• 한국의류학회지
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• 제18권1호
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• pp.121-129
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• 1994

A study focused on the implication of the blue and black colors in Korean traditional costume is presented. The presented study shows that the blue color in most of literatures regarding Korean traditional costume implies not only green and blue colors, but also dark blue and black colors. In a broad sense, the blue color implies a color category which includes green, indigo, blue, dark blue and black. On the other hand, the color includes blue, dark blue and black in a narrow sense. The rotor black, however, should not be interpreted as blue and dark blue because it has two bypes of black colors with and without reddish tone. Four reasons that the color blue was understood as the color black were discussed in this paper. The fundamental reason was that the blue color looked like black because of dark shadows. Secondly, there was a difference of color awareness between the color blue in Korea and in China. Thirdly, there was a color difference related to the type of textiles. Finally, other substitutes were used because of the lack of blue dyes.

• 한국염색가공학회지
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• 제29권4호
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• pp.276-283
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• 2017

The aim of this study is to develop an effective dyeing process for black color on the silk fabrics, using natural Indigo, Madder, Amur cork tree, Alder, Logwood, and Gallnut. All natural dye materials were water-extracted, concentrated, and freeze-dried. Seven different processes were carried out and the color differences(${\Delta}E$) of black color with each process from the chemical black dyed fabric were compared. The light, washing, and rubbing fastness were evaluated. The black dyeing of the silk fabrics was well carried and excellent black color was obtained in every methods. The profound black color could be obtained by the subtractive mixture of the three primary colors of red, yellow, and blue in the order of indigo(blue) - amur cork tree(yellow) - madder or lac(red). Black color was efficiently obtained by iron mordant when logwood or alder fruit was used. The color difference(${\Delta}E$) from the black color with chemical dyestuff was the lowest in the indigo - amur cork tree - lac - iron method. Light fastness and washing fastness were excellent in all dyeing processes, showing grade 5. The fastness to rubbing was excellent as shown grade 5 in the dry samples of logwood - iron process and alder fruit - iron process.

• 한국의류학회지
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• 제33권7호
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• pp.1003-1013
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• 2009

This study offers data that can be used to direct the styles of black dresses by looking into the characteristics of coordination in black fashion, which is continuously appearing at modem. fashion collections with a unique aesthetic value and image. This study examined the characteristic of fashion coordination of black color: First, to look at the fashion image of black color, second, to look at the characteristic of black color coordination appearing in black fashion, and third, to look at the method of coordination appearing in black color. This study collected and selected 560 black pictures that showed the fashion collections from 2005 S/S until 2007 F/W. As for data analysis, the researcher made a content analysis by classifying the pictures by item, material, accessory, and a coordination method. The research results are as follows: First, the fashion image of black color was expressed as sexy feminine, modern chic, modern future, genderless, and avant-garde images. Second, the fashion coordination of black color has the characteristics of sexiness and dignity by the use of body exposure, concealment, and a subdued line that expresses a modern, minimal atmosphere. The mix & match of materials expressed the monotony of one color as refined beauty and the use of accessories appeared to bring the image into relief. Third, as for the coordination method, pants on skirts, pants on dresses, piece coordination of code matching, plus- one coordination through vivid colors and accessories, and cross-over coordination relying on shape, material, and sense were prominent.

• 패션비즈니스
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• 제1권1호
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• 복식
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• 제37권
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• 복식
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• 제58권3호
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• pp.49-62
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• 2008

The purpose of this study was to analyze the signification system between color and clothes systematically in black and white clothes. For this purpose, after examining the images of black and white clothes, we selected 55 clothes that represented as black and white and analyzed their meanings and the sources using semiotic framework, based on the work of Saussure and Barthes. The results as follows: First, the meaning in black and white clothes was generated from original color image. White clothes of religious person like Virgin Mary, Angel expressed pure and sacred color image. And black clothes like funeral dress expressed grief and death. Next, the meaning of black and white clothes was regenerated into modern color image by new environment. After industrial revolution, black was considered as a traditional men's fashion color. With diverse leisure activities, white sports wear appeared as active and clean image. Finally the source of the meaning of the clothes was the designer or the wearer. A little black dress by Chanel who was interested in simplicity and function represents an ideal of simple and sexy object. The situation is complicated by the fact that these three kinds of explanation may be found singly or mixed together.

• 한국염색가공학회지
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• 제21권5호
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• pp.27-34
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• 2009

PET fabric was dyed in black shade with disperse dyes of three primary color. The effect of combination ratio of dye concentration and energy type of disperse dye on dyeing and color property of black dyed PET fabric was investigated. Dyeing compatibility of disperse dyes of three primary color on PET was evaluated by comparison of dyeing rates of them. From the results, color property was dependent upon the combination ratio of dye concentration. In order to obtain low lightness ($L^*$) and black color, blue dye should be added enough. S-type disperse dye and $130^{\circ}C$ dyeing was suitable rather than SE-type dyes or $120^{\circ}C$ dyeing. Disperse dyes of three primary color used showed good dyeing compatibility at high dye concentration. Washfastness was fair to moderate and lightfastness was moderate.

• 한국건축시공학회:학술대회논문집
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• 한국건축시공학회 2015년도 춘계 학술논문 발표대회
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• pp.94-95
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• 2015

In this research is an examined the fundamental characteristics of color quantization of color mortar in according to the liquid carbon black. If the mortar mixed with liquid carbon black, and is excellent in color developing property as compared to existing powdered black pigment, compressive strength was excellent value in the range of less than 1%.

• Asian-Australasian Journal of Animal Sciences
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• 제17권9호
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• pp.1303-1308
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• 2004

The beef color stability during display of two muscles, m. longissimus thoracis and m. semitendinosus, of Japanese Shorthorn steers (n=14) was compared with that of Japanese Black steers (n=14). The beef color of each carcass was evaluated according to the Japanese Grading Standards at 24 h post mortem. Steak samples from muscles were over-wrapped with PVC film and displayed under fluorescent lights at $4^{\circ}C$ for 9 days. Metmyoglobin percentages of steak samples were determined at days 0, 3, 6 and 9. The overall grade of beef color of the carcasses of Japanese Shorthorn steers was significantly (p<0.05) lower than that of Japanese Black steers. The metmyoglobin percentages during the display of two muscles of Japanese Shorthorn steers were significantly (p<0.05) lower than those of Japanese Black steers. These results suggested that though beef color evaluation of the carcasses of Japanese Shorthorn steers was lower than that of Japanese Black steers, the beef color stability during the display of the muscle of Japanese Shorthorn steers was higher than that of Japanese Black steers.

• The International Journal of Costume Culture
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• 제9권1호
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• pp.77-81
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• 2006

From the viewpoint of color perspective, black has more obvious effects to impart images than dress itself This study aims to examine black dress through the fashion history to highlight the aesthetic value of black and to make better use of black in designing. Black in fashion, particularly in the guise of the little black dress, became an indispensable feature of cosmpolitan style after World War I. Designers harnessed the power of black, drawn irresistibly to its innate qualities of drama and strength of line. For the past five hundred years, aside from the use of black for mourning as well as for religious, academic, legal and ceremonial dress, black with a greater or lesser dominance has been a fashion constant. Since then black has been an important color in fashion. How to use black in formative designs should be studied continuously.