• Fashion & Textile Research Journal
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• v.22 no.2
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• pp.240-249
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• 2020

This study reviews studies that used skin temperature in order to establish an emotion evaluation protocol based on skin temperature for home appliances. A survey of skin temperature evaluation papers was conducted by the following five stages: (1) keyword search, (2) title screening, (3) abstract screening, (4) full paper screening, and (5) relevance evaluation. Selected papers were reviewed for: purpose, recruitment criteria of participants, the number of participants, apparatus, procedure, measures, analysis methods, and major findings. Thermistor sensors and thermography are used for the measurement of skin temperature. Skin temperature sensors are attached to 4 - 10 locations on the body and their mean of skin temperature is calculated by Ramanatan's 4-point or Hardy & Dubois's 7-point method. Semantic differential (SD) method and thermography measuring facial surface temperature have been used for emotion evaluation. The SD method provides a set of adjective pairs related to a product and evaluates changes in emotion from the use of the product. The range of facial surface analyzed is defined in the thermal image and temperature changes before and after the evaluation are analyzed. The evaluation items of home appliances include form, color, material, aesthetics, satisfaction, novelty, convenience, pleasantness, and excellence. Many existing emotion studies using skin temperature do not apply physiological and psychological methods. This study provides basic data to establish a skin temperature and emotion evaluation protocol by examining literature for skin temperature and evaluation of sensitivity.

• Journal of Fashion Business
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• v.15 no.3
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• pp.112-124
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• 2011

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian textile culture, created mostly by the Copt, has the originality of weaving technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen tapestry weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, embroidery, and knotting are detected in Coptic textiles.

• Journal of Korean Home Economics Education Association
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• v.1 no.1
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• pp.33-42
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• 1989

By the comparative analysis of high school Home Economics curricula in the U.S., Japan and Taiwan, this study first attempts to understand the current Home Economics education and to access its treads for each country. Based on the findings of the analysis, the study also seeks to get the major implications of the analysis for the betterment of the Korea Home Economics Education. The main sources of information and data analyzed here are： 1) curricula for both Oklahoma and Ohio state as representatives of the U.S.； 2) Home Economics Teaching Guidelines in Japan； and 3) Home Economics curriculum in Taiwan. Content Analysis technique is applied in this study. The major elements of contents include：1) structure of the curriculum； 2) subject name； 3) unit (time) allotment； 4) goals； 5) subject areas and content composition； and 6) other related characteristics for the implementation of the curriculum. Summarized results of the study outline as follows： 1) Home Economics is offered as independently required subject with equal status to Mathematics, Science, and Social Studies subject in all three countries； 2) Sex discrimination is prohibited both in the U.S. and Taiwan, while in Japan sex equity is not secured for Home Economics educations； 3) Time allotment for Home Economics in Japan and Taiwan is similiar to that in Korea；4) Subject areas cover such fields as Foods and Nutrition, Clothing and Textiles, Home Management, and Human Development in all three countries, which is similiar to those of Korea. In addition, Consumer Education and Career Education are also covered in the U.S., whereas in Japan Child Care is offered； and 5) Curriculum can be utilized as instructional planning material due to the clear specification of instructional methods, materials, and evaluation methods on the curriculum, especially in the U.S. and Taiwan.

• Journal of Fashion Business
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• v.15 no.4
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• Journal of Fashion Business
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• v.22 no.2
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• pp.51-60
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• 2018

This research focuses on the development of upcycled denim fashion designs, whichis a more specific category within general upcycled fashion design. Characteristics of upcycled fashion design, which has been identified previously by researchers, include the following traits: environmentality, uniqueness, aesthetic appeal, availability, convertibility, and deconstructivity. The expression principles include recycling, substitution, recombination, and reduction. The result of the analysis of the denim fashion design characteristics, which is based on the theoretical analysis, has found. The external expression pattern consists of the deconstruction and reconstitution of materials, the avant-garde style and convertibility, the ability to mix and match materials and techniques, the production of zero waste, and the use of layering. The expression techniques used included decomposition, depaysement, weaving, cut-off, collage, assemblage, overlapping, connecting, attaching, and stitching. The inner meanings were identified as economicality through recycling, convertibility through rearranging, and the rarity and value of hand-made products. The result of the research applying the identified characteristics are as follows. First, developing and creating designs using modified denim and sub-materials with various expression patterns and techniques could provide completely new images unlike existing denim products. Second, modifying the details while maintaining the basic format of denim clothing could provide unique and new possibilities for upcycled denim fashion design. Third, environment-friendly models with creative designs were developed by recycling used denim materials. This reduced waste and energy while maximizing the use of resources. This study expects contribute to upcycled fashion design research by recognizing the unique characteristics and value of denim material.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.454-467
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• 2015

