• Fashion & Textile Research Journal
• /
• v.21 no.3
• /
• pp.267-276
• /
• 2019

This study develops 3D-printed-garment collections for a fashion show presentation. A design concept using traditional patterns that consisted of garments regarding the limitation of the printing technology was investigated in order to develop the collection. The structures of the connecting joints of the textile parts which could be easily and sturdily interconnected were invented. Wearability as garments that could be naturally worn on the human body were sought. As a result, four 3D-printed-garments were developed. The 1st garment composed of objects based on a 'Yeon-Dang-Cho'-pattern was constructed as a geometric robe style using a FDM 3D printer and transparent TPU filaments. The 2nd and 3rd 3D-printed-garments composed of an object based on a 'Boe-Sang-Hwa'-pattern was constructed as a distorted one-piece exaggerating the silhouettes of shoulders and waist parts as well as a straight asymmetric tunic style that used the same printer and material as the 1st garment. The last garment composed of an object based on a 'Boe-Sang-Hwa'-pattern printed using a SLA 3D printer and flexible-liquid-resin was constructed attaching the objects on the fabric material by the hot-press machine. The four developed garments were presented in the opening fashion show of 'the 6th International 3D-printing Korea Expo'. This study provides a basic case for related studies to adapt 3D-printing technology in textile pattern development of garment construction.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.3 no.1
• /
• pp.1-11
• /
• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• Journal of Life Science
• /
• v.26 no.6
• /
• pp.633-639
• /
• 2016

Biomaterials including polymer, metal, ceramic, and composite have been widely applied for medical uses as medical fibers, artificial blood vessels, artificial joints, implants, soft tissue, and plastic surgery materials owing to their physicochemical properties. However, the biocompatibility and toxicity for film- and plate-form biomaterials is difficult to measure in mammalian cells because there is no appropriate incubation system. To solve these problems, we developed a novel mammalian cell culture system consisting of a silicone ring, top panel, and bottom panel and we applied two polymer films (PF) and one metal plate (MP). This system was based on the principal of sandwiching a test sample between the top panel and the bottom panel. Following the assembly of the culture system, SK-MEL-2 cells were seeded onto Styela Clava Tunic (SCT)-PF, NaHCO₃-added SCT (SCTN)-PF, and magnesium MP (MMP) and incubated at 37℃ for 24 hr and 48 hr. An MTT assay revealed that cell viability was maintained at a normal level in the SCT-PF culture group at 24 or 48 hr, although it rapidly decreased in the SCTN-PF culture group at 48 hr. Furthermore, the cell viability in the MMP culture group was very similar to that of the control group after incubation for 24 hr and 48 hr. Together, these results suggest the sandwich-type mammalian culture system developed here has the potential for the evaluation of the biocompatibility and toxicity of cells against PF- and MP-form biomaterials.

• Textile Coloration and Finishing
• /
• v.30 no.2
• /
• pp.117-129
• /
• 2018

Cellulose has been widely applied into various medical fields including scaffolding, tissue engineering and tissue formation. In this study, we manufactured cellulose medical fiber from Styela clava tunics(SCT-CS) and analyzed the tensile strength, elongation at break, fluid uptake and surface morphology. And then, the biocompatibility and toxicity of SCT-CS were measured in Sprague-Dawley(SD) rats after the implantation for 30, 60 and 90 days. The level of tensile strength and fluid uptake were lower in SCT-CS than chromic catgut(CCG), while elongation at break level were maintained the higher in SCT-CS. Also, the roughness with pronounced surface patterns as a result of in vivo degradation was significantly greater in CCG than this of SCT-CS although these levels gradually appeared with time in both groups. After implantation for 90 days, SCT-CS and CCG was successfully implanted around muscle of thigh without any significant immune response. Furthermore, no significant alterations were measured in serum parameters and the specific pathological features induced by most toxic compounds for liver and kidney toxicity. Therefore, these results suggest that SCT-CS showing good biocompatibility and non-toxicity can be successfully prepared from cellulose powder of SCT as well as has the potential for use as a powerful biomaterial for medical sutures.

