• Journal of Conservation Science
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• v.33 no.6
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• pp.443-456
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• 2017

The Geumran-gasa (Kasaya) and Jangsam of the monk Samyeong are historical relics and were designated as object No.29, a Buddhist costume of the Joseon Dynasty, by the National Folklore Cultural Heritage, in 1973. In 1984, after being treated for the purposes of washing and preserving the shape of the garments, the object was kept in the Temple Museum of Pyochungsa, as their holding institution. However, regular inspection conducted by the Cultural Heritage Administration in 2013 determined the need for a re-treatment. The Geumran-gasa had been originally made with 25 strips, but it had been separated into two parts and many pieces were lost. A part of the collar in the Jangsam was lost as well. Therefore, both relics needed to be restored. The re-treatment process involved pre-investigation, washing, reinforcement fabric dyeing, restoration, and fumigation. In particular, we focused on reinforcing the damaged parts and restoring the missing parts by applying advanced materials and methods in order to restore the original form as much as possible. This conservation is the result of the re-treatment of the cultural properties by replacing the old material used in past treatments and applying advanced methods under the basic principle of reversibility in conservation treatment.

• Journal of the Korean Home Economics Association
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• v.18 no.2
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• pp.1-13
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• 1980

When we design a dress, we should not only consider the esthetic sense and the relationship between movements of the body and the type of dress, but also the combination between the qualities and proper uses of textiles. recently the sale of ready-made clothes has been booming but I wonder whether they have been made in accordance with research concerning body movements and dresses. I would like to make the following observations on dresses, because I have personally suffered the inconvenience of restricted arm movements when wearing ready-made clothes. I have made four types types of foundations with muslin and Jersey, with these foundations I measured the degree of tension or how much the waist-line was drawn up then the arm was moved in increments of 45 degree angles and there by covering the entire span of vertical and horizontal movements. I have intended to experiment with sleeves of differing height in several ways. Concerning the movement factor, I have determined that with excessive activity vertical movements are twice as uncomfortable as horizontal movements. Concerning the faburic, I have found that because jersey has more elastic qualities than muslin, it has proven to be more responsive to body movements. concerning dresses, I have fund that the higher the height of the sleeves, the more uncomfortable it is to move the arms and the greater the degree to which the waist-line is drawn up. As a result this experiment I have made the following observations. Firstly, the vertical movement of the arms to a 180 degree angle has the most extreme influence on the breadth of movement of the waist-line. Secondly, because jersey permits freer body movements than muslin, it should be the preferred material for use in making sportswear. Thirdly, the formula A·H/4+3 of the sleev's cap height is suitable for making street dresses and formal wear. The formula A·H/5 and A·H/6 are properly used when making working clothes and sportswear, and the formula A·H/8 is proper for a sleeping garment and clothes for patients. Fourthly when deciding to any garments, it is important to consider the amount of arm movement anticipated and the relationship between the material and the degree to which the waistline is drawn up. In nder-blouse, when we raise our arms to the most extreme position, we should at that point still have 20∼25 cm of material remaining under the waist-line which includes the maximum of 14.1cm plus part of the blouse and breath of skirt's belt. In the case of the over blouse it is proper for us to have the length of 17∼20 cm remaining below the waist-line.

• The Korean Journal of Community Living Science
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• v.24 no.4
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• pp.543-552
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• 2013

Physiological and subjective responses of the farmers and thermal environment during chili harvest in the open field were investigated to evaluate the thermal environments and farmers's workload. Eight career female farmers in their sixties participated as subjects both in morning work(MW, AM 9:00~10:30) and in afternoon work(AW, PM 15:00~16:30) with each lasting about 90 minutes. The results were as follows. 1) Air temperature, air humidity, globe temperature and WBGT of MW were mean $25.54^{\circ}C$, 81.82%RH, $37.72^{\circ}C$, $26.27^{\circ}C$ and AW were mean $30.63^{\circ}C$ 82.50%RH, $40.11^{\circ}C$, $30.02^{\circ}C$, respectively. By the WBGT, we evaluated that the thermal environment in the afternoon in the open field gave a thermal burden to farmers. 2) Mean skin temperature of AW($34.8{\pm}0.8^{\circ}C$) was higher than MW($33.5{\pm}1.2^{\circ}C$)(p<0.05). Clothing microclimate temperature on the chest of each work time were $31.3^{\circ}C$(MW) and $32.7^{\circ}C$(AW). Clothing microclimate humidity on the chest of each work time were over 80%RH. Heart rate were 88.5bpm(MW) and 91.7bpm(AW) respectively. 3) Farmers working in the afternoon felt uncomfortable after 45~60 min. of work and in the morning they felt uncomfortable after 90 min. of work. We evaluated that the harvesting of chilies in the open field was 'moderate work' by the physiological responses but the level of thermal burden increased over time especially in the afternoon work. It is suggested that farm workers should drink fluids between work to stay in homeostasis by sweating and to take frequent rests. Active clothing ventilation and wearing functional garments would help farm workers excrete sweat effectively.

• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Archives of Plastic Surgery
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• v.42 no.5
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• pp.552-558
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• 2015

Background The Klippel-Trenaunay syndrome (KTS) is characterized by three clinical features, namely cutaneous capillary malformations, venous malformations, and soft tissue and/or bony hypertrophy of the extremities. The varied manifestations are attributed to the unpredictable clinical nature and prognosis of the syndrome. To elucidate the clinical characteristics of this disease, we reviewed a relatively large number of KTS patients who presented to our vascular anomalies center. Methods We conducted a retrospective study with 19 patients who were diagnosed with KTS and treated in our vascular anomalies clinic between 2003 and 2014, and examined their demographic characteristics, their clinical features, and the treatments administered. Results The sex distribution was balanced, with 9 (47%) males and 10 (53%) females. The mean follow-up period was 4.1 years (range, 7 months-9 years). Most of the patients received conservative treatments such as medication or physiotherapy. Compression therapies such as wearing of elastic garments/bandages were also administered, and surgical interventions were considered only when the patients became excessively symptomatic. Other treatments included laser therapy and sclerotherapy, and all the treatments were adjusted according to each case, tailored to the conditions of the individual patients. Conclusions KTS is an extremely rare, multifactorial disorder that induces widely varied symptoms. Because of this unique feature, plastic surgeons, when not careful, tend to attach a one-sided importance to typical symptoms such as limb hypertrophy or capillary malformation and thus overlook other symptoms and clinical features. KTS can be suspected in all infants who show capillary malformations or limb hypertrophy and require a multi-disciplinary approach for comprehensive management.

• Journal of Fashion Business
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• v.2 no.4
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• pp.93-101
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• 1998

Knit products which had been limited only to underwear, recently became popularized, fashionized and highly classified covering even outer garments such as sportswear like golfwear, woman's dress, and man' s suit. As fashion cycle is getting shorter and the more a nation advanced prefers knit to woven fabrics knit industry has a very bright prospect, particularly woman's knit which is sensitive to fashion can be said as a fashion product with high value added. This study is to grasp the physical properties of stitch which are fundamental to the development of knit products. For this purpose, 2/20s of 100% wool were woven by the author of this study to basic plain stitch, rib stitch, varied transfer stitch, and float stitch on a SEMASEIKI cross knitter 7G to test the physical properties, and the result was as follows; 1. As for the relation between knit stitch and rate of extension recovery, rate of extension recovery was higher in the course direction than in the wale direction of three stitches except transfer stitch; rib stitch showed the highest rate of extension recovery in the course direction while float stitch showed the highest rate of extension recovery in the wale direction. 2. As for the relation between knit stitch and bursting strength elastic rib stitch showed higher bursting strength to indicate elasticity is an important factor of bursting strength and float stitch showed higher bursting strength too to indicate that the floating yarn on the surface plays a role of support. 3. As for the relation between knit stitch and air permeability perforated transfer stitch showed the lowest air permeability to prove that the size of perforation affects on the air permeability a great deal. 4. As for the relation between knit stitch and warmth retaining rib stitch through two lined needle bar showed the highest degree. The reason the warmth of perforated transfer stitch didn't decrease much was because the perforation wasn't big enough and content of air increased from the unevenness of the perforated parts through stitch variation. Based upon this result, each stitch can be characteristically summarized as follows; plain stitch showed a stable condition of knit cloth in four kinds of physical property test. And rib stitch is proper to tighten the edge of sleeve or clothe making use of its excellent extension recovery and to make socks for the highest bursting strength and warmth retaining. In the case of transfer stitch, seasonable designs can be taken by controlling the size of loop. Considering the pleasantness, underwear should be made of stitches with good air permeability float stitch was revealed to have color and pattern effects and a great bursting strength. This study has limitations in the aspect that it dealed with a small part of various knit stitches and the items of physical property test were not enough. The author of this study hopes that further studies would make deeper understandings about knit stitch based on more varied stitches and physical property tests ultimately to contribute to the development of fashionable designs proper to maximize the usage, function and originality.

• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.681-706
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• 2000

This study is intended to understand an implication system and significance in the current community which a body image symbolizes by correlating it with fashion that is on the rise as a principal issue in various fields. For this study, the symbolism of the body image was contemplated in terms of philosophy and art, and then on the basis of it, the symbolism of the body image shown in modern fashion design was analyzed through fashion works. The research results are as follows, 1. The manifestation of sex can be taken as the symbolism of the body image which is expressed in modern fashion design. Recently sexual chaos and vagueness such as homosexuality and bisexuality are expressed through a dress and its ornaments. Though displaying sexual characteristics of male and female as they are exposing a sign or a diagram, decorating a part of body or representing sex in garments, uncertain sex identity in modern society is manifested in dress and its ornaments. It is to deny absoluteness regarding sex and emphasize diversity indwelt in human beings, and after all it shows to pursue the human essence. 2. Another symbolism of the body image is body expression as the human race and an ethnic group. The discriminating situations and the restoration of their status appeared in modern fashion too. Moreover, their cultures and issues came to alter the aesthetic standard of body made from a view of the Western white supremacist. Hereupon, fashion trends like ethnic fashion, Orientalism and African look etc. appear according to this tendency, which represents race and national identity and in addition, which signifies to present transcendental human conception embracing alienated human conception. 3. The symbolism of the body image expressed in a body, and a dress and its ornaments as nature can be considered in terms of the concern on environmental contamination and the respect of echo system. Getting away from reigning over, developing and stamping down nature at their will, the human beings pursue unity with nature, which is described in fashion. They are stressing that natural materials and objects such as animal, plant and soil etc. should activily be introduced into fashion and humans are a communal fate group and should reframe their status in nature at last. 4. The body image shown in a body, a dress and its ornaments as technology is transformed and recreated by modern scientific techniques and medical science to show post human conception namely, forthcoming future human conception as a cyborg which loses individual identity. This presents a perfect future human conception with high level of preternatural power but after all, leaves us a task to seek the meaning of human existence in alienation caused by the loss of human identity and existence. In this manner, the moderns crave for perceiving the identity of a natural human being in the current thoughts tendency of the modern times such as postmodernism, post structuralism, deconstructionism, feminism and so on, which build discussions affecting the art and fashion worlds. The categories, like sexual characteristics indwelt in a human body, racial classifications, the natural environment surrounding human beings and development of science, bring out the importance of the internal and external meaning in today's fashion which a human body contains, and present sew human conception in the coming future society.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• Journal of Korean Home Economics Education Association
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• v.20 no.2
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• pp.47-60
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• 2008

The appearance regulations of many middle and high schools have received attention as the social concern over infringement of students' human right is heightened. This study aimed at examining students' perception of and attitude toward appearance-related regulations enforced by high schools in Seoul. For this purpose, a survey was conducted with 866 freshmen and sophomore students from six Co-Ed high schools located in Seoul. Students evaluated each of the 50 appearance-related regulations in terms of how strong they perceive the regulation is enforced in their school, how important they believe the regulation is, and finally, how much they actually observe it. The results indicated that regulations related to school uniforms are perceived important, and also were well-observed. Students, however, showed low levels of observance toward some regulations--i.e., regulations of hair styles or garments worn with school uniforms(coats, scarves, or turtlenecks). Students' personal characteristics were also found to influence their perception and observance of the regulations. This study has an implication for teachers and administers. For these regulations to be more effective, it was suggested that schools communicate the importance of appearance-related regulations to students and convince them, or consider revising their policies to reflect students' perspectives.