• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.252-271
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• 2021

The purpose of this study is to expand satirical expressions that appear in a wide range of arts into fashion and to analyse and present satirical expressions that appear in contemporary fashion through the collections of Thom Browne. Theoretical examination of satirical concepts were made of domestic and foreign academic theses, dissertations, precious studies, and publications related to satire. Analysis was conducted on cases in which satirical expressions were applied in literature, painting, sculpture, and fashion. Based on these studies, analysis was conducted on satirical expressions appearing in Thom Browne's work. Material was gathered from collection reviews, interview articles, professional books, and internet photo material from professional fashion magazines encompassing 16 years of Thom Browne's collections officially recorded in the international fashion magazine 'Vogue', ranging from the 2006 S/S collection to the 2021 S/S collection. From this, a total of 1,753 photos were collected as data. Characteristics of satirical expression were analyzed and the results were as follows. A fluid reconstruction of 'gender fluid', dual meanings of metaphorical allegories, playful expressions of visual wit, constructions made of overlapped disassembled material, and borrowing of morphological distortion were all identified. Accordingly, satirical approaches as social aspects and objects in the flow of modern thought appear as positive forms based in humor that hope to be improved. This study anticipate the concept of satire will expand into a positive form as a new direction of fashion.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.272-288
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• 2021

The purpose of this study is to classify the types of decoration techniques used in women's Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.32 no.2
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• pp.182-194
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• 2022

Objectives: This study evaluates and recommends the priority of policy implementation to improve the fire protection clothing management system used by firefighters and the reduction of cross-contamination from contaminated clothing at the scene of a fire. Methods: It consisted of 7 experts and conducted three interviews and two modified Delphi surveys. Through the results of previous research and interviews with experts, a plan to reduce cross-contamination of fire suits and improve the management system was first derived. An improvement plan was presented in the four areas including resources, management, fire protection related work, and laws and regulations, and the priority of policy implementation was derived by analyzing the importance and practicality of the policy at the same time. Results: As a result of the analysis, the first priority was education on the health effects of pollutants at the disaster scene for firefighters, and the second priority was the addition of SOP for the primary decontamination of on-scene personal protective equipment in preparation for the health effects of the disaster scene, and education for fire suppression and rescue workers. The next step was to improve the management system of personal protective equipment such as fire suits and develop a training course for systematic operation. Conclusions: This findings could be used in the implementation of mid- to long-term firefighting policies for the systematic operation and establishment of a systematic management system for personal protective equipment such as fire protective suits.

• Human Ecology Research
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• v.61 no.1
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• pp.155-168
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• 2023

This study focused on working women's perceptions of social attractiveness and their appearance management behavior. Social attractiveness is defined as individuals' achieved attractiveness which can be expressed through social expressive power or social skills rather than innate physical appearance. This study was empirically conducted through questionnaires distributed to 200 working women in South Korea. According to the results, the participants recognized four factors constituting social attractiveness: physical appearance management, business manners, social skills, and sexual attractiveness. When they were asked to assess themselves on the same measures, these characteristics were further classified into six factors: business manners, feminine attractiveness, fashion sense, sociability, communication skills, and active appearance management. Their self-perceived social attractiveness was found to be influenced by all these factors in the order of feminine attractiveness, business manners, sociability, communication skills. Based on the self-presentation tendencies, the participants were classified into various groups, including the passive management group, daily life-oriented management group, work-oriented management group, neutral group, and active management group. The relative importance of the social attractiveness components was found to differ by group, although working women in all groups rated weight management higher than appearance management behavior. This study has implications in that it facilitates an understanding of the concept of social attractiveness and also provides a foundation base in terms of beauty consulting and marketing for working women to improve their social attractiveness.

