• Journal of the Korean Society of Costume
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• v.41
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• pp.95-105
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• 1998

SOO-BAL(Hair Style) is a method Which match hair style to face and clothes with using hair covering and protecting the head. Also SOO-BAL includes personal ornaments using to avoid one's hair be disheveled. In a standpoint of beauty and spirit, etiquette SOO-BAL is a very important thing as one being dressed up. Until now, since just a form of hair style have been studied, hair styling process is nothing to be known and studied. Time after time, our unique traditional SOO-BAL is forgotten with clothes and then this th-esis will be classified hair styling form follow-ing a form of hair style in royal palace of the C-hosun dynasty. According to the record of HAE DONG HISTORY, it shows the same of attire between Ko-rean and chinese style in ae of the chosun. The reason in that there were no any certain boundary border and the interaction of culture between two countries was happened spontaneously at ancient time like the GOCHO-SUN age. Until the period of the three states, the korean attire be changed had gone with chinese one s-imilarly. The chinese form gave to influence on the EONJIN MEURI·POON-GI-MYEONG MEURI·JJO-CJIN MEURI·MOOK-EUN GOONG-BAL MEURI·OL-LIN MEURI·SSANGSANG-TU ME-URI be drawn wall painting in the KOKUR-YU. And a gold chignon accesso-ry unearthed in a MOO-RYOUNG royal mausoleum is proof of the korean attrire be changed with chinese. In the shilla dynasty at three years after Cjin-Deuk(A.D. 649) reign. It was recorded that the dynasty let women wear the form of chinese attire. Also in the koryo dyn-asty, a rod-like hairpin (BIN-YEU) and DANG-GI employing EON-JIN MEURI was used. The SOO-BAL based on the Confucianism had lots of regulations which limited to use ornaments with classes of society in the CHOSUN dynasty. Until YOUNG CHO and CHUNG CHO period. EONJIN MEURI be decorated GACHAE was announced by dynasty as ind-ulging in luxury. Women of yangban used a rod-like hairpin and a chignon accessory made by jewerly. And 1-owly women weared a rod-like hairpin made of born and wood to perfom EONJIN MEURI with PUNCHAE. Most unmarried women decorated with DDA-AH-NEULIN MEURI, GUI-MIT MEURI, specially in palace with SAE-ANG MEURI. At palace, one put on a full dress with KEUN MEURI, and a simple dress with ER-YEO MEURI be decorated DDERL-JAM The CHOP-JI MEURI manifested social rank, class. Kids at CHO-SUN age had BA-DUK-PANMEURI and JONG-JONG MEURI. The ornament things are GACHE, DDERL JAM with EON-JIN M-EURI, and all kinds of rod-like hairpin and chignon accessory used in JJOK MEURI. IN DANGGE, JE-BI-BURI DANGGI used by ummarried women. DO-TOO-RAK DANGGI and AP DANGGI on a dress suit, and BE-SSI DANGGI used by 3∼4 years ungrown kids etc. were used. And at palace, kinds of CHUPJI used with JJOK MEURI showed social rank. In CHOSUN age, women want to keep shiny hair washed at TA-NO festival day, a treatment of bald hair used a forked remedy. In CHOSUN age, woman Soo-Bal hair style has DAE-SOO·DDEU-KOO-JI MEURI·CHO-P-GI MEURI·EON-JIN MEURI·SAE-ANG MEURI· and so on. We could find out Soo-Bal was developed very well by these variety hair styles. I attatched all of the hair style pictures step by step, and also explained detail my research foll owing these pictures.

• Journal of the Korean Society of Costume
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• v.17
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• Journal of the Korean Society of Costume
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• v.39
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• The Korean Journal of Pesticide Science
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• v.18 no.4
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• pp.247-257
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• 2014

Assessment for operator's dermal and inhalation exposure to acetamiprid during cultivation of water melon in greenhouse was carried out. For dermal exposure measurement, whole body dosimetry (WBD) was performed as the first trial in Korea. WBD consists of cotton/polyester outer clothes and cotton inner clothes. Hand exposure was measured by washing of nitrile gloves and hands while head exposure was monitored by face/neck wipe technique. Inhalation exposure was monitored with personal air sampling pumps and IOM sampler (glass fiber filter). Analytical limit of quantitation was 2.5 ng/mL. Good reproducibility (C.V < 8.7%), linearity ($R^2$ > 0.99) and recovery (70~119%) were obtained. Field recovery of acetamiprid was 77~95%. During mixing/loading, hand exposure of acetamiprid was about 10 times ($229.7{\mu}g$) more than that of application case ($20.9{\mu}g$). During application, total dermal exposure was $1207.4{\mu}g$. Exposure of lower legs was $1132.1{\mu}g$, which is 93.8% of the total dermal exposure. Inhalation exposure during mixing/loading and application was not detected. Margin of safety (MOS) was calculated for risk assessment using male Korean average body weight (70 kg) and acceptable operator exposure level ($124{\mu}g/kg/day$) to give 140, suggesting that health risk of operator during treatment of acetamiprid for water melon in greenhouse could be safe.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.

