• 복식문화연구
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• 제17권3호
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• 한국의류산업학회지
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• 제17권4호
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• pp.501-512
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• 2015

This study was to consider and analyze of fashion window display design at Printemps department store in Paris, France which has tried continuously space presentations through the sensibility and differentiated strategy. The framework for analysis of this study was established by related precedent studies. Data collection was done by searching related specialty publications and website of Printemps department store, and the results of this study were drawn through qualitative analysis of experts' group. The results are as follows. Printemps department store set up presentation types of fashion window display design's themes that have been developed by the method of display presentation such as symbolic, ambience, surrealistic, realistic, and information. The most frequently used presentation development techniques applied in windows' VP of Printemps were the 'transferal of daily space', 'transferal of unexpected space', 'exaggeration of animal & plant', and 'descriptive narrative scene.' In addition, the display theme components such as the materials that can be easily accessible in everyday life, unique directing props, the memory or childhood, the image of animal or plant, and lighting etc. We found that the major colors of window display design at Printemps department store were purple, blue and black during the period from 2009 to 2014.

• 복식문화연구
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• 제23권6호
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• 한국식품저장유통학회지
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• 제7권3호
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• pp.285-290
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• 2000

Anthocyanin 색소원(자색고구마, 꽃양배추, 적양배추, 포도, 흑미, 가지, 무화과)의 색가를 조사하고 이들 중 색가가 높은 자색고구마, 꽃양배추, 적양배추 및 포도과피를 선정하여 이들 색소의 안정성에 미치는 금속이온, ascorbic acid, 자외선 및 가열의 영향을 조사하였다. 자색고구마와 포도과피의 색소는 $Mn^{2+}$에 의해 색소의 안정성이 가장 크게 저하되었으며, 적양배추와 꽃양배추 색소는 모두 $Cu^{2+}$이온에 의해 안정성이 가장 크게 저하되었다. Ascorbic acid와 자외선 및 가열은 anthocyanin 색소의 안정성을 저하시켰는데, 그 정도는 색소원에 따라 달랐다. 이들 요인들에 대한 안정성은 자색고구마 색소가 가장 높았으며, 다음으로 꽃양배추, 적양배추 및 포도과피의 색소 순이었다. 색소원에 따라 색소의 안정성이 달라지는 것은 이들 anthocyanin색소를 구성하는 색소성분의 차이에 기인한다.

• 한국식품영양과학회지
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• 제40권7호
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• pp.1043-1047
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• 2011

본 연구는 할맥(Spb), 정맥상태의 흑맥(Pbb), 현맥상태의 유색보리(황맥: Hyb, 자맥: Hpb, 흑맥: Hbb) methanol 추출물의 항산화 성분과 항산화 활성을 비교하고자 하였다. 추출수율은 할맥, 정맥상태의 흑맥, 현맥상태의 유색보리(황맥, 자맥, 흑맥)에서 각각 2.85, 3.62, 4.62, 4.41과 6.58%를 나타내었다. Polyphenol과 flavonoid 함량은 시료 100 g당 Spb가 57.93과 24.02 mg, Pbb가 64.01과 27.92 mg, Hyb가 122.88과 36.38 mg, Hpb가 134.94와 36.51 mg, Hbb가 163.43 and 39.70 mg으로 분석되었다. 항산화 활성도 이와 비슷하게 현맥상태의 유색보리가 할맥과 정맥상태의 흑맥보다 높았다. 이는 유색보리의 항산화 성분이 겨(bran) 층에 많이 분포하는 것으로 생각된다. 본 연구 결과는 유색보리의 기능성 연구 및 이를 이용한 기능성 제품의 개발에 있어 기초자료로 이용될 것으로 기대된다.

• 한국작물학회지
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• 제43권2호
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• pp.105-112
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• 1998

Seeds of medicinal soybean [Glycine max(L.) Merill] are characterized by a black seed coat, white stripe at hilum border, yellow cotyledon, and very small seed weight. Production of this medicinal soybean has recently increased as a consumption increased. The objective of this study was to evaluate the growth characteristics and seed yield of collected medicinal soybeans and to obtain basic information on production practices and breeding materials. The collected medicinal soybean lines were cultivated at three locations for two years. Twenty-seven lines were planted at the Research Farm, Korea University, Namyangju city, on May 23, and at the Research Farm, Kyungpook National University, Taegu, on May 20, 1995. In 1996 field experiments, forty-four lines were planted on May 25, at Research Farm, Korea University, and twenty-seven lines among those were planted on June 7 at the Research Farm of National Yeongnam Agricultural Experiment Station, Milyang city. The investigated lines had purple or white flower. Flowering and maturing dates were similar or later than those of the control cultivars. Branch number was greater for the investigated lines. One hundred-seed weight of the lines ranged from 8.5 to 15.0 g. Mean seed yields ranged from 1.54 to 2.89 MT/ha. Nine lines of the investigated medicinal soybeans showed higher yield capacity than the control cultivars. Further research should be done on the improvement of the production system and breeding program of medicinal soybeans.

