• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.115-121
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• 2020

This study aims to develop a framework of structural scenarios for chatbot docent that supports visitors' activities in science centers and museums, and to suggest the application examples. For this study, the author adapted Focus Group Interview. As a result, the frameworks of scenarios could be categorized into the Collection of Science and Technology(CST) and Inquiry-Based Exhibition(IBE). These frameworks had dimensions of the primary and storytelling in common. Especially, framework of IBE scenario was added the usage dimension considering the characteristics of interaction between exhibits and visitors. This study could be basic materials for AI chatbot to support exhibition descriptions using the built data, and is expected to be help develop a more visitor-oriented scenarios of activities.

• Journal of the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.

• Journal of Species Research
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• v.9 no.4
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• pp.362-374
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• 2020

A total of 35 bacterial strains were isolated from various sediment samples. From 16S rRNA gene sequence similarities higher than 98.7% and the formation of a robust phylogenetic clade with the closest species, it was determined that each strain belonged to independent and predefined bacterial species. No previous official reports have described these 35 species in Korea. The unrecorded species were assigned to 6 phyla, 10 classes, 18 orders, 23 families, and 31 genera. At the genus level, the unrecorded species were affiliated with Terriglobus of the phylum Acidobacteria, as well as with Mycobacterium, Rhodococcus, Kineococcus, Phycicoccus, Agromyces, Cryobacterium, Microbacterium, and Arthrobacter; Catellatospora of the class Actinomycetia; Lacibacter of the class Chitinophagia; Algoriphagus and Flectobacillus of the class Cytophagia; Flavobacterium and Maribacter of the class Flavobacteriia; Bacillus, Cohnella, Fontibacillus, Paenibacillus, Lysynibacillus, and Paenisporosarcina of the class Bacilli; Bradyrhizobium, Gemmobacter, Loktanella, and Altererythrobacter of the class Alphaproteobacteria; Acidovorax of the class Betaproteobacteria; Aliiglaciecola, Cellvibrio, Arenimonas, and Lysobacter of class Gammaproteobacteria; and Roseimicrobium of the class Verrucomicrobia. The selected strains were subjected to further taxonomic characterization, including Gram reaction, cellular and colonial morphology, and biochemical properties. This paper provides detailed descriptions of the 35 previously unrecorded bacterial species.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.330-355
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• 2024

There are two main perspectives in Korea on Korean cultural heritage located overseas: one views it as items that need to be repatriated since they were scattered abroad under unfortunate historical circumstances. The other considers them as a means to more widely promote Korea's culture and long history. A shift in perspective has gradually been taking place in the decades since Korea's liberation from Japanese colonial rule in 1945. This can be noted through three major types of exhibitions. The first type is exhibitions of repatriated cultural heritage that showcase items that were illegally removed from the country but later returned or otherwise acquired through purchase or donation. The Special Exhibition of Returned Cultural Heritage, which was held in 1966 on the occasion of the normalization of diplomatic relations between the Republic of Korea and Japan, emphasized the legitimacy of reclaiming cultural properties that were illegally removed from Korea during the period of Japanese colonial rule. Around the 1990s, special exhibitions of private donations were held, which also highlighted the legitimacy of repatriation. The special exhibition of the Oegyujanggak Uigwe (Royal Protocols of the Joseon Dynasty from the Outer Royal Library) held in 2011 was seen as an opportunity to raise public interest in repatriation, heal the wounds of history, and restore the nation's cultural pride. The second type of exhibition involves borrowing and displaying overseas Korean cultural heritage in accordance with a theme as a means to reenergize and provide a comprehensive view of Korean culture. The exhibitions National Treasures from the Goryeo Dynasty in 1995 and National Treasures from the Early Joseon Dynasty in 1997 (both held at the Hoam Museum of Art) and the Masterpieces of Goryeo Buddhist Painting held at the National Museum of Korea in 2010 underscored the importance of overseas Korean cultural heritage for exploring Korean cultural history. The third type is special exhibitions on the history of the collection of Korean cultural heritage. With Korea's economic growth in the 1980s and the increase in exhibitions and the number of galleries featuring Korean cultural heritage in overseas museums in the 1990s, interest in the history of acquisition also grew. Exhibitions like The Korean Collection of the Peabody Essex Museum in 1994 and Korean Art from the United States in 2012 introduced overseas galleries focused on Korean art and the diverse history of collecting Korean cultural properties. They also examined the perception of Korean art in the United States. These efforts heightened public interest in establishing and supporting Korean galleries abroad. The initiation of more systematic surveys and research on Korean cultural heritage located abroad and the contribution of overseas Korean cultural heritage to the enhancement of the local understanding and promotion of Korean culture have resulted in changes to the perception of overseas Korean cultural heritage in Korea.