• Journal of Fashion Business
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• v.14 no.2
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• pp.42-56
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• 2010

The purpose of this study is to provide the fundamental data through researching on the actual condition of foreign consumers, the image of DongDaeMun fashion market, the customer satisfaction measurement of DongDaeMun fashion market, and the degree of satisfaction of DongDaeMun market's products. The results of this study are as follows: 1. The analysis on gender who visits DongDaeMun fashion market reveals that female(77.6%) was more than male, and the each age group has a priority in orders of 30s, 20s and 40s. The Japanese shoppers has more willing to visit again and a number of visitors has visited more than twice and many of them came by for the purpose of shopping. Japanese shoppers get the information of DongDaeMun fashion market from families or advertisements by media, while Chinese customers get the information through travel agencies. 2. The image of DongDaeMun fashion market by foreigners is generally positive. They were satisfied with the facilities of DongDaeMun fashion market, the convenience of transportation, business hour and ambience of store, and fashion of clothes. Foreign customers who visited Korea on purpose to do shopping and frequent visitors to Korea have a similar image of DongDaeMun fashion market with that of domestic visitors. 3. The degree of satisfaction to the DongDaeMun fashion market for clothing was usually high. There were only few differences between Chinese shoppers and Japanese shoppers. The higher the satisfaction to the DongDaeMun fashion market was the more they had bought and high intention of visiting. And the more experiences of visiting to the DongDaeMun fashion market showed the higher degree of satisfaction.

• Journal of Fashion Business
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• v.14 no.2
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• pp.1-13
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• 2010

Recently, young men have become more muscular, as they have become increasingly more interested in health and their physical appearances. The trend these days is to wear slim suits to accentuate their figures. Men's pants are the one of the most general clothes which men wears. While pants are an ordinary item of clothing, most muscular men have fitting problems with ready-made pants. In view of this, this study aimed at developing a prototype pants pattern for muscular men. In this study, five muscular men were selected for wearing tests. The regression formulas, in which muscular men's body measurements were adopted, were applied to unsuitable body parts, especially the body parts determined inappropriate based on the results of the existing pants pattern wearing tests. After going through the first and second pants pattern wearing tests, the final pants patterns were developed that were suitable for muscular men. The results of the study were as follows: In order to solve the problem of the insufficient of ease due to the development of the hip muscles, the crotch length was made longer, (0.08${\times}$hip circumference+17.648)+1.5cm and front crotch width and back crotch width were made wider, 1.0cm each than those of the existing pants prototype patterns. The ease of 0.5cm was added to the hip circumference/4+2.5cm because of the development of the hip and thigh muscles.

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.24-32
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• 2013

The aim of the present study was to investigate and analyze a tendency of the Philippines furniture which are not well-known in Korean market yet, but have been emerging as an OEM base, through the Manila FAME 2012. The study was conducted by visiting some furniture companies in Philippines for the active understanding regarding the current status of the Philippines furniture, in consideration of the material, functional and structural aspects of the goods which were exhibited on the Manila FAME 2012. The methods of the investigation were to research the related literatures concerned and materials had been collected over the internet, to visit the Manila FAME 2012 at work and finally to visit furniture companies in Philippines. Manila FAME has been based on the DTI (DTI: Department of Trade and Industry) through CITEM (CITEM: The Center for International Trade Mission and Expositions) since 1983. The exhibition whichincludes various sorts from furniture, traditional artifacts, leisure goods, gifts, jewelry and clothes is becoming such a potent force by integrating three exhibitions such as Manila Now, CEBUNEXT and Bijoux Cebu, what all had been held before the world economic downturn. The features of the Philippines furniture shown on the Manila FAME are as follows: First, they are focusing on the maximum of function to the exclusion of the decoration and they were mostly made of various kinds of mahogany like jambilina, acacia, bamboo, wisteria and Manila hemp growing up in the Philippines indeed and finally there were a lot of the simple designs of the curved line which were exactly the material nature of the wisteria and Manila hemp.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.86-98
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• 2014

This study analyzed fashion businesses based on the 6P's, products, prices, place, promotion, people, and patron for business owners in the Myeongdong commercial fashion district. Furthermore, this study proposed plans that would activate the Myeongdong fashion district and continuously develop it as a global fashion city. A survey was conducted from August to September, 2012 for 249 fashion business owners in Myeongdong. Eventually, only 208 questionnaires were used for the analysis. The research results were as follows. First, domestic brands have the largest share in the market and sales of fashion accessories were higher than the sales of clothes. Second, the prices for those fashion items ranged from low to mid-price. Third, the opening of new shops keeps increasing, and the size of the shops falls between ten and twenty pyeong generally. 'Self-production' was the highest form of production compared to any other form, and regarding importation sites, importation from overseas was the highest. Fourth, regarding promotion types, the sales in shops was the most commonly used promotion method compared to television and magazine advertising, and personal selling. Fifth, the proportion of male proprietors was larger than that of female proprietors. Most employees had less than five years of sales experience. Sixth, the main customers were females in their 20s and the proportions of Korean and foreign customers was similar.

• Journal of Fashion Business
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• v.24 no.5
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• pp.52-71
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• 2020

This study examines the color characteristics of the usage of the color pink in menswear by analyzing its usage status and method. It involves an empirical research method establishing the frame of the study through a document study centered on trend, gender neutral considerations, and the utilization of the color pink in men's fashion, by analyzing the characteristics of color and tone by extracting the pink color shown in menswear collections as well as analyzing and categorizing the fashion image and genderless characteristics. Analyzing the color and tone of the pink color shown indicate that bright, light and pale tones had higher proportions. Pink color can also be said to be utilized as a design element that gives off a younger and more vital color image in menswear. Further, the use of brighter and softer pink colors can be interpreted as reflecting modern society's demands of masculinity to change into a more sophisticated and soft image. To analyze the characteristics of the color pink utilized in gender neutral fashion, fashion images were presented as the analysis standard. An image grouping technique was used to classify pink while utilizing genderless types-fashion style. The result showed that even with the same pink color, the fashion image can vary with different methods of expression in terms of clothes and styling. The results of this study can serve as basic data for planning fashion design concepts as it analyzed pink-using fashion images and the genderless concept type.