• Journal of the Korean Home Economics Association
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• v.46 no.6
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• pp.1-11
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• 2008

The purpose of this study is to find the component factors and attributes of visual store environment and to suggest visual merchandising strategies which fit for fashion retail store in Korean traditional market. For the study, observation and in-depth interview were executed for consumers who had purchase experiences at Korean traditional market in city area. The results were as follows. First, the component factors of visual store environment for Korean traditional market were external factor, internal factor, and structural factor. Second, the attributes of visual store environment in Korean traditional market were approach convenience, cleanness, attractiveness, publicity, efficiency, and informativeness. On the basis of these six attributes, real states of fashion retail store in Korean traditional market were analyzed. This study has a meaning in confirming the possibility of differential approach method on the basis of the attributes of visual store environment in Korean traditional market.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.45-57
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• 2005

The creative fashion design is the technique which ran be obtained through the structural analysis of the relationship between principle, element-combination and idea-expression. In the research, as the results of theoretical survey of design structure and idea-expression, the structural and subjective designs are classified and defined: a. the structural design is analyzed with the existing examples based on the combinational Idea-expression of the O.C.L method, and b. the subjective design is also analyzed connecting the real examples to Cordon method, Synetic method, Association method, and expansive idea-expression-method obtained by the Experiences of Geometrical Combinations. The research can be summarized as follows: 1. The creative fashion design which emphasizes the geometrical structure utilizes the modification method whirh combines the shapes and constructs extraordinary structural beauty coming from the complex structural principle, that is, emphasis and balance. 2. The creative fashion design which emphasizes specific subjects utilizes the modification method which mimics representative and plastic resemblances and constructs symbolic structural beauty coming from the simple structural principle, that is, material elements.

• Journal of the Korean Home Economics Association
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• v.44 no.11
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• pp.171-178
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• 2006

Recently more than ever, interest in Korean tradition has been on the increase, with an active movement to follow tradition. There are various merits for expression with the use of Korean paper as a clothing material. The purpose of this study was to assess the aesthetic characteristics of men's shirts fashioned using Korean paper (Hanji). The following conclusions were obtained from an analysis of the aesthetic characteristics of Hanji shirts. First, Hanji has a peculiar texture, with natural characteristics due to the direct use of naturally handcrafted materials. Hanji shirts have the natural beauty of pure Hanji, without artificial treatment or other subsidiary materials, with the exception of thread. Secondly, Hanji shirts with decorative details and trimmings, such as frills, pin tuck, embroidery and spangles, express an ornamental beauty. Thirdly, Hanji shirts with frills or a fringe have real movement when worn and spangles give the illusion of movement due to changes in color or twinkling caused by light giving the beauty of rhythmical motion. Fourthly, Hanji shirts produced using the application of various techniques, such as crumple, painting and dying, express artistic beauty. Fifthly, Hanji shirts can express traditional beauty, even if created whit modem designs, but using traditional materials.

• Human Ecology Research
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• v.51 no.5
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• pp.563-571
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• 2013

This study aimed to investigate the effects of somatotypes and body-related variables such as body exposure and body satisfaction on underwear evaluative criteria. Usable questionnaires were obtained from a total of 250 male and female students in their 20s. The data were mainly analyzed by t-test, ANOVA and analysis of variance using SPSS ver. 21.0. The results of this study are as follows: First, differences between underwear and outerwear evaluative criteria were found. For example, size, comfort and washing were important for the underwear but design, brand and fashionability were meaningful for outerwear. Price, color, material, and sewing were important for both outerwear and underwear. Second, the groups divided by somatotypes, a thin person group, a moderate person group and a fat person group, showed no difference in underwear evaluative criteria. Members of all the somatotype groups evaluated underwear similarly. Third, the groups divided by body image distortion showed different evaluative criteria for underwear. The negative discordance group emphasized the importance of the practicality factor, but the positive discordance group stressed the significance of the symbolism factor. Finally, the groups divided by body exposure and body satisfaction showed different evaluative criteria for underwear, too. The effects of socio-cultural variables on the underwear evaluative criteria proved to be significant.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.13-25
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• 2004

The purpose of this study was to show the analysis system and the expression which is applied to fashion illustration by three major components in visual sign, metaphor and metonymy. The results of this study were as follows : Firstly, metaphor in qualisign of syntactics was revealed as a color such as realistic description, a pattern such as clothing of figure. etc. Metonymy was revealed as a social and cultural background color, a concept pattern. etc. In sinsign of syntactics. metaphor was revealed as a human body, non-human body and metamorphosis human body and metonymy as a human body and non-human body. In legisign of syntactics, the metaphor by perspective was used for a fantasy of space. and the metonymy was revealed as a color perspective representation, etc. The degree of change of texture was revealed as a metaphor and metonymy of gradation. And conventional custom sign was almost revealed in metaphor. Secondly, semantics showed about fashion image as juxtaposition of two similar objects in metaphor and as real description and simplification in metonymy Alternative fashion image in semantics was presented as a object related to fashion image. Conventional symbolic sign was presented as a role to clarify a fashion message in metaphor. Thirdly, the metaphorical and metonymical expression in pragmatics were usually presented as drawing and painting.