• 복식
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• 제57권6호
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• pp.87-100
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• 2007

In the Joseon Dynasty, a Court Ladies' full dress was Slanted by the Ming Dynasty. Since the Ming Dynasty had declined, a Court Ladies' full dress, Jeok-ui began to be made by the Joseon Dynasty. It was based on the Chinese Court Ladies' full dress, Desam, but it became Joseon's own style, which was different from the Chinese one. The formula of Jeok-ui was completed in the time of King Yongjo. Since then, Jeok-ui for big ceremonies was called Bub-bok. It was recorded on the Regular rule of Sang-uiwon. The color of Jeok-ui was departmentalized for the wearer; red one for the Queen, bluish black one for the Crown Princess, and purple one for the Queen mother. There were some differences between Jeok-ui for feasts and for big ceremonies. In the case of Jeok-ui for big ceremonies, the pattern of Hyung-bae for the Queen was a dragon with five claws, and for the Crown Princess, a dragon with four claws. On the other hand, in the case of Jeok-ui for feasts, the pattern of Hyung-bae was phoenixes for the Queen, Crown Princess and the Queen mother. The number of embroidered round badges, which were attached to Jeok-ui, was 51 for big ceremonies, and 36 for feasts. The skirt for big ceremonies was a Jeonang-ut-chima with dragons pattern for the Queen, and phoenixes for the Crown Princess. The Queen's skirt for feasts was a Jeonang-ut-chima with phoenixes pattern, and the Queen mother's also. The Crown Princess' was a double skirt with phoenixes pattern. The pearls were not decorated on the shoes for big ceremonies, but shoes for feasts had six big pearls fer decoration. When the royal woman wore Jeok-ui for big ceremonies, it was prepared for Kyu, Pe-ok and belt with jade. But those were not necessary for Jeok-ui for feasts.

• 패션비즈니스
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• 제4권3호
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• pp.79-90
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• 2000

On the beginning of 21C, in which it is a facing problem that the expansive image of future in fashion should be proposed from the comprehensive analysis for the fashion trend. Therefore, in this study, the trends of capricious fashion are distinctly quantified by investigating the cue of fashion in each styles. Also, the systematic evaluation is carried out of analyzing photographs to which the four important fashion styles. In particular, this study takes the practical and numerical results through quantitative analysis by statistical treatment as well as through qualitative analysis that has been formerly used in the other studies. The purposes of this study are to examine fashion trends expressed in important styles in the 1990s, and to formulate productive fashion of the future. In the qualitative analysis, the four important fashions of neo-mods/jazz, neo-hippie/grunge, sportive-casual and techos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s A/W. It takes frequency, percentage, $x^2$-test and etc, by using the comprehensive tools for statistical treatment. There were significant differences between the A/W fashion. According to the cues, there are also significant differences between the fashion in the 1990s. The results of this study are summarized as follows: (1) In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. (2) 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special make-up. (3) 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. (4) 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• 복식문화연구
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• 제26권4호
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• pp.613-631
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• 2018

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes' design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, -145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).

• 한국작물학회지
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• 제32권1호
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• pp.10-15
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• 1987

Burley 21을 공시품종으로 하여 건조실은 파이프 비닐하우스를 이용하였고, 시험 I 은 차광율을 10∼90%까지 20%씩 차이를 두어서 5 처리를 하였으며, 시험 II는 흑색차광막, 차광강과 5가지 유색비닐 등으로 차광재료를 달리하여 잎담배 건조시 차광효과와 알맞은 차광재료를 달리하여 잎담배 건조시 차광효과와 알맞은 차광재료를 밝히기 위하여 본 실험을 수행하였던 바 결과를 요약하면 다음과 같다. 1. 차광량이 않을 수록 온도가 낮고 습도는 높은 경향이었다. 2. 노변 전까지의 차광효과는 엽중탈수속도를 지연시키는데 있었다. 3. 급건엽발생은 차광량이 많을 수록 적었으나 차광 70％ 이상에서는 큰 차이가 없었다. 4. 품질 및 물리성은 50％ 이하의 차광구에서 불량하였으나, 그 이상에서는 큰 차이가 없었다. 5. 건조시 차광량의 하한선은 70％ 본다. 6. 유색비닐 중 주황색, 백색 및 자주색비닐은 흑색차광막과 충분한 대비효과를 가지고 있다. 그러나 백색비닐은 광에 의한 내구성이 가장 약하였다. 7. 가시광선의 광질 차이는 건조에 거의 영향을 미치지 않았다. 8. 흑색계통의 차광재료는 차광량은 많으나 광energy를 흡수하여 하우스 내 온도를 높이므로, 내구성이 크고 광 반재형 차광재료의 개발이 요구되었다.