• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.68-80
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• 2010

In order to get the information needed for the preservation and application of Korean traditional dyeing techniques to modern textiles products, the present study analyzed the color and color differences of dyed goods according to the contents of fabrics and the traditional techniques of dyeing the Buddhist priests' robes. A spectrophotometer was used to measure the differences in achromatic color according to dyeing techniques, dyestuff, kinds of dyed fabrics, and after-treatment methods. Through experiments based on the traditional dyeing techniques used by Korean Buddhist priests, a total of 144 pieces of dyed fabrics were made and all the colors of those 144 pieces were analyzed. Among three dyeing techniques tested; (1) dyeing with a dye-bath made of ink stick that was ground down with water, (2) dyeing with a dye-bath made by shaking a bag containing ink powder in water, and (3) dyeing with a dye-bath made by rubbing a boiled ink stick on a fabric, dyeing with a dye-bath made of ink stick that was ground down with water was shown to be the best technique in terms of coloring. For fabrics, ramie was the best of all three techniques in terms of making achromatic color. Starching and rubbing was the most effective after-treatment method used on both fabrics dyed with a grounded ink stick and on fabrics dyed by rubbing a boiled ink stick on them. As a whole, yangyeonmook, made from minerals' soot, is better than songyeonmook, which is made by burning old pine trees or yooyeonmook, which is made by burning oils from seeds. Therefore, yangyeonmook could help to preserve and utilize the traditional dyeing techniques of Korea in a practical way in modern life.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.136-150
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• 2015

The purpose of this thesis is to elucidate the exchange between the East and the West during the 17th century through analyzing the oriental influences described in paintings in Delft school, a trade port of East India Company. The scope of this study focused on the 37 pieces of works by Johannes Vermeer and 31 pieces of the paintings by Pieter de Hooch, which are all the existing work, as analysis targets. The resources of this study were from previous papers about the history of costumes, paintings and culture, Internet sources and other qualitatively analyzed articles. The items that the study looked into were Delft porcelains and Delft tiles, Turkey carpets, costumes and accessories pearl earrings and headdresses. The study looked into oriental factors observed in each of these items, and analyzed them. In terms of oriental factors that are frequently observed in paintings, porcelains (100%), Deft tiles (100%), pearl earrings (100%) and (most) carpets (92.3%) turned out to have oriental nature, but this was not the case with head dresses (7.7%) and clothing (0.3%). These results happen to coincide with the previous investigation in that the oriental factor was reflected in the culture first, while the effects on costumes significantly lagged behind. This progress in cultural exchange can be seen through the noted use of Chinoiserie, a technique that is representative of the Chinese culture, in the 18th century. Through Japonism, the influence of Japanese culture into Europe was introduced, in detail, in 19th century. These results suggest that there are sufficient amount of sources that could be used to study the effect of orientalism to the Western culture. This study intends to look at how the oriental culture affected those of Europe by researching the Delft school of Netherlands during the 17th century.

• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.162-171
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• 2010

This study aims to discuss what changes Korean clothing companies and manufacturers have undergone with production facilities moving abroad due to offshore outsourcing and examine what conditions the clothing manufacturers are facing and how the clothing companies recognize those manufacturers. For these purposes, in-depth interviews were conducted with 24 firms with annual production capacity of more than 200,000 pieces among clothing brands for the domestic market, clothing exporters and promotion agencies. Those interviewed firms were the companies who were found to produce more than 200,000 pieces of clothing per year, and the interview-based survey was conducted from December 18, 2008 to January 30, 2009. The key findings from this study are as follows; first, a high percentage of interviewed firms were producing only a small number of items in Korea with a large part of their production line transferred abroad or outsourcing all of their production abroad only with their headquarters in Korea. Second, many were employing contractors rather than their own factories. Third, when asked about the wage levels of clothing manufacturers, many of the clothing companies gave responses such as: 'They are just our contractor, so we respect their decision,' 'We don't know because it's none of our business,' or 'We don't know at all.' Fourth, when asked about the work environment of clothing manufacturers, the clothing companies gave responses such as: 'We know in part,' 'To our knowledge, they conform to the Labor Standards Law,' or 'We don't know at all.' Fifth, the production line of clothing manufacturers featured straight-line systems, specialization, pairing and compounding/mixing. Sixth, it was found that clothing companies had interest in mass customization but their preparations were not satisfactory.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.9-16
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• 2008

Six of the Imdang tombs containing remains with imprints of ancient fabrics and textiles were investigated. Within the tombs, a total of 120 pieces of imprinted fabrics and textiles were investigated, all of which belongs to $5{\sim}6C$ Shilla period. All of the hemp textiles examined exhibited similar characteristics found in ancient hemp textiles: they were woven by plain weave technique with s-twist threads. The examined silk could be categorized into plain woven silk, cho, and double woven brocade, all of them made with non-twisted threads and degummed silk. The density of the plain woven silk ranged from 39 threads to 144 threads. Cho was also found, which showed similar characteristics to those of Gaya and Bakjae tombs. One piece of 2/1 twill weave on plain ground and 12 pieces of double woven brocade were found and their average density was $97.4{\times}33.4/cm$ with denser warp than weft. The various thickness of the threads were observed in the examined plain braid. The silk with twining technique showed thicker warp than weft. This is similar to the techniques of fabrics found in the King Muryeoung's Tomb of the Bakjae period. Fabrics with the purple-like color were observed in the some of the double woven brocades and also on the plain woven silk imprinted on the remains. The purple-like color was revealed to be purple with a tint of violet. The two tombs from which the imprinted fabrics with purple-like color were found belonged to top-class social level of the Shilla period, which informs that the purple color was used exclusively for the people of higher social status. The floss silk was found between the double woven brocade and plain woven silk of the belt, which is an important evidence that the floss silk was used for stuffing in the early 6th century.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• The Korean Journal of Community Living Science
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• v.15 no.1
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• Journal of Plant Biotechnology
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• v.6 no.2
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• pp.97-102
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• 2004