• Fashion & Textile Research Journal
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• v.19 no.3
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• pp.259-266
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• 2017

In a contemporary fashion along with the advance of high technology, development of a new material is being increasingly emphasized and the need of creative convergence using a computer is being expanded. As a global designer who appeared through association between Japan and the West, Issey Miyake has been continually pursuing a new challenge and a solution using high technology, leading the globalization of Japanese fashion. This research aims at examining design characteristics of Issey Miyake collection's A-POC showing a new paradigm, that is, an innovative clothing manufacture system to input information on materials, colors and shapes into a textile machine based on the computer program and manufacture a cylindrical fabric for completion of seamless clothing without sewing or cutting. A-POC is evolving continually through the development of new materials including recycled fibers and organics together with diversification of processing technology. Besides, it shows design characteristics including an integrated manufacturing method, autonomy for customers' selection, practicality for comfortable wearing by the majority, environment friendly idea to reduce waste of fabrics and materials and a new presentation through convergence of exhibition concepts of modern art. This research on Issey Miyake's A-POC characteristics is expected to present a role of fashion designers in a new design idea and paradigm of contemporary clothing using high technology.

• The International Journal of Costume Culture
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• v.4 no.3
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• pp.171-181
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• 2001

The Purpose of this study first was to establish the concept based on the existing convention theory, and classifies the types of industrial aspect, and cultural and artistic aspects. Based on it, the relative importance of structural elements of the fashion convention industry is analyzed to fashion conventions in the industrial aspect. The research applies Delphi technique, it is applied to experts in the fashion convention industry in two rounds. Re result is as follows ; First, exhibitions and collection of the fashion convention industry are classified into five groups by examining their main types and main targets. Second, in fabric·material exhibitions, the procedure, personnel and communication have relatively equal importance on the whole although facilities are considered most important. in clothing·fashion exhibitions, the procedure has by far a high level of importance unlike others. Third, comparing the second stage importance, it is shown that the event hall, pubic relations, professionalization of personnel, communication between the promoter and supporting organization are most important with a slight difference by type. Fourth, comparing the third stage importance, it is revealed that ten most important factors are the event location, publicity time, the size·number of event halls customer handling , expertise, publicity media, friendliness, facilities, Publicity Publications, and business competence.

• Journal of the Korean Society of Costume
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• v.23
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• pp.79-97
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• 1994

The purpose of this study is to survey of Korean costume cultural assets in overseas museum collections. Cultural Assets represent the cultural heritage. Also costume is one of cultural assets. In 1980's the Korean government and scholars surveyed Korean cultural assets. One of their finding was that Korean objects exists some countries. Unesco delared that cultural assets illegally taken a way to foreign countries should be returned to their nations. However, few objects had been returned to korea. Today museum professional designing their exhibited and collections try to both enlighten experts and instruct and please amateur enthusiasts. Exhibitions are one of the most effective means of stimulating interest in cultural objects and ideas : they reflect prevailing cultural , intellectural and political trends. The 1893 Chicageo Exposition was the first international exhibition in which Korea has ever taken part. Overseas museum held many Asian exhibitions however Korean exhibitions have been held much less frequently than those of most other Asian countries. (China, and Japan). Some of Korean art Collection have historical and artistic valuable , most overseas museum' collection are of low value and non-informative . Several museums in United States that have Korean costume : some of these museums have highly valuable historical and contextural objects. It is my hope that the information in this paper will be of use for those interested in learning more about Korean culture.

• Conservation Science in Museum
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• v.17
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• pp.85-100
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• 2016

The Bukji-ri Stone Pensive Bodhisattva of Bonghwa in the collection of Kyungpook National University Museum was transported to the National Museum of Korea for display in a special exhibition('Masterpieces of Early Buddhist Sculpture 100 BCE - 700 CE') and therefore underwent conservation ahead of the exhibition's start date. The stone sculpture had visibly encrusted surface dirt, granular disintegration and fissures upon arrival. Notably, a crack running obliquely across its lower half rendered the object unable to support its own weight without a pedestal, so one was created in order to maintain the sculpture in an upright position while on exhibition. The sculpture was further examined using a polarizing microscope and a stereoscopic microscope. SEM-EDS resulted in petrographic analysis of the stone's mineral composition and identification of its surface contaminants. Polarizing light microscopy confirmed biotite granite as the main mineral component of the object. Several urethane resins cast in round cross-sections were inserted into the newly made pedestal and stability tests were perform to measure the frictional force of the resins. An additional test was performed to compare urethane resin and epoxy resin, with results showing urethane to have a higher coefficient of friction. Utilizing a pedestal with urethane resin effectively ensured the stability of the Bukji-ri Stone Pensive Bodhisattva of Bonghwa during the aforementioned exhibition.

• Journal of the Korean Society for Library and Information Science
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• v.30 no.2
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• pp.107-125
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• 1996

The exhibit programs of library are considered an effective and imporant mechanism to satisfy the demand for information of library users and to innovate a library image. Accordingly, the purpose of this paper is to investigate their recognitions as to how librarians and library users think of the effectiveness of the exhibition programs and as to how the programs exert an influence upon libraries. For research methodology, this research is randomly questionnaired to 360 library users and 90 librarians in July 1995. The collected data is analyzed by such statistical methods as frequency, crosstabs, T test and annova. The analysis shows that there are interesting research findings as follw; 1. The exhibition programs are appeared to be effective for education of library users. 2. The programs are appeared to be effective for increased use of library materials. 3. The programs are appeared to be effective for public relations. 4. The programs are appeared to be effective for collection development. 5. They are revealed to have academic values like academic articles. In sum, among the opinions of librarians, they indicate that the programs are very important in activating the functions of library. Therefore, university libraries should lavishly support the exhibition programs with enough budget and exhibition planners to manage.