• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.43-54
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• 2002

Some factors had influence upon the grotesque image formation expressed in fashion: for instance, thanatos, religions, fin de siecle (end of the century), the aesthetics of ugliness, subculture group's resistance and technology development, etc. Those factors have formed a grotesque while exchanging influence each other, and have following features: First, the thanatos, which is destructive and aggressive instinct of the inner world of human being, creates frightening object and motif to form the images of grotesque. Second, from religious point of view, the church made the Devil a tool for maintenance of power: They manipulated physical body and give a damage to it to sublimate it in holy existence, so that they could feel catharsis. Third, there was fin de siecle (end of the century) to let people have negative life attitude, such as uneasiness on following century, eschatology, skepticism and nihilism, etc. Fourth, the ugliness having unpleasantness and disharmony occupies governing position when our society becomes corrupted and uneasy, and the aesthetics of ugliness discloses the inconsistency of ideal and beautiful life in the grotesque images. Fifth, subculture groups, i.e., the lower classes, homosexual and the youth's group, etc, form the grotesque images by political and ideological resistance, complaints and specific identity, etc concerning governing culture keeping traditional ethics consciousness. Sixth, recent technology development has destroyed a boundary between human being and machinery, and bio-technology development has created transplant operation, plastic operation and other human body transformation operations, and genome research, etc has raised human being's identity.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.51-67
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• 2010

The purpose of this study was to develop the high value-added cultural product design with local cultural resources, and to contribute to promoting cultural tourism festivals. To accomplish this study, first, a preliminary survey is carried out the investigation of cultural product stores and visitors' questionnaire survey. Next, based on these survey and prior study, this study established the development direction and concept of fashion cultural products and to developed fashion cultural products using local cultural resources. Adobe Photoshop 6.0, and Adobe Illustrator CS Program were used for the standardization of patterns, textile design and illustration. The results of this study were as follows; First, based on preliminary research results, the problems of the design of cultural tourism festival products were derived. As one solution to solve this problem, this study established the development direction and concept of fashion cultural products to develop fashion cultural products. The concept of the Andong Maskdance Festival was 'Tribal-Holic'; the Boryeong Mud Festival, 'Get away form it all'; the Gangjin Celadon Festival, 'Timeless Memories'; the Jinju Namgang Yudeung Festival, 'Lighting up the River'; the Chungju World Martial Arts Festival, 'Next Ergonomics Gym'; and the Muju Firefly Festival, 'Eco-Purity'. Second, based on the desired items of festival organizers and the survey of visitor's preference for cultural products, 4 items were selected by festival type. Then a total of 96 designs of 4 kinds each were developed using logos or characters, traditional patterns, special products, symbolizing region, or festival as a motif. Third, the strategy for development of cultural products design for promotion of cultural tourism festivals were 'Place identity design strategy', 'Market oriented design strategy', 'Buyer-Based pricing strategy', 'Regional brand strategy', and 'Distribution networks expansion strategy'.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.29-40
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• 2012

Using the official marker of the Korea's national symbol to inform the world of the country's existence to the global community in the $21^{st}$century enhances the autonomy and the competitiveness of Korea. It is thought that selecting a motif for promoting the national identity through cultural products or costumes can prepare an opportunity for gaining competitiveness internationally. The purpose of this study is to enhance understanding on the use of a traditional Korean symbol, Mugunghwa, and how it increases the cultural value of Korea, and develops the modern Korean image. The specific contents of this study are as follow. First, searching for the scope of usage of the national flower Mugunghwa from various angles for enhancing the Korean image. Second, developing a national symbol image of modern sense that reflects trend by using Mugunghwa. Third, clarifying the application scope and role of the national symbol image using Mugunghwa, and present a specific usage plan for creating more value. As for the study method, the study is conducted through theoretical and empirical research and six pieces of work of modern Mugunghwa image are presented as the result. Based on the development of the image of Mugunghwa as a national symbol, this study proposed a role of a cultural ambassador by applying Mugunghwa to fashion products or costumes. As for the expected effect, it can provide an opportunity for developing another national symbol and a new perspective on national symbol will appear. It is thought that the cultural value of a national symbol can be understood through this study and it can provide an opportunity for developing various national symbols for enhancing the national image.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.24 no.7 s.178
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• pp.1779-1786
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• 2000

