• v.23 no.3
• /
• pp.406-414
• /
• 2021

This study aimed to evaluate the inhalation resistance(IR) and fiber structure of disposable masks when exposed to repeated heating and ultraviolet(UV) sterilization. The experiments consisted of a lab-scale and a field test. For the lab-scale test, KF94 and N95 masks were selected and a trial was composed of three repetitions of an 80-min sterilization. For the field test, a subject participated over four days, of which a KF94 was worn without sterilization, and the same trial was conducted during the next four days with daily sterilization. The results showed that the IR of the KF94 mask(9.5 Pa) gradually increased according to the sterilization up to the second repetition(15.6 Pa) but decreased at the third treatment(9.7 Pa). However, the N95 mask did not showany tendency of IR during the repetitions. Microscope photos showed several warped or blackened fibers in the stiffener layer after the repeated sterilization. After wearing a KF94 mask for four consecutive days, its IR decreased until the three days but increased the fourth day, whereas another KF94 mask with sterilization showed an increase in IR for the four days. In the microscope-photos after the consecutive four days, outside fibers and stiffener layers were warped or became less dense. In summary, the IR of the KF94 mask slightly increased through the three~four rounds of heating and UV sterilizations, but the fiber structures were not significantly deformed by the repeated sterilization. To reduce discarded mask waste, the repeated sterilization of masks can be recommended.

• Journal of Fashion Business
• /
• v.19 no.4
• /
• pp.135-152
• /
• 2015

The purpose of this study is to explore the role of deconstruction and creative destruction in Maison Margiela’s fashion design code, which has opened the door to a new wave of innovative design since 1988. Using a combination of theoretical analysis, precedent research, and a review of existing literature, five years of Maison Margiela's works (2010-2014) were evaluated. The analysis shows that Maison Margiela’s Design Code consists of the following key elements: Addition, Extension, Asymmetry, Elimination, Deconstruction, Complanation, and Inversion. Addition refers to act of attaching additional pieces of fabric or clothing on the existing piece. Extension refers to the act of extending the design elements, such as their position or features. Asymmetry means the irregular positioning of left-to right and front-to-back length and features. Deconstruction could be seen in intentionally frayed sleeves, open seams, and tears in the cloth. The element of Elimination was evident in the removal of key pieces of clothing such as a coat, pants, blouse, and a jacket. Complanation refers to the reversion to a two dimensional contemplation of the human form rather than the more obvious 3-dimensional form. Finally, Inversion was used by displaying an inner layer of clothing on the outside or exposing seams or zippers in a way that people are not accustomed to seeing. It also meant that the order of wearing clothes was sometimes inverted, so external layers would be worn within clothing that are traditionally underneath. Maison Margiela’s creations represented a break

• Fashion & Textile Research Journal
• /
• v.22 no.6
• /
• pp.844-852
• /
• 2020

This study is to understand the preferences of pilots, flight engineers and crew who work in the same aircraft but are exposed to different working environments and perform different mission operations in order to develop an ergonomic flight jacket. Based on a preliminary investigation, a survey of 107 pilots and 36 flight engineers and crew was conducted. The results are as follows; Pilots can control the temperature inside the cockpit, so they are less exposed to the cold when working, while flight engineers and crew are exposed to the cold more because they have many external tasks. The reason for the problem of the current flight jacket was a difference in ranking between two groups, but the highest ranking was poor dimensional suitability due to the habit of wearing layers of clothing. As a result of preferred design, there were significant differences between groups in the item of overall style. Pilots preferred a bomber jacket style(P:68.2%, E&C:44.4%), on the other hand, flight engineers and crew preferred a field jacket style(P:26.2%, E&C:55.6%)(p<.01). They preferred a stand collar(P:71.0%, E&C:86.1%), a fastener slider for a front fastening(P:62.6%, E&C:61.1%), fastener tape cuffs(P:54.2%, E&C:47.2%), a jacket with a softshell(P:86.9%, E&C:83.3%), fleece as softshell material(P:88.8%, E&C:69.4%), and fastener sliders as a attaching method(P:69.2%, E&C:61.1%). A hem fastening will be selected differently according to the overall style of outshell. Additionally, they preferred more than 5ea pockets(P:51.4%, E&C:44.4%), fastener sliders as pocket's fastenings(P:48.6%, E&C:61.1%), armpit ventilations(P:62.9%, E&C:58.5%). The results of above will be considered to design an ergonomic flight jacket.

