• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.69-81
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• 2003

This study firstly identify the characteristics of the clothes for traditional wedding ceremony from the late Chosun Dynasty (19th Century) and today through comparison. It also tries to discover what today's people are incorrectly aware of regarding the traditional wedding clothes particularly by survey. It ultimately aims to present constructive ways of solution against the illadvised and simplified deformation of the traditional wedding clothes. When comparing the traditional wedding clothes from the late Chosun and its modern counterparts, Dan-ryung and Samo-kwandae is still used for bridegroom's dress. In case of bride's dress, several items such as Yeom-eui, So-eui and Hwal-ot have been disappeared while Won-sam can be seen today. There were found many additional differences not only in type of the wedding clothes, but also in its form and constitution. Therefore, it is advisory to take the wedding clothes worn by commoners and upper class as the basic form for today's traditional wedding clothes. In addition, diversified research should be carried on to make them broadly accepted by today's life.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1131-1138
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• 1999

The objective of this study was to investigate the relationship between women's clothing westernization and the economic development in Korea. The data were obtained for the Korean women's clothes and analyzed by the linear regression method. The results were as follows: First western clothing style was adopted first for the street wear and then for the casual home wear. Second the per capita GNP as a proxy of the economic development was shown to affect the weaternization of Korean women's clothing significantly. The Korean treditional clothing was disappeared as the per capita income went up. These results support previous anthropological studies on the westernization and the economic development following industrialization. Also this quantitative study shows one way to prove Bell's hypothesis and will be of use to the economists as well as the clothing researchers.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.92-98
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• 2007

This study analyzes the women's hair style and costume in late Chosun Dynasty appeared in Shin Yoon Bok' genre painting. Conclusions are as follows; First, in case of woman costume, the Jergori was short and the Chima was too long. The trend of simplified clothes on upper body and abundant clothes on lower body appeared. In addition, as 'geodulchima' became popular, women came to of en show an erotic beauty by exposing their underwear below chima. Second, in the women's hair style appeared in Shin Yoon Bok' genre painting, a unmarried woman did the braids and a feme covert did 'Ungeon Meori' and 'Tremeori'(a swept-back hair with the chignon) regardless of status. We can imagine the women's hair styles of a higher class who imitated those of 'Kie-sangs' through the features of Kie-sangs who were illustrated by Shin yoon bok.

• 한국전산유체공학회:학술대회논문집
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• 2010.05a
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• pp.283-288
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• 2010

The characteristics of a condenser dryer and a vented dryer that are common types of domestic clothes dryers for home use are predicted and compared in an effort to improve the efficiency and to overcome economical and environmental problems due to its inefficient power consumption. In the present study, a drying system is simplified by assuming the mechanism is composed of several elements such as heater and drum and mathematical models using the mass and energy conservation of moisture and air through each element are defined. Based on this mathematical model, the computational tool is developed to predict temperature, humidity and enthalpy of moisture and air in a drum and remained moisture contents (RMC) in drying materials. The computational results are verified by comparing with experimental results from existing studies. In addition, the efficiency of a dryer is calculated using these predicted results for a given condition and the drying characteristics of a condenser dryer and a vented dryer are compared and analyzed.

• Journal of the Korean Society of Costume
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• v.50
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• pp.129-144
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• 2000

In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.1
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• pp.3-13
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• 1999

This study was performed for purpose of getting fundamental information requisite to wear velvet clothes that is more comfortable for the human body and also the environment. It was carried out in a human wearing test and thermal manikin test at the same time in a controlled-condition chamber. The experimental environment had a ambient temperature of 15$\pm$0.5$^{\circ}C$ with the relative humidity at 5$^{\circ}C$$\pm$5% and with air velocity at less that than 0.2m/sec. Velvet differ from common plain weaves in thermal properties because it's constructed in two parts one is ground part and the other part is pile part. In order to investigate the thermal resistance of velvet eight different combination of 4 velvet kinds and 2 lings kinds as experimental clothes. [(4 velvet kinds : Acetate cuprammoium Rayon Cotton Wool) (2 lining kinds : acetate viscose rayon)longrightarrow8 combination: Aa, Av, Ra, Rv, Ca, Cv, Wa, Wv: the simplified character] The results of this study can be summarized as follows : 1. For the regional thermal resistance the differences in eight clothes as well as differences in each part were significant. As a whole the breast part showed the highest thermal resistance and the leg part was higher than the shank part. The rank of the total thermal resistance was put at Wa>Wv>Ca>Cv>Aa>Av>Ra>Rv in this order. 2. Considered clothing microclimate microclimate temperature has a similar tendency to the total thermal resistance. It showed a significance in the differences of eight clothes and each parts. the belly part was highest in every combination. On the other hand for clothing humidity there was a significance between back and breast part only in the human wearing test. 3. It was indicated that CLO value was highly positively correlated with the clothings' weight and showed a high negative correlation with the air permeability.

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• Journal of Fashion Business
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• v.7 no.2
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.