• Journal of Internet Computing and Services
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• v.9 no.5
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• pp.117-130
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• 2008

This paper proposes a stable and robust method to distinct the color similarity for clothes using the LBG algorithm under various light sources, Since the conventional methods, such as the histogram intersection and the accumulated histogram, are profoundly sensitive to the changing of light environments, the distinction of color similarity for the same cloth can be different due to the complicated light sources. To reduce the effects of the light sources, the properties of hue and saturation which consistently sustain the characteristic of the color under the various changes of light sources are analyzed to define the characteristic of the color distribution. In a two-dimensional space determined by the properties of hue and saturation, the LBG algorithm, a non-parametric clustering approach, is applied to examine the color distribution of images for each clothes. The color similarity of images is defined by the average of Euclidean distance between the mapping clusters which are calculated from the result of clustering of both images. To prove the stability of the proposed method, the results of the color similarity between our method and the traditional histogram analysis based methods are compared using a dozen of cloth examples that obtained under different light environments. Our method successively provides the classification between the same cloth image pair and the different cloth image pair and this classification of color similarity for clothe images obtains the 91.6% of success rate.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• Journal of Conservation Science
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• v.28 no.4
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• pp.321-328
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• 2012

A $SO_2$ gas acceleration test was carried out on four textile groups (silk, cotton, ramie cloth, hemp cloth) which were categoried in five categories by the dyeing materials (undyed, red, yellow, blue, black) and the relation between the concentration of $SO_2$ and deterioration rate was evaluated. The textiles were exposed to 0.01, 0.12, 1, 10, 100, 1000, and 5000 ppm of $SO_2$ for 24 hours and the optical, physical, and chemical deterioration rates were studied. An optical change was identified as the color difference and grey scale rating (colorfastness) enhanced with the increase of gas concentration while there was little physical change. Chemical damage was caused by the acidification of the textile material due to the trapped sulfate ion concentration. The result of optical, physical, and chemical deterioration rates shows that 1 ppm/day $SO_2$ is a critical level of deterioration of traditional textiles.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.141-153
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• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• Korean Journal of Human Ecology
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• v.17 no.6
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• pp.1181-1195
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• 2008

This study based on Sa rye pyun ram(四禮便覽) by Lee Jae which are Chosun Dynasty book about the rules in a wedding ceremony. And the research examine into the understand how to the procedure, the true meanings about korea traditional wedding and general opinion of wedding custom. The instrument is the questionnaires, which is analyzed finally through data processing with 129 of wedding venders. The data analyze by making use of SPSS program were frequency analysis, ANOVA, $x^2$-test, pearson's correlation analysis. The summary of a result is as follows. First, the wedding awareness of wedding venders about Eou hon(議婚) is on a high level but Nab chae(納采) is low. Second, wedding venders are knowing with "Hon suh ji(letter), four season cloth, blue-red satin, shell goods" in a Nab peau(納幣) and with "jujube, beef, chicken, Gu jel pan(accompaniment to a drink), alcohol in a Peau back(幣帛). Third, wedding venders are answered that acceded to "Peau back" and "traditional wedding ceremony' but needed no "gifts & cloths for wedding". Forth, the understanding of wedding procedure (婚禮節次) is on a low, especially Bon ray(本禮).

• Journal of the Korean Home Economics Association
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• v.11 no.2
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• pp.147-165
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• 1973

One of the characteristics of feudal society is the control of the dress and ornamentation which stand for various social classes and personal relationships. Throughout the Yi-Dynasty, certain forms of dress and ornamentation were controlled or prohibited by the government. For instance, there was a Ban on the use of gold and silver for ornaments and silks or satins for dresses, and the violator was subject to severe punishment according to the penal laws. This seems to have been done more for symbolism and the dignity of the various social ranks and powers than as an economic measure against foreign products. The use of yellow cloth, for instance, was once banned out of blind submission to the traditional practices in China, then the most powerful nation in Asia. The working classes were prohibited to use any silks of foreign production. This was done to discourage a spirit of wasteful luxury and the tendency to prefer the often higher quality foreign product. The government regulated the class of the traditional wedding ceremony, again as a means of both encouraging economy and reestablishing the distinctions between the classes. In spite of these attempts at control by the government a large trade in smuggled goods was still carried out. This had the effect of impeding the development of the clothing industry in the country.

• Journal of Fashion Business
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• v.26 no.1
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• pp.68-91
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• 2022

The purpose of this study is to create modern patterns based on considering the types and design elements of Joseon hwapo patterns containing Korean identity, and to develop costume designs by applying design elements of traditional Korean dress, Hanbok. These designs combine traditional costumes with modern sensibility using the attribute listing method, and present them using a 3D virtual clothing program. Through this, it is meaningful as it organizes data on Joseon hwapo patterns, which were rarely dealt with in the traditional Korean costume research, and it is also of research value as it is a work that utilizes Joseon hwapo patterns as a new source of fashion design development. As a research method, literature research was conducted based on the documents, 'Nabeshima-sarasa hidensho', 'Nabeshima-sarasa mihoncho', and 'Zoho kafu benran', which are related to Joseon hwapo remaining in Japan. Based on the literature research, research was performed by creating pattern design and costume design using the attribute listing method, and 3D virtual clothing. Traditional Korean costumes used in design development in this study were saekdong-jeogori, dolddi-jeogori, magoja, hongjangsam, durumagi, jungdan, gollyongpo, jeogui, breast band, mujigi-chima, chima, and baji. Further, accessories used in each costume, such as pyeseul, daedae, hapi, and jeonhaeng-utchima, and features of configurations, such as yongbo, chest ribbons, band hem, gusset, collar and dongjung, heorimalgi, neckline, and sapok line, were used for design development.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.143-157
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• 2005

This study aims to analyze functions and characteristics of 'Cha-il(遮日)' which was used at ritual events(宮中儀禮行事) in the Joseon dynasty, Joseon dynasty had many ritual events related with O-Rae(五禮). Cha-il was almost used at important ritual events, especially at the congratulatory events. The congratulatory events(宮中宴享) are the representative events were held with many temporary install facilities(假設施設) in a palace. Cha-il was a kind of Korean traditional membrane structures. Cha-il was set up for cutting off interior space from sunlight and rain. In general, Cha-il was Consisted of Cha-il-jang(遮日帳:woven fabric), Cha-il-jook(遮日竹:bamboo column), some ropes, and fixing wares. In the congratulatory events, three types of Cha-il. were set up. Baek-mok-Dae-Cha-il(白木大遮日)was made of cotton cloth. Yu-Dun-Cha-Il(油芚遮日) was made of oiled paper or oiled cotton cloth. Man-Joen-Cha-Il(滿箭遮日) consisted of wooden structure. Baek-mok-Dae-Cha-il(白木大遮日)was set up on the most important area of stage for protecting from sunlight. Yu-Dun-Cha-Il was set up on less important area of stage for protecting from sunlight and rain. Man-Joen-Cha-Il was set up below Baek-mok-Dae-Cha-il for supporting and draining raindrops off. The results of this study were as follows; Functions of Cha-il were to protect ritually space from sunlight and rain, and to extend ritually space, and to reconstruct ritually space. Cha-il was the peculiar temporary install facility which differed from other countries.