• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.11-27
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• 2006

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.496-509
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• 2007

The purpose of this research is to find out the effect of a chromatic Korean jacket and an achromatic Korean skirt on the visual image of a traditional Korean dress wearer. This experiment was designed to the 3 factors which were composed of 3 colors(red, yellow, green), 4 jacket tones(vivid, light, dull, dark), and 4 skirt colors(N9, N7, N4, N2). The 288 students in Gyeongsang National University assessed the 48 stimuli which wear variously incorporated with colors and tones by a semantic differential scale of 7-point: The results of the study were as follows. Image factors of stimuli are youth and activity, gracefulness, visibility, and tenderness. Among these, youth and activity factors, and gracefulness factors proved to be important. The colors and tones of a jacket and a skirt used in this experiment showed that the colors and tone had an effect on dimension of 4 images by interacting of two valuables or working independently. While a yellow jacket with vivid and a white(N9) skirt had a significant effect on youth and activity factors, a red jacket and a dark- gray(N4), -black(N2) skirt were evaluated as a graceful image. In the red jacket case, a visible factor was considerably different according to skirt tones. Only jacket tones worked as a striking clue in a tenderness factor.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.1-14
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• 2017

Cycling has become a popular leisure activity, and many cycling enthusiasts have used cycling clothes as a form of expression, which often comes in wide range of colors. The study shows the importance of color in cycling clothing to meet the emotional needs of consumers. Furthermore, this study aims to provide comparative analysis between color of domestic and overseas cycling clothing brands, and color preference of Korean consumers in order to provide data, which can be used in satisfying consumers' needs for personal expression and emotional demands. Thus, the study expects to identify consumers' satisfaction for cycling clothing. The consumers were categorized by the frequency of cycling and their interest in fashion, and the following categories were made:potential consumers, casual cyclists with low fashion involvement, casual cyclists with high fashion involvement and frequent cyclists with high fashion involvement. Consumers preferred dark colors for their cycling clothing including jacket, top and pants, while 'frequent cyclists with high fashion involvement' preferred more diverse colors and tones. In the cycling clothing market, white and black were major colors, while red, orange and blue were major colors of chromatic color. In terms of shade, dark shade dominated the market. Comparing between preferred color and preferred product color, black was preferred for both, but no other colors showed such tendency. This study is based on empirical analysis and verification of color, which is the emotional element appealing to specific and segmented sports-apparel market. The study revealed that the data could be applicable to the design of future products.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.42-54
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• 2011

The study was focused on surveying the cultural identity and the origin of T-shirts, and examining their functions. Six cities were selected to categorize the design motifs of cultural identity appearing in the design of contemporary T-shirts. These cities include a city in France, United Kingdom, Italy, United States and Japan where collections are currently presented at, and also a city in China that has shown a high economic growth as one of the most popular sightseeing cities. Cultural identity was presented in the T-shirts that were examined in this study through diversified design motifs. Motifs used in T-shirt designs to reflect cultural identity included national flags, notable places, letters, names of geographic places, and individuals. A national flag is a motif that signifies national identity and it was used in the front of T-shirts as it is or was just partially used. Also, many world-renowned structures or architectural buildings were applied to T-shirt design. Noted places such as the White House, the Statue of Liberty in the U.S., Tienanmen Square in China and the Eiffel Tower in France were used. The unique characters of language, such as Hangeul in Korea were used as design elements to reflect the structural characteristics of letters. Names of geographic places were used as design elements through the disclosure of the name of a symbolic city or a tourist site in each country. In terms of figures, not only the historical figures or celebrities from each country were used, but the image of bodies and faces that represent each culture were used as well. In addition, this study was used to develop T-shirt designs that reveal the cultural identity of Korea.

