• The Journal of Bigdata
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• v.7 no.1
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• pp.63-73
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• 2022

COVID-19 has continued from 2020 to the present, and many social changes have occurred. Wearing a mask has become mandatory, and if you do not wear a mask, you cannot use public facilities or restaurants. For this reason, most public facility entrances are equipped with a mask recognition system to check whether a mask is worn. However, it is unclear whether people who cover their mouths with a scarf or who do not wear a mask properly can be identified. In this study, we proposed an embedded mask recognition system using YOLOv5. Unlike the existing mask recognition system, it was able to distinguish not only whether a mask was worn, but also whether a mask was worn in various exceptional situations, such as a person with a scarf or a person covering their mouth with their hands, and showed excellent performance when mounted on the Nvida Jetson Nano Board.

• Journal of Digital Convergence
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• v.16 no.12
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• pp.571-577
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• 2018

Bicycle riders complain of many inconveniences when wearing glasses, sunglasses and masks. The disposable fine dust mask has been developed to resolve such inconveniences of bicycle riders. The scope of research is limited to the fiber which generates one-time static electricity and the shape of the mask due to the characteristic of fine dust mask. The purpose is to design and make the fine dust mask with a simple production process. The new disposable fine dust mask has secured enough space of the mask in front of the mouth by longitudinal folding and minimized stuffiness by maintaining the shape of the folded part to prevent touching the mouth even by heavy breathing. The streamlined sponge is attached at the part of nose support and the area of the cheek has been expanded to be about 2.5cm wider than ordinary masks to improve tight seal at the side. In addition, a new disposable fine dust scarf mask has been developed to block ultraviolet rays for the face and neck while filtering fine dust with the tight fine dust mask.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.129-143
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• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.489-500
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• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.