• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.35-50
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• 2011

In this study, repression of the body is defined as a restriction on natural developments or movements and a modification either temporarily or permanently of the human body in shape, color, texture and odor. In addition, it involves physical and (or) mental pain. Chinese foot-binding and the Western corset are extreme examples of female body's being repressed in the history of fashion. The analysis of this type of repression will be based on historical research and theoretical concepts such as Darwin's (1809-1882) survival condition, Freud's (1856-1939) renunciation of desire, Weil's (1909-1943) privilege, and Foucault's (1926-1984) L'Usage des Plaisirs(the use of pleasure). Chinese foot-binding symbolically represents ideal beauty, the distinction of an ethnic group, and a desire for improved social status in the struggle for political power. It also represents psychology and a esthetics of eroticism and fetishism that originate from a man's desire and his individual taste. Symbolically, the Western corset represents abundance and fecundity, obedience and devotion to religion, the sanctity of God and ideal beauty as defined by political power. It also represents psychology and aesthetics of eroticism and fetishism as man's desire and a fashion icon. In conclusion, Chinese foot-binding was pursuit of power in male ideology but Western corset was a power struggle between God and mankind.

• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.299-303
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• 2003

Some of historical textiles were analyzed to identify the imprinted textures on the metal remains of Haengyeup(a horse strap pendant) and Doja (a knife), which were excavated in the ruins of Hwangsung-dong, Kyungju city in the fifth century and textiles imprinted on the human bones that were excavated in the Pungnae 4th Area, Namyangju county in the sixteenth century. The results analyzed arc as follows ; It was confirmed that the imprinted textures of Haengyeup and Doja are white ramie since the structural characteristics of cellulosic bast fibers, partially projected long oval cross sections with large lumens and the imprinted textures of human bones are silk fabrics since the triangular cross sections of fibroin is showed. All of the textiles were designed in plain weaves. In the case of weaving yarns, the warp threads were thicker than the weft threads, that is, the imprinted textures of Haengyeup were measured by 1.35 mm for warp and 1.21 mm for weft, and the Doja by 1.16mm for warp and 1.11 mm for weft. In connection with the direction of the yarn twist, the Z-twist were observed in the imprinted textures of human bones, whereas it presented the S-twist in the case of Haengyeup and Doja. The warp yarns were mostly harder twisted than the weft yarns on the amounts of twist, that is, it was observed that the case of Haengyeup were amounted to 0.33 twists per centimeter for warp yarns and 0.25 twists per centimeter for weft yarns. Also it was showed 0.32 twists per centimeter for warp yarns and 0.26 twists per centimeter in the case of the textures of human bones. On the fabric counts, it was showed that the finer the yarns the higher the densities since it were $4.3{\times}5.1$ threads per sqaure centimeters and $7.6{\times}7.1$ threads per sqaure centimeters each in the case of Haengyeup and Doja, whereas it was $18.2{\times}33.7$ threads per sqaure centimeters in the case of the textures of human bones.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Fashion & Textile Research Journal
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• v.23 no.5
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• pp.667-673
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• 2021

The purpose of this study was to obtain drape information and objective texture of fabrics easily and quickly by using a constructed fabric database. For the construction of the fabric database, 287 woven fabrics were examined by using the CLO fabric kit, KES-FB system, and drape test system. The k-means cluster analysis method was used to classify the fabrics into 7 grades. After correlation analysis of the fabric properties for each experiment, similar properties of the CLO fabric kit and KES-FB system were chosen, which were then designed to extract similar fabrics from the database. It was confirmed that inferring the drape information and objective hand feeling of fabrics was to some extent possible by extracting similar fabrics from the database. In this study, the primary hand and total hand value(THV) of KES-FB system, which was constructed by Kawabata and other experiments, were used to quantify the objective hand feeling, because they are the most widely used. However, these standards can be changed over time; in order to be applied within the clothing industry, these standards may have to be changed to some extent. Moreover, it is notable that although objective hand feeling cannot be expressed in the 3D virtual costume program, it can be easily derived from the constructed database. Additionally, it is expected that the existing 3D virtual costume program will express the costumes more realistically by improving these results.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of Mushroom
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• v.3 no.2
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• pp.52-59
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• 2005