• Journal of Conservation Science
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• v.24
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• pp.67-74
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• 2008

The objective of this study was to investigate stability of traditional starch sizes according to time. The properties of wheat flour and fermented whole-wheat flour were studied. And comparison of stiffness, tensile strength, air permeability, whiteness, and surface observation of cotton fabrics sized with wheat flour and fermented whole-wheat flour before and after 12-years were examined. The amylograph data indicated that ISF-W(Isolated starch flour- white) have good pasting properties than NWF(Natural wheat flour) and ISF-B(Isolated starch flour- light brown). The cotton fabrics sized with ISF-W had higher tensile strength and whiteness, and lower stiffness and air permeability than those of NWF as the time takes 12 years. We identified the stability of traditional starch size using scanning electronic micrograph.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• Journal of the Korean Society of Costume
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• v.5
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• pp.65-81
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• 1981

I referred to documents to study the origin and the progressing process of textiles. Cotton seeds were first imported from China by Mun, Ik Jem at the end of the era of Koryeo, and cotton had several different names such as mok-myen, cho-myen, gil-pae, baek-chep-za, tap-po, ban-ki-wha, dong-yep-po and so on. Since the era of the Three Kingdoms, people had heard of cloth of superior quality but it was not certain whether it was imported from China or made in our country. It seems that cotton was not made during that period, white silk, hemp cloth, and ramie fabric were produced. At that time, linen was called cotton by mistake. After importing cotton seeds from China, all the people began to plant them and made their clothes from them. At the beginning of the Yi Dynasty, the weaving technique was dependent on China. However, the government persuaded farmers to plant them. At that time cotton was used as a means of purchasing instead of money. Silkworms raising started during the era of the Three Kingdoms and it was widely spread at the beginning of the Yi Dynasty. In order to encourage sericulture' spinning and weaving instruments were installed in the royal palace and the queen with sher court maids demonstrated how to spin and weave. The activity was named "chin-jam-ye." Linen was the representative of all textiles and it was also very popular. The technique of weaving had already been highly developed at the era of Silla. During the era of the Three Kingdoms people used "bang-chu-cha" as a weaving instrument. They discovered several new hand machines in the period of the Yi Dynasty: they were instrument of removing seeds, spinning wheel, hemp cloth loom and so on, and we find the remains of them these days.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.117-130
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• 2015

The purpose of this study is to investigate the 'sexy look' of the Paris Haute Couture evening dresses of the past 10 years from 2005 to 2014. The results are as follows: According to the occurrence frequency analysis of the fashion images of sexy look evening dress, the type of sexy look that appeared the most is the romantic sexy look, followed by erotic sexy look, ethnic sexy look, minimal sexy look and avant-garde sexy, respectively. According to the design component-specific analysis of evening dress for each Haute Couture house, 7 Haute Couture houses have used H-line silhouette over the past 10 years, each H-line silhouette being different. In terms of material, Valentino, Elie Saab, Givenchy, Chanel and Dior have shown a trend of favoring see-through material, Gaultier and Armani showed a lot to combine different materials. In terms of color, Valentino, Chanel, Dior, Gaultier, Armani have shown a general trend in the last 10 years to express sexy look by using attractive and mystical black tones, Elie Saab has shown skin color a lot by using brown family colors and Givenchy has used white family colors. According to the design components analysis for each sexy look fashion image, the H-line silhouette showed the most frequency to represent sexy looks. In terms of material, avant-garde sexy look, ethnic sexy look and minimal sexy look showed a lot to combine different materials to express sexy looks, but erotic sexy look and romantic sexy look are characterized by using thin see-through material. As for the color, black series has been most represented in the last 10 years for the Haute Couture evening dress sexy look.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.97-108
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• 2005

Jacqueline Kennedy was one of first lady in America and made influence on the fashion of the woman at that time. She made the first American fashion style. Jacqueline became a prominent model and style-setter in fashion world. She created peculiar fashion style which is called 'Jacky style' and her fashion power of influence appears in the present time. At that time, Haute Couture of France had led the world fashion, however since Jacqueline style came into fashion, American beauty and elegance was introduced to other countries. This study reviews the representative fashion item of Jacqueline Kennedy who was one of the fashion leader in the world. The result to appear in her style is follows. First, Jacqueline could express the young fashion that young people wanted a progressive and new thing because she was much younger than their predecessors. Second, she made her image bright and young, so she became a representative person who expressed 'changing America women'. She created a new appearance which is very simple in design, practical in function and elegant and it is turned into the typical style of American high fashion. Finally, through Jacqueline's fashion, not only she made the image of America upper classes that is very elegant and grace without dependence on the fashion of France, but also she is leading one of parts at a fashion style the present time. Since then, the fashion of America could become the center of a world fashion by Jacqueline. Important thing is that she wore suitable cloths as a first lady who was a outstanding fashion leader.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.