• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.39-50
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• 2002

The purpose of this study was to present adapting Korean beauty to the design of Wedding dress. For this study, Chosun Men's Pyoeui(coat) were considered first. Pyoeui had the courtesy and variety. They were Jobog, Danryeong. Chulrlk, Dabho, Jangeui, Aegjueumpo, Jigryeong, Changeui, Changos, Jungchimag, Hagchangeui, Simeui, Dopo, and Durumagi. Pyoeui were considered the formative features and the costume beauty describing Shape, Color, Material, Pattern. and Ornament. And Pyoeui were considered the instances which were adapted their formative features to Wedding dress. The formative features appearing on Wedding dress were merely applied the outward shape. Therefore it will be necessary to understand the outward features and the costume beauty about Men's Pyoeui for adapting Wedding dress. And then the continuous attempt is needed to adapt the beauty of Korean costume to the design of Wedding dress.

• The Magazine of the Society of Air-Conditioning and Refrigerating Engineers of Korea
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• v.15 no.4
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• pp.356-361
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• 1986

An optimum design condition for a basic refrigeration cycle is defined as the condition which minimizes the total cost of heat exchanges (condenser and evaporator) and compressor for the refrigeration effect. Thermodynamic properties of ammonia (R717) are approximated by rational functions in order to obtain the optimum condition for a basic refrigeration cycle. Optimum condition depends on the heat capacity rates (mass flow rate times specific heat) of cooling water and brine used in condenser and evaporator. The difference between the cooling water temperature and condensation temperature at the optimum condition increases as the heat capacity rates and the coat of heat exchangers relative to the cost of compressor increase. Numerical examples of optimum conditions are obtained when the condensation temperature is $30^{\circ}C$ and the evaporator temperature is $-10^{\circ}C$.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.4
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• pp.400-411
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• 2012

This study analyzes the formative changes and trends of cape design in modern fashion. In this study, a total of 496 cape designs were collected through the four major fashion collections of Paris, Milan, New York, and London from 2006S/S to 2010F/W, and a literature overview on capes was performed. The results of this study show that the cases with collars and hoods attached outnumbered the non-collared designs. In addition, the cases of lengthy cape in the hip or knee line represent more portions in designs. As to the material, it indicated that generic cloth was used the most. In most cases, decorations with various details and trimmings were also used. For expression characteristics, cases only with unique texture to cloth material and formative beauty were the most remarkable without decoration. For the formative feature, the independent item style was found the most, even though it was worn together with other kinds of clothing. Integration with other types also appeared such as cape jacket, cape dress, cape one-piece, or cape coat. Cape design features in contemporary fashion and could be characterized as feministic elegancy, harmony of practical value and fashion, authoritativeness, and decorativeness from the design trend analysis.

• Journal of Fashion Business
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• v.17 no.5
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• pp.120-137
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• 2013

Nowadays, due to the increase of the aging population and the decreased size of the traditional nuclear family, pet dogs are considered to be important member of the family. The pet industry has been growing every year; subsequently, is essential to develop practical patterns and designs which are appropriate for the structure and movement of pet dogs. However, studies for developing a new form of pet dog's wear patterns and designs are limited. This study develops an all-in-one pattern which is based on pet dog's size, designs pet dog's wear items based on all-in-one patterns, and provides support to the manufacture of pet dog's wear. The results are as follow: 1) An analysis for the categories and design characteristics of all-in-one pet dog's wear according to the research from the online pet dog's wear shopping sites is provided. Eight categories are classified as follows: rompers, body suit, coveralls, training suit, special clothing, overalls, rain coat, and hanbok. 2) The production of all-in-one pet dog's wear basic pattern based on the basic bodice pattern from the prior studies and the manufacturer's patterns are being displayed. 3) Developments of the patterns and designs for eight all-in-one clothing consider the design characteristics and the situations. 4) Developments of the previous eight items illustrate the results of this research.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.135-147
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• 2011

The purpose of this study was to analyze clothes-wearing of Chinese female university students in Hangzhou. By random sampling, a total of 183 Chinese female students in Hangzhou aged between 17 and 24 were used into data analysis from November 20, 2010 to January 20, 2011. The questionnaires consisted of 36 questions in total. The results were as follows : According to the result of the purpose of wearing clothes in winter, it was found that many female students wore clothes for a "protection purpose" or "ornamental purpose" in winter. As for the question about whether or not underwear was worn in winter, Chinese students answered that more upper underwear was worn than lower underwear. As for the question about the types of outer garments, Chinese students answered that they wore 3-layered upper garments in winter most. The upper garments worn in winter preferred most was long coat(68.3%). In the survey on the types of accessories, More Chinese students wore mufflers and gloves while less students wore hats and earmuffs.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.101-112
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• 2004