• Development and Reproduction
• /
• v.5 no.2
• /
• pp.137-144
• /
• 2001

Gametogenesis and gonadal development of the sea squirt Halocythia roretzi, which is two years old were investigated by histological study. The specimens were collected in Guryong-po coastal area Kyoungsangbuk-do, Korea from May 1996 to April 1997. The sea squirt is hermaphrodite and oviparous. The ovary is located in the inner wall of the tunic year-round, but the testis can be distinguished from in June. The ovary is composed of 6∼8 gonoducts at the left side and 8∼10 ones at the right side, the testis consists of the complex gonad having irregular sacular structures. Oogonia in the ovarian sac were 11.7∼15.6 ${\mu}m$ in diameter. The early developing oocytes were 39.6∼47.6 ${\mu}m$ and nucleus 10.0∼25.0 ${\mu}m$ in diameter. Oocytes in the ovarian sacs during vitellogenesis were 158.6∼210.0 ${\mu}m$, and fully ripe oocytes which were to 210.0∼230.9 ${\mu}m$ in diameter had several test cells in the cortical parts showing a characteristic of vertebrate. The testis showed a general spermatogenesis as in the marine animals. The three-year old sea squirt occurred the first spawning between January to February under 10$^{\circ}C$

• Korean Journal of Plant Taxonomy
• /
• v.37 no.3
• /
• pp.275-308
• /
• 2007

For 20 taxa of Korean Allium, including 16 species and 5 varieties, examined were morphological characters (i.e. sexuality, structure and shape of underground part, types and growing patterns of leaf and scape, and shapes of perianth, filament and pistil). The specialization and the evolutionary trends of taxonomic characters were inferred from morphological examination. Taxonomic relationships and system of Korean Allium were also studied. The characters showing evolutionary trends were the structure and shape of underground part including rhizome and bulb, leaf, scape, inflorescens, filament and ovary. It seemed that thin and short rhizome developed from thick and long one, and the membranous simple bulb tunic evolved into fibrous reticulate one. The presence of hyaline sheath in A. monanthum of sect. Microscordum was apomorphic. Both angular leaf blade with 2-rowed vascular bundle and flat blade with 1-rowed vascular bundle were developed from terete one with 2-rowed vascular bundle. The base of filament have differentiated from entire to toothed, and 2-ovuled ovary as well as erect scape before flowering was plesiomorphic type. In addition, sexuality, structure of underground part, the presence of hyaline sheath and cross-section structure of leaf were taxonomic characters with the level of the subgenus in this genus. Shape of rhizome, bulb, leaf, scape and pedicel discriminated each section from other ones in the subgenera easily. The shape and arrangement of perianth and filaments were the diagnostic characters for species level along with shape of ovary and stigma.

• The Research Journal of the Costume Culture
• /
• v.6 no.3
• /
• pp.56-72
• /
• 1998