• Safety and Health at Work
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• v.14 no.3
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• pp.325-331
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• 2023

Background: Heat stress is a harmful physical hazard in many occupational settings. However, consequences of occupational heat exposure among workers in a sugarcane factory in Ethiopia are not well characterized. This study aimed to assess the level of occupational heat exposure-related symptoms and contributing factors. Methods: In this cross-sectional study, five workstations were selected for temperature measurement. Heat stress levels were measured using a wet-bulb globe temperature index meter. A stratified random sampling technique was used to select 1,524 participants. Heat-related symptoms were assessed using validated questionnaires. Results: The level of occupational heat exposure was 72.4% (95% CI: 70.2%-74.8%), while 71.6% (95% CI: 69.3%-74.9%) of participants experienced at least one symptom related to heat stress. The most common heat-related symptoms were swelling of hands and feet (78%), severe thirst (77.8%) and dry mouth (77.4%). The identified risk factors were a lack of reflective shields (AOR: 2.20, 95% CI: 1.53, 3.17), not-enclosed extreme heat sources (AOR: 1.76, 95% CI: 1.23, 2.51), a lack of access to shade (AOR: 9.62, 95% CI: 6.20, 14.92), and inappropriate protective clothing provision (AOR: 1.58, 95% CI: 1.27, 2.71). Conclusions: The burden of occupational heat exposure and heat-induced symptoms was high. Lack of reflective shields, the absence of enclosed extreme heat sources, a lack of access to shade, and inappropriate protective clothing provision were considerable attributes of heat stress. Therefore, the use of mechanical solutions to stop heat emissions at their sources and the key factors identified were areas for future intervention.

• Safety and Health at Work
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• v.15 no.1
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• pp.42-52
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• 2024

Background: The lack of headforms that accurately reflect the head characteristics of Koreans and the demographic composition of the Korean population can lead to inadequate FFR testing and reduced effectiveness of FFRs. Method: Direct measurements of 5,110 individuals and 3D measurements of 2,044 individuals, aged between 9 and 69 years, were sampled from the data pool of Size Korea surveys based on the age and gender ratios of the Korean resident demographics. Seven head dimensions were selected based on the ISO 16976-2, availability of Size Korea measurements, and their relevance to the fit performance of FFRs. A principal component analysis (PCA) was performed using the direct measurements to extract the main factors explaining the head characteristics and then the main factors were standardized and remapped to 3D measurements, creating five size categories representing Korean head shapes. Lastly, representative 3D headforms were constructed by averaging five head shapes for each size category. Results: The study identified two main factors explaining Korean head characteristics by the PCA procedure specified in ISO 16976-2 and developed five representative headforms reflecting the anthropometric features of Korean heads: medium, small, large, short & wide, and long & narrow. Conclusion: This study developed representative headforms tailored to the Korean population for conducting total inward leakage (TIL) tests on filtering facepiece respirators (FFRs). The representative headforms can be used for TIL testing by employing robotic headforms to enhance the performance of FFRs for the Korean target population.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1562-1570
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• 2005

The purpose of this thesis is to find the effective way of practical education in the fashion related department in order to supply the appropriate experts to the Korean apparel manufacturers located in Dalian, China. The interviews were made twice from $25^{th}$ of Feb. to $15^{th}$ of Mar. 2005 and from $28^{th}$ of July to 31st of July 2005 through the method ot a direct interview with the CEOs of the 7 representative apparel manufactures. The results of the interviews were as following. Seven companies$(100\%)$ participated in the survey all complained of insufficient workers. Also the companies were having difficulties at finding appropriate workers who can handle designing, management, and circulation, because specialists who are fluent in Korean and Chinese are very rare. Moreover, Korean apparel manufacturers are now taking a step further to launch a high quality fashion brand, getting out of the simple hand work depending on low wage or low-tech(6 companies $85.7\%$). Thus, well-educated fashion specialists(intermediate manager) are required on the part of Korean clothing companies or apparel manufacturers in China. It is expected the intermediate managers and the specialists who are capable of launching a new brand will be urgently needed. Therefore, appropriate educations in Korea would be essential to minimize the problems the Korean fashion specialists might face in China. 1 would like to present three suggestions. 1. The highly educated Korean fashion specialists on apparel industry will be a solution both to the high jobless status in our country and to the deficiency in human resources of Korean apparel manufacturers in Dalian. 2. The students in the college should learn how to write down the working chart and matching chart in practical conditions. Taking an intern-ship in working factories in China during a certain period of time will be helpful. 3. The experts should be trained with emphasis on the quality, design, and value of the brand. This study will be used as a base for Koreans who work in fashion related department to enter the Chinese fashion market having a great potential.

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

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.