• International Journal of Highway Engineering
• /
• v.13 no.2
• /
• pp.139-145
• /
• 2011

The practice of asphalt pavement recycling has grown rapidly over the decade, one of which is the cold in-place recycling with the foamed asphalt (CIR-foam) or the emulsified asphalt (CIR-emulsion). Particularly, in Iowa, the CIR has been widely used in rehabilitating the rural highways because it significantly increases the service life of the existing pavement. The CIR layer is typically overlaid by the hot mix asphalt (HMA) to protect it from water ingress and traffic load and obtain the required pavement structure and texture. Most public agencies have different curing requirements based on the number of curing days or the maximum moisture contents for the CIR before placing the overlay. The main objective of this study is to develop a moisture loss index that the public agency can use to monitor the moisture content of CIR layers in preparation for a timely placement of the wearing surface. First, the moisture contents were measured in the field using a portable time domain reflectometry (TDR) device. Second, the weather information in terms of rain fall, air temperature, humidity and wind speed was collected from the same location. Finally, a moisture loss index was developed as a function of initial moisture content, air temperature, humidity and wind speed. The developed moisture loss index based on the field measurements would help the public agency to determine an optimum timing of an overlay placement without continually measuring moisture conditions in the field.

• Journal of Korean Ophthalmic Optics Society
• /
• v.9 no.2
• /
• pp.333-343
• /
• 2004

Impression cytology refers to application of cellulose acetate filter material to the ocular surface to remove the superficial layers of the conjunctival epithelium. The technique is non-invasive, is easy to perform, causes minimal discomfort to the patient, and can be used to follow changes in the conjunctival ocular surface over time. With this method, the morphology of the conjunctival ocular surface can be studied and the degree of squmaous metaplasia assessed. This study was performed to evaluate the conjunctival surface by impression cytology in dry eye patients. A total of 70 students with no contact lens wearing history were recruited. Subjects were required to fill in a McMonnies dry eye symptom questionnaire. The non-invasive tear thinning time(TIT) test of each subject was measured, followed by Schirmer tear test(STI), tear film break-up time(TBUT) tests and Rose-bengal staining were performed as a baseline. Conjunctival epithelial cells from the inferior bulbar conjunctiva were harvested by the impression cytology technique. The specimens collected were labelled and stained with PAS(Periodic Acid Schift)-haematoxylin. The goblet cells and conjunctival epithelial cells were observed under a light microscope of 400x magnification. The specimens were classified according to the Nelson Grading scale which was based on the degree of squamous metaplasia such as changes of goblet cells density, size/form, N:C(nucleus : cytoplasm) ratio. Dry eye patients were observed morphological changes of the epithelial cells, different nuclear alterations, decrease of the goblet cells density. The degree of cytological changes was related to severity of dry eye conditions. When the epithelial cell morphology was graded according to the system described by Nelson, specimens from the control group revealed 91.43% of the eyes to be grade 0 and 8.57% to be grade 1, whereas of the dry eye patients, 20% were grade 0, 42.86% grade 1, 34.29% grade 2 and 2,86% grade 3. Impression cytology represents a non- or minimally invasive biopsy of the ocular surface epithelium with no side effects or contraindications. It has demonstrated to be a useful diagnostic aid for a wide variety of processes involving the ocular surface. This technique is a safe, simple method and may help increase understanding of various ocular surface alterations in dry eye patients.

• Journal of the Korean Society of Costume
• /
• v.35
• /
• pp.45-66
• /
• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.