• ETRI Journal
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• v.35 no.6
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• pp.969-979
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• 2013

Various simulation applications for hair, clothing, and makeup of a 3D avatar can provide more useful information to users before they select a hairstyle, clothes, or cosmetics. To enhance their reality, the shapes, textures, and colors of the avatars should be similar to those found in the real world. For a more realistic 3D avatar color reproduction, this paper proposes a spectrum-based color reproduction algorithm and color management process with respect to the implementation of the algorithm. First, a makeup color reproduction model is estimated by analyzing the measured spectral reflectance of the skin samples before and after applying the makeup. To implement the model for a makeup simulation system, the color management process controls all color information of the 3D facial avatar during the 3D scanning, modeling, and rendering stages. During 3D scanning with a multi-camera system, spectrum-based camera calibration and characterization are performed to estimate the spectrum data. During the virtual makeup process, the spectrum data of the 3D facial avatar is modified based on the makeup color reproduction model. Finally, during 3D rendering, the estimated spectrum is converted into RGB data through gamut mapping and display characterization.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.87-100
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• 2009

This study examines black images as 'the other' in history and aims to analyze images of black female fashion models which have been changed in modern society, particularly in $21^{st}$ century post-modern world. Black images, established historically as illustrated on the paintings in $19^{th}$ century, were disseminated in $20^{th}$ century throughout the world especially by way of TV and movies as several typical images such as 'Coon' the clown as the object of entertainment, 'Buck' wild and resistant black rascal, and 'Mammy' obedient and fat black woman servant. The result of image analysis of black female fashion models, can be summarized as following five images. The first is the image of 'powerful'. Black female models frequently represent healthy image which reflects black people's excellence in sports and also the traditional Image of black skin color as strength. The second is the image of 'sexy'. They are adored as having perfect ideal body shape. They show off their sex appeal with their body. The third image is 'multicultural'. Black models represent cultures besides the western. The fourth is the image of 'fantastic'. In contrast to the real, resonable things, black female models represent wild, fancy, ghost things. The fifth is the image of 'racial discrimination' By arranging them in contrast to whites, a metaphoric image of racial discrimination can be displayed. The result shows that tome of racial images still remain on the other way.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.29-41
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• 2009

Perception between real object and recognized subject of human on objective subject is not the same. The reason Is that individual perception of visual design components are transmitted as the image of whole. It is required process of visual perception. Therefore, I developed the vision of seeing image of pattern which is based on Gestalt visual perception theory in clothes. The summary of this study's results is like followings. Extremely antagonistic terms which are specialized by formative characteristics of formative components are clearness and blur of outline/ fixed shape and non-fixed shape/ visuality and tangibility of representation/ simplicity and complexity of structure/ invariability and variability of mobility/ symmetry and asymmetry of arrangements singularity and plurality of group number. The expression of motive shows that clearness, fixed shape, visuality and simplicity pursuit Determination image, and blur, non-fixed shape, tangibility and complexity pursuit Ambiguity image. The arrangements of motive shows that invariability, symmetry and singularity pursuit Order image, and variability asymmetry and plurality pursuit Disorder image. Therefore, the standard of the coordinator of Pattern image positioning is established as Determination and Ambiguity of motive are X-axis, and Order and Disorder of pattern are Y-axis. As the frame of Pattern image positioning, four separated dimensions have made.

• Fashion & Textile Research Journal
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• v.1 no.4
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• pp.358-362
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• 1999

Twenty-three fabrics of varying thicknesses and weights were subjected to the maximum pressures of 10, 20, 35, 50 and 70 $gf/cm^2$ to yield pressure-thickness curves. Compression property values were plotted according to the amount of pressure applied to the samples. Pressure increases resulted in decreases in LC (compressional curve linearity), increases in WC (compressional energy) and no change in RC (compressional resilience). The best-fit lines are found separately according to pressures. The thickest fabrics exhibited the highest LC and WC values. The slopes varied different according to the pressure applied, with a pressure 50 $gf/cm^2$ exhibiting the steepest slope at We. The pressure of 20 $gf/cm^2$ correlated most closely with the hand-evaluation test results, yielding Spearmans correlation coefficients of .86 and .82 respectively for the LC and WC.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.74-81
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• 2004

The three basic elements of human life -clothing, food and shelter- had been evolved through different periods and cultural realms, as their spatial applications show distinct characteristics that are manifested through sensibilities only inherent to its specific culture. Especially in the interior spaces, possibilities to approach them in three-dimensional aspects allow formal characteristics to be expressed that are distinct to the country. Formal sensibilities embedded in interior space In Korea also follows such pattern, developed through various contemporary interpretations of Korean traditional formal sensibilities, including harmony with nature, simplicity, lightness, real and fake, and principle of harmony are being redefined by spatially expressed in contemporary language. That is, traditional formal sensibilitiesare filtered through various application methods such as composition, negotiation and modification, accommodating spatial manifestations to be not simply preserved nor replicated, but rather reconstructed through metaphor, symbol, abstraction and contrast. From this perspective, the Korean traditional formal sensibilitiesis not a notion fixed in the past, but a distinct perspectives evolving throughout periods of time that are constantly reconsidered and reinterpreted in our interior space. By examining Korean sensibilities manifested in interior space in the both diachronic aspects of tradition vs. contemporary, as well as synchronic aspects among various disciplines simultaneously, we would be able to generate a linkage to the dichotomous categories of tradition and contemporary.