• Journal of Fashion Business
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• v.26 no.2
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• pp.95-109
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• 2022

This study was aimed at developing a new textile design based on the authentic and cultural resources of the Gangneung Subo pattern and applying the textile design to knitted fashion products. Gangneung has been recognized for its outstanding artistry in the field of Gyubang art. Gangneung Subo is an embroidered wrapping cloth. The discovered and preserved Subo at this time was from the Kwandong region centered in Gangeung, and is regarded as the product of the indigenous native culture in Kwandong. Therefore, as a representative cultural resource of Gangneung, the Gangneung Subo has sufficient value as a material for the development of cultural products with uniqueness, distinctiveness, and historicality. As a research method, the background of Gangneung Subo was investigated. A total of 12 motifs were created while preserving the authentic originality of the Gangneung Subo pattern and minimizing unwanted deformations of the pattern during the developing process. The created motifs were repeatedly applied to the pattern and new textile designs were created. Eighteen knit fashion products, including narrow and wide-width mufflers and neck warmers, were developed by applying the new textile designs. As a significant cultural resource for cultural goods development, this study ascertained the value of Gangneung Subo, preserving its unique distinction and history. This study was especially significant since the Gangneung cultural goods developed used knitted material and extended the development to producing real products.

• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.638-653
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• 2022

In this paper, we propose the new method of creating 3D virtual-human reflecting the pattern of clothes worn by the person in the high-resolution whole body front image and the body shape data about the person. To get the pattern of clothes, we proceed Instance Segmentation and clothes parsing using Cascade Mask R-CNN. After, we use Pix2Pix to blur the boundaries and estimate the background color and can get UV-Map of 3D clothes mesh proceeding UV-Map base warping. Also, we get the body shape data using SMPL-X and deform the original clothes and body mesh. With UV-Map of clothes and deformed clothes and body mesh, user finally can see the animation of 3D virtual-human reflecting user's appearance by rendering with the state-of-the game engine, i.e. Unreal Engine.

• Journal of Fashion Business
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• v.26 no.1
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• pp.68-91
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• 2022

The purpose of this study is to create modern patterns based on considering the types and design elements of Joseon hwapo patterns containing Korean identity, and to develop costume designs by applying design elements of traditional Korean dress, Hanbok. These designs combine traditional costumes with modern sensibility using the attribute listing method, and present them using a 3D virtual clothing program. Through this, it is meaningful as it organizes data on Joseon hwapo patterns, which were rarely dealt with in the traditional Korean costume research, and it is also of research value as it is a work that utilizes Joseon hwapo patterns as a new source of fashion design development. As a research method, literature research was conducted based on the documents, 'Nabeshima-sarasa hidensho', 'Nabeshima-sarasa mihoncho', and 'Zoho kafu benran', which are related to Joseon hwapo remaining in Japan. Based on the literature research, research was performed by creating pattern design and costume design using the attribute listing method, and 3D virtual clothing. Traditional Korean costumes used in design development in this study were saekdong-jeogori, dolddi-jeogori, magoja, hongjangsam, durumagi, jungdan, gollyongpo, jeogui, breast band, mujigi-chima, chima, and baji. Further, accessories used in each costume, such as pyeseul, daedae, hapi, and jeonhaeng-utchima, and features of configurations, such as yongbo, chest ribbons, band hem, gusset, collar and dongjung, heorimalgi, neckline, and sapok line, were used for design development.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Journal of the Korean Society of Safety
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• v.39 no.2
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• pp.1-8
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• 2024

Unwanted effects of electrostatic phenomena occur in various industries. Electrostatic problems originating from the human body in flammable atmospheres in the industry are especially concerning. A substantial volume of experimental data on the electrostatic charging voltages created on the human body owing to the rubbing of apparel were generated and reviewed during this study. The data were reviewed to determine whether the resultant charging levels of the human body are hazardous in flammable atmospheres. This study was conducted under several conditions, such as different fiber types used in apparel, shoe types, and relative humidities (RHs). The following conclusions were drawn in this study. ① The electrostatic charging levels of the human body owing to the rubbing of apparel increase with the increase in the surface resistances of apparel; however, the electrostatic charging levels may be different depending on the condition of the cloth surface. ② The discharging energy of 1.98-18.5 [mJ] from the human body exceeds the minimum ignition energy of most flammable materials, when removing an overcoat made of polyester, cotton and wool under severe conditions such as wearing height-raising shoes for men. ③ When removing antistatic apparel, the maximum discharging energy of 0.128 mJ from the human body is dangerous if the minimum ignition energy of the flammable material is between 10^-5-10^-4 [J] Grade; however, a minimum ignition energy of 10^-3 J Grade of the flammable material is considered safe. ④ While wearing antistatic shoes, the electrostatic charging voltage generated in the human body when removing an overcoat is 30 V; therefore, wearing such shoes is a suitable countermeasure when handling flammable materials. However, the antistatic abilities of shoes reduce when thick socks are worn. ⑤ As RH increases, the electrostatic charging levels of the human body decrease. ⑥ The electrostatic charging levels of the human body from removing a cotton overcoat can ignite the majority of flammable materials when RH is less than 30% under severe conditions such as wearing height-raising shoes for men.