Most of traditional design processes of mechanical parts are regarded as sequential and discrete, since different kinds of softwas should be introduced. In this paper, we develop an integrated fram ework for virtual design and performance testing of an automobile seat. The system is composed of four modules, i.e. CAD, static analysis, dynamic analysis, and draft drawing module. In the CAD module, PRO/ENGINEER 3D seat model is created using parameters to be modified with the result of static and dynamic analysis. In the static analysis, headrest tere used in each design stage make it difficult to feedback their results to upstream process. These discrete processes may result in time loss and cost rise. In recent years, life cycle of product is reduced. To have competence with others, new concept design processt is simulated using ANSYS. In the dynamic analysis module, FMVSS201 test is simulated using DADS. Overall data flow is controlled by Motif. The advantage of the system is that even a novice can perform and review the whole design process, without a good hand at professional design/analysis S/W in each stage. The system also provides a virtual design space, where engineers in different development stage can access common data of design models. The concept could be applied to other fields and it could reduce time and money required in design process.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.45-62
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• 2015

This study is to develop cultural products based on 'Jeju Choga', which means the traditional houses in Jeju. For the product development, old literature review, field surveys, and consumer surveys were employed. Through old literatures and field surveys, the unique and visual characteristics of Jeju Choga were confirmed: A thatched roof with lattice pattern, a side wall and fences with porous stones, a 'Jungnang' serving as a gate, and a 'Pungchai' preventing strong sola radiation and 'Ollai' meaning a narrow street in front of the Choga. As a results of consumer survey conducted before the development of products, consumers highly recognized and associated Jeju Choga as Jeju representative image. The six basic patterns of Jeju Choga were drawn and eight textile designs were created through the repeated arrangements of the basic patterns. Using the created textile designs and digital printing method, the eleven new fabrics with the patterns of Jeju Choga were developed. The various kinds of ten bags and tow wallets made with the new fabrics. As a result of consumer evaluation for the twelve products made in this study, the scores of preference and purchase intention were above the average work for the most products of them. In particular, the preference and purchase intention of the square shoulder bag, the big-size shopper bag, and the small-size cross bag were very positively evaluated. Therefore, it is confirmed that Jeju Choga could be very useful as a motif for the development of cultural products focusing on Jeju tourism souvenir market.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.36-48
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• 2012

This study intends to provide fundamental data to develop creative high-value designs, proving that the cut-out technique, a decorative element of fashion design, can be used to express various visual effects. The author performed a literature review of such publications as Gap Press, Fashion News, and Mode & Mode from 2001S/S to 2010S/S, referring to Internet data to empirically analyze the cut-out technique in contemporary fashion. The study found that the cut-out design is effective overall, but is best suited for one-piece designs and for partial rather than whole items of clothing. The basic motif of the cut-out is a geometrical pattern based on a line, a tear, or is shapeless. The cut-out design is mostly shown as an overall pattern or as a symmetrical shape. Analysis shows that the characteristics of the contemporary fashion utilizing the cut-out technique are as follow: First, the cut-out technique exposes the curves of a woman's body in a direct or indirect way, thereby emphasizing her sexuality and maximizing the value of female beauty. Second, through the cut-out technique, we can highlight the various types of space formed by the technique and repeated patterns; we may also elaborate on single-patterned laser-cut designs, which will show that the particular surface effect of the material can strongly impact the attractiveness of the design through emphasis and decoration. Third, damaging or destroying clothes on purpose, showing surprising concepts through optical illusions, and expressing humor by ignoring existing clothing styles show our willingness to escape from traditional or obvious design ideas, as well as demonstrating individuality and playfulness.