Reflecting the consumer's desire to look young, the "down-aging" trend, which blurs the distinctions between age groups, is the latest craze in the fashion market. The popularity of this trend made brand identities similar, resulting in customers becoming more interested in segmented notions of fashion (in terms of the story, design, high-quality material, etc.) regarding the product, and in particular, focus has become oriented to the fitness to the human body. In this sense, the researcher aimed to develop the prototype of a slim-fit tailored jacket that fits the standard somatotypes of women in their 30s well. For the purpose of this research, slim-fit tailored jackets from existing brands were collected and analyzed, and a subsequent wearability test was conducted based on the standard somatotype of women in their 30s. The research patterns were prototype of the developed slim fit tailored jacket are bust size of 3.8 cm, waist of 7 cm, and hip size of 3.8 cm. Then the research patterns were selected to develop the prototype of a properly fitting slim-fit tailored jacket. As outlined above, the development of a slim-fit tailored jacket prototype for the standard somatotypes of women in their 30s was conducted by solving the fitness issues of existing brands in order to produce properly fitting jackets that satisfy consumers.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.787-803
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• 2017

The purpose of this study is to reestablish the innovative and experimental designs of Rei Kawakubo by considering and analyzing the flow on the avant-garde nature of her design collection from 1981 to 2017. Design trends such as the art trend, silhouette, color, and expressive technique showcased in Rei Kawakubo's collection from 1981 spring/summer to 2017 spring/summer were examined through precedent studies, books, internet materials, and the avant-garde expressive nature of her designs appearing in modern fashion. Additionally, this study considers the definition of avant- garde and analyzes the expressive nature of Rei Kawakubo's 137 works from the Comme des Garcons collection, exhibited in New York's Metropolitan Museum of Art. As a result of this examination, the avant-garde expressive nature seen in modern fashion was classified into the following themes: historicity, de-structure, exaggeration, intermixture, and surrealism. As a result of reclassifying these characteristics according to historical flow, the historicty, intermixture, and de-structure appeared in the 1980s, while intermixture, exaggeration, and de-structure appeared in the 1990s. More recently, historicity, intermixture, and de-structure appeared in the 2000s, and intermixture, de-structure, exaggeration, and surrealism appeared in the 2010s. The present study is significant in providing theoretical material for the more innovative and various design development in diverse domains while helping to define and understand the avant-garde expression through Rei Kawakubo's collection.

• Korean Journal of Human Ecology
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• v.21 no.4
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• pp.791-803
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• 2012

This study intends to identify applicability of natural dye extracted from Aplysia kurodai, aiming to standardization of Aplysia kurodai natural dyeing through scientific validation by analyzing characteristics of pigment elements to review dyeability, colorfastness and antibacterial activity. Such material as silk fabrics that is animal fiber were used for this purpose, and derived following summarized results. UV/VIS spectrum analysis on the pigment of Aplysia kurodai that was extracted from purple gland showed that maximum absorbtion was near 540 nm. The silk fabric optimal dyeing can be achieved at a temperature of $55^{\circ}C$ with a colorant concentration of 5%. Dyed at $55^{\circ}C$ with interval of 10~90 minutes for identifying dye uptake over time to observed slow increase of dye uptake over time, and equilibrium occurred at 50 minutes. For dye uptake according to pH, while dye uptake was superior in acidity, it decreased rapidly in a base after pH 7. For color changes according to pH variation, it was reddish purple in acidity and was purplish red in a base. For color changes according to mordanting method, more clear color change had been obtained when process with aluminium pre-mordanting than non-mordanting and post-mordanting. The colorfastness to light, perspiration and washing was 1, 4~5, and 3~4 ratings respectively. The silk fabric dyed with Aplysia kurodai demonstrated excellent antimicrobial activity to Staphylococcus aureus and Klebsiella pneumoniae. The Aplysia kurodai can be used as a new colorant for the natural dyeing of silk.