• Journal of the Korean Society of Costume
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• v.20
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• pp.31-47
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• 1993

1. The relationship between Korea and Buk-Song had maintained for 164 years(964 1126 A.D). The period of relationship was from KwangJong Year 13(4years after establishing Buk-Song), Song Tae-Cho 1 year, to HeumJong Cheong Dang 1st year(InJong 4years in Koran). Author divides into three periodic terms, and remarkable diplomatic facts are as follows. 1) KwangJong year 13(963 A.D) SungJong year 13(994 A.D) : Normal relations, Song needed Korea's armed support. 2) MokJong year 6(1003 A.D) HyunJong year 9(1018 A.D) : Not steady relations and broke up, by MunJong year 26, Dang requested to resume the diplomatic relations. 3) MunJong year 25(1017 A.D) InJong 4(1126 A.D) : Song utilized Korea as a back supporter, but Song destructed by Keum. 2. Korea was donated knightage without offcial clothing by BukSong 10 times(KwangJong year 13 SungJong year 11). However during 164 years. Song presented some clothings Korea friendly. 3. Even though Korea cound not continue the steady diplomatic relations, Korea had been influenced the social systems including cloth-ing systems by Dang. Song dynasty. 4. The author studys historical materials which show that TongilSh-Shinra adapted social systems of Dang dynasty including clothing systems, which was succeeded to Korea for 200 years. Details are as follows ; 1) Original clothing color-systems which were Ja(purpil), Cheong(blue), Hwang(yellow), Pi, called 4-clored-system, of Tongil-Shinra, was suceeded to Korea, Above mentioned clothing systems of three countries of Korean peninsula. 2) When Korea unified the certificate of Pisam holders were superior from those of Tongil-Shinra and Hoo-Bakjae. There two classes used same seried-color 'ja, (Dan, Pi), Cheong(blue), Hwang(yellow)', or 'ja, (Dan, Pi), Cheong' and lasted to KwangJong year10 as a of-ficial clothing. 3) KwangJong year 7, according to the three colored official clothing system of Hooju, accepted Hooju's KwangJong year 11, that shifted 'Ja, (Dan, Pi), Cheong, Hwang', or, Ja, (Dan, Pi) Cheong', to 'Ja, Dan, Pi, Rok(green)'. 4) The clothing systems which are ja, (Dan, Pi), Rok which established KwangJong year 11 shifted to Song's, Ja, Ju(orange), Rok, Cheong, which had happened SungJong year 14 to MokJong 1st year. 5) 4-colored systems ('Ja, Pi, Rok, Cheong (distictable : sky blue, ocean blue)' shifted to 3 colored system which established Song ShingJong 1st year, which succeeded to Nam-Song and Keum. 5. The relationship between Korea and Yo had maintained for 207 years(918 1125 A.D). The period of relationship was from TaeJo 1st year to InJong year 3. 6. Yo, and Korea were called for king(15 times), prince(7 times). 7. Korea was donated knightage by Yo. The time when HyunJong year 13, Yo donated official clothing. From that time had used to do. The author divides into three periodic terms and discrives the shifting the formal clothing systems. Details were as follows ; 1) HyunJong year 13 MunJong year 8 : Even donating clothing systems from Yo had maintained for 35 years, Yeo, Song, Yo, three countries had not have formal cloth-ing, because they had been on the strug-gling. So that Korea had followed the same way of informal clothing. 2) MunJong year 918 : Yo donated the formal clothing to Korea for the King. Diplomatic condition was in the control, so that whole three countries used formal clothing. 3) MunJong year 19 YeaJong year 3 : Korea was donated 'Kuryumyun Kujangbokje', which became the formal clothings vs China.

