• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.124-137
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• 2013

This study tried to get a deeper understanding of the characteristics of raincoats in Joseon by searching through historic records: the Annals of Joseon(朝鮮王朝實錄), personal or official records, paintings, etc. The time range of the research covers the entire period of Joseon. There were two prime types of raincoats: Saui, a cyperus coat, and Yusam(油衫), an oilcloth coat. The study proceeded as follows: 1) Identifying the people who wore the coats as well as the time period, 2) Figuring out the shapes and materials of those raincoats, 3) Postulating the reasons for the upward trend in popularity of a certain type as well as the eventual downward trend. Those research efforts revealed the following: 1) In the early Joseon, from royals to commoners, people wore Saui. But as time passed valuation about Saui might have become degraded. Eventually it became regarded as a farmer's smock in the 19th Century. 2) Yusam might not have been worn in the early Joseon. It was developed and spread after the middle of 17th Century. It was for soldiers and nobles, especially travelers, but by the end of the Joseon period, it was also used by commoners. 3) Saui was made of cyperus, but Yusam was made of oiled paper, cotton or silk. Those shapes were similar to a Western cloak. The analysis of the research findings led to following conclusions: 1) Around the middle of Joseon, people started to wear Yusam after the introduction of a Chinese version of it. 2) Yusam might have become popular in Joseon because of the social and cultural implications. At that time, people had pride in their culture and thought that real experiences and travels were important. 3) As people became fond of Yusam more, then Saui's popularity fell.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.830-836
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• 2010

The purpose of this research was to investigate the effects of skin pressure by wearing all-in-one on the rhythm of body temperature such as skin and rectal temperature which play a crucial role in the nocturnal rhythm. Five healthy female were participated in the study as subjects. The experimental clothing was an all-in-one, one of the foundation, which is worn for shaping the body. The total experimental periods were 5 days. On the 1st day, subjects did not wear the all-in-one (None), and they wore it for about 12 hours per day from 2nd to 5th day (Wearing1~4). Skin and rectal temperature were measured during the entire experimental days to figure out the rhythm of body temperature during sleep. When subjects wore the all-in-one, the gradients of the forearm and calf skin temperature at the sleep onset were significantly smaller than "None". It indicated that the rise of extremities' skin temperature was low on the "Wearing1~4". The decline of rectal temperature in "Wearing 1~4" was smaller than "None". Therefore, the skin pressure by all-in-one may cause the temperature of extremities' skin and rectum to change, resulting the fluctuation of the circadian rhythm, finally it could have effects on the rhythm of sleep.

• Fashion & Textile Research Journal
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• v.21 no.6
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• pp.813-820
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• 2019

This study identified actual wearing and size dissatisfaction with jeans worn by upper grade elementary school girls. A survey was conducted on 147 10~12-year-old girls in order to collect basic data to design a slim fit jeans pattern for upper grade elementary school girls. The result of the study are as follows. Upper grade elementary school girls wore jeans at least once a week, 46.9% were 1~2 times, 31.3% were 3~4 times and 21.8% were more than 5 times per week. The size of the jeans they wear was often one size or two sizes larger than the actual height section. Upper grade elementary school girls preferred jeans that fit well and allow for a full range of motion; in addition, waist and hip measurements were important criteria when selecting size. The preferred length of jeans was those that go to the ankle along with slim-style jeans made of "cotton+spandex". In terms of dissatisfaction with jeans, upper grade elementary school girls showed discomfort when the lower back waistline slipped when sitting and when there was a tight crotch area. In addition, cases of exchange or return were found to be due to fit, including waist, hip or thigh measurements even when the area most repaired is was the pant length.ired is pant length, cases of exchange or return were found to be due to fit, including waist, hip, or thigh measurements.

• Journal of Korean Ophthalmic Optics Society
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• v.9 no.2
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• pp.301-312
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• 2004

This study was performed to compare the relationship between contact lens wearer and dry-eye patient. In this study, TBUT, SIT, TTT, Rose bengal staining and McMonnies dry eye symptom questionnaire were performed as a baseline. With the base data, the subjects were classified to 3 groups : 3S patients who have dry eye signs and symptoms, 38 patients who are wearing soft contact tenses, 35 subjects who have health eyes and never worn on a contact lenses as control subjects. Contact lens wearers were divided into 3 groups according to the duration of contact lens wear. There were no significant differences in TBUT, STT, TTT, Rose-bengal staining and McMonnies dry eye symptom questionnaire result between contact lens wearer group and dry eye patients group. We suggest that there are similarities in tear function tests between the dry-eye patient and the contact lens wearer.

• Korean Journal of Human Ecology
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• v.19 no.4
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• pp.655-665
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• 2010

This study analyzed the effects of skinny jean on women's health by questionnaire survey and measuring the pressure experienced under the clothing and participants' subjective view of the pressure level. The average size women in their 20s' waists is 26 inches and so three pairs of jeans were prepared and worn by 4 female participants. A survey was conducted to investigate how often participants wear skinny jeans and whether they had had any feelings of discomfort as a result of this. Participants responded that they hadexperienced middle to high levels of discomfort due to the high pressure inside skinny jeans. For the maximum value of clothing pressures, jean f2 at the part of buttocks showed $48.7gf/cm^2$. The pressure inside the clothing was found to be highest around the buttocks followed by the knees and finally the belly. The mean values of 7 measuring parts are different according to the jean type; f3 $20.8gf/cm^2$ > f2 $16.4gf/cm^2$ > f1 $15.5gf/cm^2$, which is corresponding to the order of pressure sensation, but not corresponding to the order of ease amount of clothing pattern: f2 > f3 > f1. Mean pressure values were also measured according to the body posture: they were found to by highest when sitting on a chair (21.3gf/$cm^2$), second highest when sitting on the floor ($19.2gf/cm^2$) and lowest when standing ($15.0gf/cm^2$). This is not always same to the order of participants subjective perceptions of the pressure, which is, they estimated pressure to be highest when sitting on the floor followed by sitting on a chair and lowest in a standing position.

