• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.67-78
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• 2016

Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.145-156
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• 2009

This study proposes the product development through an organic link with multi-faceted analysis on the archetype of traditional costumes culture. In order to find ways to develop cultural products, Jogakbo was selected, and the research result is as following. 1. Analysis on the types of Jogakbo products sold in the market shows that there are not only living, stationary, and fashion items, but also DIY packages. In terms of materials used, most of these Jogakbo products were made of fabric or mixture of different materials. These products displayed similar tendency by reflecting formative characteristics of Jogakbo. 2. This study analyzed the color, surface composition, material, manufacturing, and usage of Jogakbo. The rotor of Jogakbo is mostly composed of mono tone colors or Obangsac(five-element colors). The mono tone colors carries environmentally friendly meaning as it is using the natural color and Obangsac means harmony. Moreover, the surface composition of Jogakbo represents the expansion through connection and its material is also meaningful in that it is recycling. Manufacturing of Jogakbo has educational significance, fortune-wishing characteristics, decorative function, it also gives a gratification of handcraft. The usage of Jogakbo is a multi-(unctional article whose form is determined by an item that is held inside it. 3. Through the analysis on Jogakbo, this study presents the baby wear in relation to the ere-friendliness of colors, brooch sets using the surface composition, dresses using recycling fabric, children's educational instruments with educational significance, as well as multi-functional packages in regards to usage of Jogakbo.

• Journal of Korean Institute of Industrial Engineers
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• v.42 no.6
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• pp.412-420
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• 2016

A visual field tester using a fixation target with a lack of distinctiveness decreases accuracy and usability in visual field testing. The present study is intended to develop various induction methods of gaze fixation for effective visual field testing. Proposed were four new gaze fixation induction methods (color changing dot; alphanumeric characters; flashing black dot; and bulls eye and cross hair, BECH) by considering visual attention factors such as color, meaning, flashing, and shape and the proposed methods were compared with the existing black dot (BD) method in terms of gaze fixation performance and subjective satisfaction by 32 participants in their 20s to 30s. BECH was found most preferred by increasing gaze fixation performance by 4.8% and subjective satisfaction by 0.4 to 2.0 in a 7-point scale compared to BD. BECH can be applied to tests such as visual field testing and macular pigment optical density testing in which gaze fixation is crucial for accuracy and usability.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.1
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• pp.144-151
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• 2002

The assessment of hand of the denim fabrics finished by enzymatic hydrolysis will be discussed in this study. The subjective hand and the preference of the denim fabrics finished by enzymatic hydrolysis were evaluated using the developed scale(Part I). The factors affecting consumer's taste for denim fabrics were analyzed by statistics using SAS program. Also, the enzymatic of hydrolysis on the properties of denim fabrics were evaluated by subjective hand measurements. The results are as follows; Regarding the surface properties and the weight, Tencel was evaluated to be the finest, the smoothest, the most flexible, the warmest, the most refined, the sleekest, the flossiest, the lightest the softest, and the thinnest among the four kinds of fabrics. The other fabrics in the order of cotton/Tencel, cotton, cotton/PP were evaluated to qualify the listed touches. Tencel was evaluated to be the loosest and the weakest among the four kinds of denim. Cotton was evaluated to have the driest touch. In addition, the fabrics were evaluated to be more elastic and less wrinkly in the order of Tencel > cotton > cotton/Tencel > cotton/ PP. For the hand preference, the fabrics were ranked in the order of Tencel, cotton, cotton/Tencel, cotton/PP, where tencel is the moat preferred. Cotton/Tencel and cotton/PP showed negative values in the hand and the color preference, meaning that the evaluators disliked their touches. Hand preference of enzyme hydrolyzed cotton/Tencel and cotton/PP denims do not seem to appeal to Korean people.

• Journal of Korea Society of Industrial Information Systems
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• v.13 no.4
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• pp.145-154
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• 2008

In this paper, we propose the pet robot control system using hand gesture recognition in image sequences acquired from a camera affixed to the pet robot. The proposed system consists of 4 steps; hand detection, feature extraction, gesture recognition and robot control. The hand region is first detected from the input images using the skin color model in HSI color space and connected component analysis. Next, the hand shape and motion features from the image sequences are extracted. Then we consider the hand shape for classification of meaning gestures. Thereafter the hand gesture is recognized by using HMMs (hidden markov models) which have the input as the quantized symbol sequence by the hand motion. Finally the pet robot is controlled by a order corresponding to the recognized hand gesture. We defined four commands of sit down, stand up, lie flat and shake hands for control of pet robot. And we show that user is able to control of pet robot through proposed system in the experiment.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.

• Journal of Fashion Business
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• v.9 no.2
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• pp.71-83
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• 2005

In this study, we reviewed the color changes accompanying the laundering, wash fastness, and abrasion fastness of chitosan-treated cochineal-dyed fabrics. The treatment methods were classified into two based on the chitosan treatment: (Method 1): fabric specimens were pre-treated with chitosan prior to the dyeing procedure in salt form. (Method 2): the state of chitosan acid salt formation, coated on the yarn surface, was destroyed and neutralized prior to the dyeing process. The changes in the chitosan treatment methods bear more important meaning in view of the durability. In Method 1, it is highly likely for the chitosan to be detached from the surface by water during laundering since the chitosan is coated as acid salt state. In Method 2, the resistance d the chitosan to water was supposed to revive since the chitosan would return to its original state. Differences in the resistance of the chitosan treatrrent, however, according to the Method 1 and Method 2, fell short of our expectations. In Method 2, the wash fastness did not improve as we expected since the bond between the fibers comprising fabric specimens and the chitosan is not high even if the chitosan itself has high resistance to water.

• 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.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.263-277
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• 2008

In picture bible, the picture is helpful for showing story more vividly and specifically and it is helpful for finding the meaning of bible hidden behind familiarity. It plays the role of the most powerful testimony and expression, with which human provides himself. The purpose of study was to grasp the relation among historical background of the middle age, human's characteristic and symbolic color by considering the fact that the costume expressed in Maciejowski Bible, which is a picture bible of the middle age and observing type, color and decoration of costume. Among 46 folios organizing Maciejowski Bible, 129 pictures explaining the Book of Genesis, the Book of Exodus, the Book of Leviticus, the Book of Numbers, the Book of Deuteronomy, the Book of Joshua and the Book of Judges, which belong to the former 400 years of the old Testament, were analyzed for people's costumes. The pictures shown in Maciejowski Bible portrays object, costume and behavior on the background of France of the 13th century so we can find out the precious natures of middle age's costume, weapon and armor. Especially, the portrait about finger armor of chain mail attached in hauberk becomes the outstanding evidence that can encroach the discussion over whether it was used in the end of 1300s. Regarding costumes of main characters, they wore chemise and braies as underwear, wore tunic or cotte having various lengths from the length reaching knee to the length reaching 8round as basic costume and wore mantle with different-colored lining and hose with various colors. In the war picture, we can see hauberk made with chain mail and cyclas with long slit, which was worn over hauberk, barrel helmet, norman helmet and steel school cap. Regarding cap. man usually wore coif, beret, shade-shaped cap, straw hat and woman wore the decoration using veil and hairlace and used the method to wrap whole hair with net. As the colors used in the costume of the picture bible, scarlet, blue, green and brown were usually used in order. They usually wore costumes decorated splendidly with the colors haying hish brightness and chroma.