Vest is a general term for a sleeveless upper garment and it derives from a kolobus of a sleeveless tunic style that was started to be worn as a substitution of a chiton by the peasantry in Greek period. The kolobus started to be called a colobium or a tunica from Roman period and the former was named for a vest style tunica which was worn by the people of the lower classes in early Roman period. Similarly, a German colobium of North Europe which was worn during the same period was the same kind of clothe as the Roman colobium. The colobium came to be worn over a dalmatica as an outer garment by early Christians when it was the Middle Ages, who succeeded the tradition of colobium as they went through ancient Rome, Creek and Byzantine days. North Germans also succeeded the colobium tradition of ancient Germans as it was and so continued to wear it in tight style. The simple vest style of colobium was getting vanished from the mid of the Middle Agnes and a new style of vest named jupon was started to be worn by soldiers. The jupon was to protect soldiers' bodies from either were cold weather or enemies wearing under armors as it was made with double cotton pad by quilt. From 14th century, the jupon began to be worn by not only soldiers but also the humble of lower classes. All the jupon which were made in quilting and padding of that time began to be named a pourpoint by the humble. When Renaissance in 16th century came, the pourpoint began to be developed to an exaggerating body-line style. The neckline of pourpoint was getting highly influenced by Spain and a peacecod-belly of it emphasized the exaggerated masculine beauty of Renaissance by padding in round. The sleeves were puffed out and the whole purpoint was made to expose an inner chemise by slashing vertically or obliquely. But in 17th century, the pourpoint has been changed into more simple style without padding, puffing out and slashing influenced by the citizens' clothes of Netherlands. The pourpoint came to be more comfortable bulky style with short sleeves or sleeveless and straight side lines. The pourpoint in mid 17th century turned to be a bolero jacket style by gradually being tightened. It had been then changed into a vest style with sleeves and worn under an overcoat with the name of vest in the end of 17th century. The early vest was 2∼3 inches les in length than the overcoat and had long sleeves and many ornamental buttons on front. It was also made as a home wear to be worn it alone at home. In 18th century, the length of the vest became shorter compared with that of 17th century and the most important decorative item in clothes. It again came to have complete sleeveless vest style and had very short length reaching waist in the end of 18th century. When it was in 19th century, the vest had developed into more various style and colors and style had been applied to be worn by individuals with their tastes. Around the end of 19th century, the increasing tendency to be casual by industrialization influenced on clothes in all aspects of life and so the male vest has been gradually changed into more casual style. Nowadays, it has been developing into various uses in modern male clothes to show their characters.

• KSBB Journal
• /
• v.21 no.3
• /
• pp.194-198
• /
• 2006

Dried raw Ascidians(Halocynthia roretzi) shells harvested from fish farms in southern coast area in Korea were used to extract ${\beta}$-carotene using supercritical carbon dioxide($SCO_2$) and with ethanol as a co-solvent at the range of temperatures and pressures, from 25 to $65^{\circ}C$ and 100 to 350 bar respectively. The size of the dried Ascidians shells was around $850{\mu}m$. The system used this study was a semi-batch flow type high pressure unit. The efficiency of ${\beta}$-carotene extraction using $SCO_2$ with and without co-solvent, ethanol, influenced to pressure and temperature changes. The highest solubility of ${\beta}$-carotene in $SCO_2$ was 1.35 mg/g for ${\beta}$-carotene at $35^{\circ}C$ and 350 bar. With addition of 2(v/v%) ethanol the recovery of ${\beta}$-carotene was 93%. As a result of using n-hexane and methanol for rinse, at $35^{\circ}C$ and 350 bar the amount of ${\beta}$-carotene by methanol rinse was 5 times higher than that of n-hexane rinse.

• Korean Journal of Environmental Biology
• /
• v.32 no.3
• /
• pp.216-224
• /
• 2014

Decrease in dissolved oxygen concentrations associated with temperature fluctuation is an important criteria to evaluate the mortality rate of the species. Based on this parameter, we investigated the survival rate, physiological response and histological change of warty sea squirt. It was found that the survival rate of the warty sea squirt species was 63.3% at $23^{\circ}C$ and 56.6% at $26^{\circ}C$ respectively. However, exposure of six days at $29^{\circ}C$ caused deaths among species, which indicated the 6day-$LT^{50}$ of the tested species to be $24.58^{\circ}C$ ($19.48{\sim}35.48^{\circ}C$). Further, after 11 day of exposure, the dissolved oxygen concentration has been found to decrease, with the survival rate of 20% at $4.0mg\;L^{-1}$ and deaths at $2.0mg\;L^{-1}$, thus 11day-$LC^{50}$ calculated to be $3.88mg\;L^{-1}$ ($3.29{\sim}4.57mg\;L^{-1}$). In addition, decrease in rate of oxygen consumption and excretion of ammonia was also noted at this critical water temperature and dissolve doxygen concentration. Moreover, there has been common histopathological changes were observed in warty sea squirt's gill pouch, digestive tract, and tunic as follows such as: proliferation of epithelial cells, condensation and necrosis, permeation of phagocyte and blood cell, loss of cilium and muscular fiber degeneration. Based on our study results, we suggest that these parameters can also be useful to evaluate the survival rate and physiological response in other species.