This study was carried out to establish The regeneration of healthy seedlings from the nodal segment culture of Chinese yam (Dioscorea opposita cv. Danma), cultivated in Korea. Different explants such as leaves, petioles, roots and nodal pieces, excised from the in vitro grown seedlings of Chinese yam, were cultured on MS medium supplemented with various combinations of growth regulators. All the growth regulators used induced plantlet regeneration from the nodal segments at a high frequency, while there was no induction of shoot or callus from leaf, petiole or root tissues. The medium supplemented with 0.01mg/L NAA, 0.5mg/L BA, 0.5-1.0mg/L kinetin and without plant growth regulator was effective for shoot development of buds from the nodal segment culture. The concentration of BA and NAA was an important factor in the bud induction of buds from the nodal segments of Chinese yam. Nodal segments cultured on the medium containing 1.0mg/L NAA and 0.5-1.0mg/L BA gave the best response to bud formation. The addition of GA$_3$ to the culture medium suppressed shoot induction and growth, while it increased microtuber formation. The shoot growth and microtuber formation were also affected by medium strength and solidity. The MS basal medium containing 1 g/L gelrite was suitable for microtuber formation from the nodal segment of Chinese yam.

• Clinical and Experimental Reproductive Medicine
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• v.21 no.2
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• pp.149-156
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• 1994

Failure of in vitro fertilization may occur even though oocyte and semen parameters seem satisfactory. Quantified ultrastructural study of spermatozoa was performed in three cases of failed in vitro fertilization. The results were compared to those of four fertile men. Quantification was achieved by cataloguing cell defects of the spermatozoon heads and mid/principal pieces of the flagella. Using the data from each specimen, the percentages of total cellular abnormalities in the head/mid/principal pieces were established. The percentages of anomalies of the midpiece and of the principal piece were not significantly different between failed cases and controls. The percentage of cell alterations of the head (96-100 vs 75${\pm}$3,4%), the percentage of combined anomalies of the head (80-86 vs 52.5${\pm}$1.9%), and the percentages of nuclear shape deformation (68-86 vs 47.5${\pm}$6.3%), acrosomal defects (86-96 vs 50${\pm}$4.3%), and postacrosomal sheath defects (78-88 vs 44.5${\pm}$7.2%) of the head were significantly different between failed cases and controls. Due to the cost and time involved in processing semen samples for electron microscopy, the widespread application of this technique to all couples presenting for IVF certainly is not warranted. However, in selected instances electron microscopy may play a crucial role in identifying an occult male factor.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.16 no.4
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• pp.64-72
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• 2002

The use of linear DC motor is spreaded according to industrial development. This study was objected to study the analysis of double side excitation LDM with moving magnet type. In this LDM structure, the mover made use of permanent magnet with six pieces so as to large thrust, the stator was bedded for the multi separated type winding to repress the i개n saturation. Also, double side excitation winding is suppressed to thrust ripple with stratification to zigzag type and designed to production for static thrust. Then it is important to ratio of permanent magnet to winding width at multi separate, this paper analyzed to separate to three pieces of 1:1, 1:0.84 and 1:0.5 with width ratio. The analysis method calculated the parameter useful for permeance and magnetic resistance more than FEM of complicated numerical value analysis. Through manufactured experiment system, measurement result of thrust was almost acquired to constant thrust for all displacement.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.69-88
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• 2016

The purpose of this study is to delve into the identity of the New-Hanbok style in modern fashion, and to survey its formative characteristics and internal values from the perspective of vernacular design. Arguments can be summed up as follows. The study historically examines the changes in Hanbok and concludes that the social and cultural backgrounds and factors that caused the advent of the New Hanbok are (1) the change and expansion of the basic social, cultural, and popular perception toward the Korean image, (2) the rapid spread of a subculture centering on the younger generation, and (3) the voluntary and systematic activities of nonprofit clubs, communities and private organizations. This is the cycle of the spread of Hanbok, which shows the subcultural selection and development process of upward propagation. Furthermore, the public, in addition to holding fast to an independent attitude regarding their choices, also show that they tolerate diversity. As a perspective of analyzing the New Hanbok style, the study suggests the characteristics of the vernacular design perspective as (1) a spontaneous indigenous nature (2) living everydayness (3) and the subcultural-ness of the era. From such a perspective, the study examines the formative characteristics of the basic costume configuration of the New Hanbok style including jeogori, traditional Korean skirts, Cheollik one-pieces, and Trompe l'oeil one-pieces, and draws out the meanings contained in the New Hanbok style, which are (1) spontaneous indigenous nature and directivity toward tradition, (2) living everydayness and modernity, and (3) open subcultural-ness.