• The Research Journal of the Costume Culture
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• v.6 no.1
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• pp.136-148
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• 1998

This is a study on the change of the Medievalmen's underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Throughout the Middle Ages, the underclothing of both sexes possessed characteristic inherited from earlier times. Its function was purely utilitarian. It was not used to express class distinction and only very indirectly to enhance sex attraction. The idea of underclothes was associated with the idea of the body's sinfulness. Underclothes could also symbolize the discipline of humility. To appear clad only in underclothes was a voluntary form of selfabasement often practised by pilgrims. The notion that underclothes might express the spirit of the changing times, in sympathy with the outer clothing, did not enter the medieval mind. The length of the shirt was less than that of the modern garment, especially after the middle of the fourteenth century. The sleeves were somewhat full, without cuffs, and cut straight. During the second half of the twelfth century, when braies become definitely an undergarment. In the fourteenth century braies became shorter and shorter and the shirt could no longer be tucked in but hung outside over the thighs. After 1340 the costume on the surface somewhat resembling modern 'tights', began to reveal display the shape of the male leg as a form of sex attraction. By the close of the Middle Ages, braies had become less like loincloths, and more like modern bathing trunks. The peasant and laborer did not attempt to keep pace with the changes of fashion but, continued, as a rule, to wear the long braies of their forefathers. The higher ranks how this garment reflected the changes of the mode of outer costumes.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• The Journal of Korean Academy of Prosthodontics
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• v.58 no.1
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• pp.67-76
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• 2020

With the evolution of the computer-aided design/computer-aided manufacturing (CAD/CAM) technology, the intraoral scanners are playing an increasingly important role, as they are the first step towards a completely digital workflow. The CAD/CAM double scanning technique has been used to transfer the information from provisional restorations to definitive restorations. In this case, a 67-year-old male with esthetically compromised anterior teeth, generalized severe attrition of teeth, and reduced vertical dimension was treated with full mouth rehabilitation including a re-establishment of the lost vertical dimension of occlusion assisted by the crown lengthening procedure. The provisional restorations were fabricated using an intraoral scanner and the CAD/CAM double scanning technique. After the period of adaption, the definitive monolithic zirconia restorations were delivered. The CAD/CAM double scanning technique successfully transferred the occlusal and morphological characteristics, obtained from the provisional restorations, to the definitive restorations.

• Journal of Advanced Marine Engineering and Technology
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• v.31 no.6
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• pp.753-760
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• 2007

For protection of the cylinder wall of the ball mill for grinding raw ore. the inner side of the cylinder is covered with rubber liner. The rubber is easily worn down because the rubber relatively soft compared with raw ore. So the rubber liner in the ball mill cylinder must be replaced almost every year and the cost for replacing rubber liner formidable. In this paper, for reducing or excluding the cost of replacing rubber liner the basalt liner is designed. The basalt materials are generally harder than raw ore and the basalt liner in the ball mill does not wear down and so it can be used almost permanently. The concave surfaces are made on the liner of the ball mill and the liner in the cylinder wall plays also the role of raising the steel balls mixed in the raw ore. The section profiles of the concave surface have an important effect on the performance of the ball mill. The deep concave grooves raise the steel balls to high levels and give the large potential energy to the steel balls impacting to the raw ore. But if the concave grooves are too deep. the steel balls raised too high by the concave grooves fly along the parabolic path and reach to the other side of cylinder wall and so the steel balls do not play the roles of grinding the raw ore. The forces acting to a steel ball in a concave groove of the cylinder liner are also analyzed in this paper. The formulas calculating the height and the impact point of the steel ball are introduced and presented. Based to these formulas, the optimum section profiles of the basalt liner are presented.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.61-78
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• 2008

Comedy costumes worn on the comedians/gag men express the information of the performances such as character's era, place, social rank, present environment, age, sex, occupation, emotion, relationships between the characters, importance and mood in visual language. The comic is found when these informations are reversed, revealed, exaggerated or distorted. To analyse the TV comedy costumes, 5 subordinate concepts of the comic which are Body, Gender, Age, T.P.O.(Time, Place, Occasion) and Role could be identified, and the results from the analysis focused on (10 shows were selected from each of the first and second half of the years from 2003 to 2007) are as follows: Distorted and ugly body implies the resistance against the ideal body. Reversed or confused sex are usually expressed as men dressed in women, and these mean breaking the dichotomy between male and female, and coexistence of the masculinity and feminity, and satirizing the social custom restricting women by moral rules. It could be recognized that the way of men's dressing in women have been changing keeping pace with the times. The discord between age and costume was often expressed with children's wear and childish props. This implies the liberation from the age role. The comic expressed from the inadequate costume for T.P.O. usually appeared with the costumes 20-30years behind the times. When there were discordance with the acts and acts expected from the outfit(appearance) also made an ironical laugh. The comics acquired by vulgarization and exaggeration of the characteristics of role(figures/occupation) were from the imitation and deformation of the objects in stereotypes, and through this dissolving the custom was under way.