The purpose of this study was to survey the present circumstance of uniform's design and to suggest a design for employees who work for Korean restaurants in Hotels. The subject of study are 10 restaurants which are located in the first class hotels in seoul. And the period of research were 2 months between November, 2003 and December, 2003. The result of research was analyzed by various methods - which consider the frequency, percentage, T-test, crosstabs, and one-way ANOVA. The results are as follows: $1.40{\%}$ of subject adopt a general style which is not traditional style and $60{\%}$ of subject do a Han-Bok or casual Han-Bok which is traditional style. 2. About satisfaction of uniforms, $50{\%}$ of people who is wearing general style has been satisfying their uniform. And $33{\%}$ of people who is wearing traditional style has only been satisfying. 3. People prefer uniform that is made of wrinkle free fabrics and has pockets. In shape of design, they want that ankle-length of trousers, 7/8 sleeves's jackets with waist line-length, and narrow ends. They prefer that a coat has a knob button and there is a zipper in a skirt.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.1
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• pp.55-70
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• 2017

This study researched transition process of fur costume from ancient times to 20th century, extracted esthetic characteristics, and then understood how the esthetic characteristics appear in the recent fur collection. The result is as follows. First, magical meaning was revealed on leopard fur that ancient chief priests wore on top of shenti to symbolize immorality and fur tunics to which christian symbol was added in Byzantine. During middle age and the Renaissance, extravagance appeared on sable and amin jackets that the noble decorated to show off their high status. During the rococo age and mid-20th century, sensuality and elegance appeared on the fur dresses that the female body was emphasized. Second, in recent collection, extravagance appeared on over-sized and voluminous fox-coat, sexsuality and elegance were revealed through mink-dresses and jackets with soft touch and gloss that curved-silhouette was emphasized. In addition, practicality and functionality were shown through short length and light, soft material, and activeness was in the mink jacket to which functional elements such as zippers and rubber were added. To pursue uniqueness and fun, fox jackets were made with over-sized vivid green color. Besides, abnormality and vulgarness appeared through the fashion with abnormal and distracted images with ambiguous forms and new processing methods applied.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.123-132
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• 2023

The term 'module' is an architectural term. It refers to the components or systems that make up a finished product. As industries develop, modules have become one of the methods that can create diverse and creative designs. Traditional modular fashion design mainly focused on structural methods, such as the combination, assembly, overlap, and arrangement of modules, as well as the tessellation of geometric shapes. However, in this paper, significance lies in exploring the application of shape grammar, a design method in architecture, to fashion design. It aims to search for ways to express three-dimensional designs, derive designs that can be worn and produced, and propose fashion design by applying the rules of shape grammar to the design process. Through this analysis, the paper aims to examine the methods and characteristics of shape grammar. The research method of this paper is as follows. First, by utilizing optimized programs for implementing the modules of shape grammar, it was possible to propose a method for producing modules of shape grammar and suggest module designs. Additionally, effective methods of representation using the Clo 3D program were explored in the design development process. Second, by applying shape grammar to the fashion design process, five-dimensional modular fashion designs were proposed, including a bolero, dress 1, dress 2, setup, and coat. The proposed modular fashion design using shape grammar in this paper provides a rational design process that differentiates itself from traditional modular fashion design. By formalizing the shapes between modules and creating rules, it overcomes the limitations of design that rely on the designer's intuition or sensibility and enables the development of more diverse modular fashion designs. This application of shape grammar in fashion design can provide an important direction in exploring a sustainable fashion industry.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.17-31
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• 2024

The purpose of this study is to propose a modern use of traditional culture by developing creative fashion designs that combine modern and traditional styles based on an analysis of traditional costumes of women in the Tang Dynasty of China. The characteristics of the Tang Dynasty women's costume are as follows. The Tang Dynasty women's costume consists of a short coat (衫, Shan), skirt (裙, Qun), half-arm shawl (半臂, Banbi), and short embroidered cape (帔, Pei). The colors are succinct and elegant, commonly red, yellow, green and navy blue in its entirety. It may be classified by pattern that blend plant patterns, animal patterns, geometric patterns, and two or more mixed patterns. On the basis of the characteristics for traditional women's costume during the Tang Dynasty, the CLO 3D program is employed to develop digital fashion design for four pairs of 3D digital clothing and the production of two pairs of work product. The results are as follows. First, the development of fashion design reflecting the design characteristics of traditional women's clothing in the Tang Dynasty of China could be expressed as fashion design reflecting unique values while connecting tradition and modernity. Second, the 3D virtual clothing program displays an extremely important effect in design deployment and pattern arrangement by having efficiency and convenience in clothing production. The CLO 3D program is closely combined with the 2D design and 3D effect and heightened efficiency while being appropriate to realize sustainability while saving processing time and energy for the sample products. Third, the production of an actual product by facilitating the 3D virtual clothing design may lead to time savings and an effective economy and may allow for the comparison of digital fashion design and actual products as well as confirming the effects of digital fashion design.

• 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.