• Journal of the Korean Society of Costume
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• v.32
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• pp.293-312
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• 1997

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• Journal of Sericultural and Entomological Science
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• v.3
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• pp.1-11
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• 1963

This treatise is to set up a fundamental condition of checking silk lousiness and to set up a new improving method of cocoon bave lousiness after super refining treatment. It is also studied whether silk lousiness can be eliminated through the observation of the silk gland, or the lousiness can be able to improve through such a study. The conclusions obtained in this paper are as follows. 1. Silk lousiness is able to be observed most properly when the light direction and the fiber direction are parallel in plan view of the silk cloth and the greater the angle between them is, the less the lousiness is observed. When, however, the angle is greater than some specific angle(30$^{\circ}$), no more lousiness is observed. This specific angle is named by the author as Lousiness Horizontal Critical Angle. 2. Silk lousiness can be observed when the angle of light incidence against the silk cloth is six degrees, while the larger the angle is, the less the lousiness is observed. When, however, the angle is greater than same specific angle(45$^{\circ}$) the lousiness disappears. Such a specific angle is named by the author as Lousiness Vertical Critical Angle. 3. The best textile composition to decrease lousiness defect is plan weave, while twill and satin weave show more lousiness with the same silk fiber. 4. Lousiness was classified as Lousiness A, B, ana C of which A was the general lousiness, B was the group type, and C was the glucose type and the standard photographs for the lousiness grading of these types were prepared. 5. The proper soap-refining hours of silk for lousiness test was eight hours. 6. The greater the difference of fiber diameter between the cocoon single bave and the splitend was, the more lousiness was composed. The normal splitends were measured as 1/4-1/5 of the main fiber. 7. The lousiness was found at the cocoon shape ends more than other parts, and found at the middle cocoon layer than other layer which was imagined to be as a result of poor uniform bave spinning of silk worm. 8. Female cocoon had more lousiness than the male cocoon. 9. It was found that there was a great possibility to have the splitends through the observation of the anatomical silkgland, and the author reached a conclusion that the lousiness can be improved to a certain degree only by the elimination of abnormal silk gland from the breeding aspects. 10. The cocoon bave of the offspring after super refining lousiness test and selection showed more improved lousiness defect than that of the parents.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.31-76
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• 2019

Lee Sang-ho published Jeungsan Cheonsa Gongsagi (Records of the Holy Works of Celestial Master Jeungsan) in 1926. Then, after complementing the book with additional materials, he published Daesoon Jeon-gyeong in the form of a religious scripture. Since then, Daesoon Jeon-gyeong has been expanded to a sixth edition which was published in 1965. The Haengnok of Daesoon Jinrihoe's The Jeon-gyeong, which was published decades later than Daesoon Jeon-gyeong describes Sangje's whole life year by year in five chapters starting from his descent to the human world all the way to his passing into heaven. It comprehensively contains the essential contents of other chapters from The Jeon-gyeong. This paper was written for the following three goals: first, to study the contents of Haengnok that summarize Sangje's life. Second, to see how its contents are related to descriptions from the other six chapters. Lastly, to discuss how certain verses have been changed from the way they appeared Daesoon Jeon-gyeong. When we compare these two scriptures, there are some verses that are found only in the Haengnok section of The Jeon-gyeong. For example, the verse that explains how Sangje's family name 'Kang' originated and how his ancestors came to live in Gobu area is described only in The Jeon-gyeong. The origin of the family name Kang is considered important because he descended into the world as a human bearing the family name Kang, and it is included in his official name that represents his divine position. Also, unique to The Jeon-gyeong are verses such as those describing "Samsin San (the three holy mountains) in the area where Sangje descended to and verses about the historical change of place names in the areas where Sangje lived. These verses have great significance in terms of their mystical aspects within Daesoon Thought. Secondly, the record about Sangje's Holy Works at Siru Mountain in The Jeon-gyeong is not found in Daesoon Jeon-gyeong. The Holy Works at Siru Mountain are important because they provide proof of Sangje's major activities during the period between his 3-year travel around the country and his Cheonji-gongsa (Reordering Works of the Universe). Next to be observed are some changes in verses that can be seen when comparing The Jeon-gyeong to Daesoon Jeon-gyeong. Of particular impostance here are the story of Sangje's Holy Work called 'King in White Cloth and General in White Cloth' and the description of Sangje's passing into heaven. Both records contain key changes that distinguish The Jeon-gyeong from Daesoon Jeon-gyeong.