• Molecules and Cells
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• v.38 no.10
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• pp.829-835
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• 2015

It has been suggested that AUXIN BINDING PROTEIN 1 (ABP1) functions as an apoplastic auxin receptor, and is known to be involved in the post-transcriptional process, and largely independent of the already well-known SKP-cullin-F-box-transport inhibitor response (TIR1) /auxin signaling F-box (AFB) ($SCF^{TIR1/AFB}$) pathway. In the past 10 years, several key components downstream of ABP1 have been reported. After perceiving the auxin signal, ABP1 interacts, directly or indirectly, with plasma membrane (PM)-localized transmembrane proteins, transmembrane kinase (TMK) or SPIKE1 (SPK1), or other unidentified proteins, which transfer the signal into the cell to the Rho of plants (ROP). ROPs interact with their effectors, such as the ROP interactive CRIB motif-containing protein (RIC), to regulate the endocytosis/exocytosis of the auxin efflux carrier PIN-FORMED (PIN) proteins to mediate polar auxin transport across the PM. Additionally, ABP1 is a negative regulator of the traditional $SCF^{TIR1/AFB}$ auxin signaling pathway. However, Gao et al. (2015) very recently reported that ABP1 is not a key component in auxin signaling, and the famous abp1-1 and abp1-5 mutant Arabidopsis lines are being called into question because of possible additional mutantion sites, making it necessary to reevaluate ABP1. In this review, we will provide a brief overview of the history of ABP1 research.

• Journal of Fashion Business
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• v.24 no.1
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• pp.15-28
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• 2020

The purpose of this study was to develop and propose creative smart bags in emotional e-textiles using LEDs that inform smartphone users of motion-induced luminescence and ringing of cell phones. The LED light-emitting operation tasks produced in the study were applied to each of the three design smart bags, setting the five cases of luminance by a call initiated, absent phone, rejecting answering phone, texting, and motion-induced luminescence. In the male laptop bags of LED luminous images using wappen, 10 LEDs could be separated by a total of three pins to display the luminous mode, and all 10 LEDs became a total of five luminous patterns, including all that illuminate and those that illuminate randomly. E-wappen rendered the motif a strong sense of visibility and performed six roles on phone rings and texting. To develop a women's tote bag, we did a laser cut and attached the leather strips and placed 10 triangular LEDs to form a geometric LED e-textile. It provides the possibility of transforming simple design from traditional fashion into a more interesting and various smart designs. An entertainment smart bag using graphic design was constructed by applying a tilt sensor to look like a light in the night sky by shaking and moving the bag. The graphic design and composition of LEDs indicate that LEDs and fashion item are applied in harmony rather than heterogeneous, enabling them to be applied as fashion-oriented wearable smart products.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.71-86
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• 2021

The purpose of this study was to compare and analyze the Chinese robe styles of the Paris and Beijing collections from 2014 to 2018 to find the differences between the expressions of European and Chinese designers on the Chinese robe style. The methods of research were a literature review to derive the design analysis items of Chinese robe styles, and a case analysis. The results are as follows. First, both the Paris and Beijing collections showed an increase in use of Chinese robe styles year by year. Second, in the Paris collection, designs using qipao styles from the Republic of China era appeared the most among the robe styles of various Chinese dynasties. Qipao style appeared the most in the Beijing collection too, but the robe styles from the era of Pre-Qin, Qin, Han, Song, Ming, and Qing dynasties appeared more often than in the Paris collection. Third, in the comparison of silhouette type, there were mostly X-type silhouettes in the Paris collection and A-type silhouettes in the Beijing collection. As for neckline and sleeve type, both collections showed stand collars and tube sleeves. Fourth, in color comparison, there were mostly red-based colors in the Paris collection and blue-based colors in the Beijing collection. Fifth, in the comparison of pattern type, there were the mostly plant motif patterns in the Paris collection, and complex patterns in the Beijing collection. In conclusion, it was confirmed that the Chinese robe styles of the Paris Collection expressed a design fused with various styles due to the tendency to respect the diversity of various cultures and of the Beijing Collection emphasized the beauty and ethnicity of traditional Chinese clothing.