The Aphyllophorales is a large order containing about 2,000 known species. Many of these are the bracket and coral fungi. The vast majority of these fungi are saprophytic on the plant debris. Many species are significant in decomposing plant remains, as they are able to digest cellulose or lignin that occurs in plant cell walls. Many of these fungi have been involved in everyday human affairs. A few were used medicinally by the Greeks and Romans as a remedy for many complaints, including colic, fractured limbs and bruises. Other bracket fungi have been used as curry combs for horses, as snuff, as razor strops and as a source of dye for clothing. The texture of the basidiocarp may be similar to that of cork, wood, leather, paper, or cartilage. Unlike the basidiocarps of the Order Agaricales, the basidiocarps of the Aphyllophorales are not fleshly and moist. Division of the members of the Aphyllophorales into genera was originally made on the basis of gross morphology of the basidiocarp and hymenium and Donk(1964) recognizes 22 families in this order. The species and genus whose typical in Aphylloporales were listed in Table. with related information. The ITS region sequence of some genus were found by BLAST search. Sequences retrieved from GenBank were visually aligned by the program CLUSTAL G. As a result, the medicinal mushroom was separated in four groups. In this multiple alignment, the sequence analysis among Fomes group, Inonotus group and Phellinus group showed high genetic similarity except Hericium group and Sparassis group.

• Journal of Korean Home Economics Education Association
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• v.21 no.2
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• pp.23-43
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• 2009

This study examined the relativity between school uniform behavior(especially attitude toward school uniform, school uniform satisfaction, school uniform alteration) and attitude toward appearance in the adolescence. From November to December in 2007, 898 middle school and high school students from four schools in Jeollabuk-do Province were analyzed and the influence of relevant variables was understood to gather basic information about the fashion life in the adolescence. This study used SPSS 11.5 for Windows Program to conduct frequency analysis, factor analysis, reliability analysis, ${\chi}^2$-test, t-test, One-way ANOVA, Duncan's multiple comparison test, and Pearson's correlation. The following summarizes the findings of this study: The results of analysing the factors to the response attitude toward uniforms and attitude toward appearance and clothing attitude emerged four dimensions(fashion, symbolism, cleanliness, alternation), three dimensions(needs value conformity toward appearance). In attitude toward uniform, female students were more actively altering their uniforms than male students and middle school students were more sensitive to trends than high school students. However, high school students were more aware of the cleanliness and alteration of uniforms. Overall, most students were not very satisfied with their uniforms (design, color, texture). When students' attitude toward appearance and demographical characteristics were examined, it was found that female students were more aware of desire, value, and conformity in appearances than male students. By age, it was found that high school students were more aware than middle school students. Also, students receiving KRW 30,000 or more for monthly allowance were more aware than others who receive a lower amount between KRW 10,000 and KRW 20,000. Therefore, most students(62.1%) have experiences in altering uniforms. Especially, more female students and more high school students had such experiences. Uniform alteration is more related to attitude to appearance. In other words, students who choose to alter their uniforms are highly aware of desire, value, and conformity toward appearance. Students who are satisfied with all factors regarding attitude toward uniform, except for alteration, did not alter their uniforms that much. In addition, when the relativity between students' attitude toward appearance with uniform was considered, students that are not very satisfied with their uniforms were more aware of desire, value, and conformity toward appearance. In conclusion, it was found that students' attitude toward appearance and school uniform behavior are closely related and their interests in appearance lead to alteration of uniforms, the clothing in which they spend most time of the day. From now on, students' opinions shall be considered when selecting or designing school uniforms.