• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.123-130
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• 2008

Symbolizing holiness, wealth and power, golden color was most effective to express the absolute power of royal family and aristocratic society as well as the beauty of magnificent and brilliant authority. Such golden color was understood as the artistic color formed in the dictatorial society as well as the society under the rule of absolute monarch. Thus, it has been used in the costume that symbolizes nobleness, holiness, brilliancy, ethnicity and future-oriented property. In this sense, the image of golden color shown in contemporary fashion was analyzed as follows in this research: First, showing the future-oriented image, golden color expresses avant-garde, cyber and cosmic future-oriented image by using diverse new materials which introduce the state-of-the-art technology sense in addition to metallic textile. Second, getting hint from the ethnic costume of many countries around the world such as brilliant embroidery using golden-thread, ornament with exaggerated technique such as gold foil, mark and character in peculiar tint, the ethnic image of golden color expressed the peculiar color or materials of ethnic costume, handicraft details, etc in golden color. Third, since golden color is expressed in ostentatious image to which elegance and luxuriousness that looks like the work of haute-couture costume of royal family or sensuality that voluptuously expresses the beautiful body line of women are added, the viewers are enchanted or attracted.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.3
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• pp.65-78
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• 1994

This study deals with the consciousness and visual preference and image about the fence that is an important factor and a vertical element in the streetscape. The analysis was performed by the data obtained from the questionnaires and the photos for the fence scene. 1. The answerers considering the fence had great influence on the beauty of a city were over 80%, also the fence influence good effect on a city was higher than 63%. 2. The answerers prefering the fence materials mixed with inanimate materials and plants was higher than 50%. Also the design offence was regarded to be the most important element when established. 3. While the satisfying factors for the visual preference were peculiarity, abundance and harmony, the dissatisfying factors were commonplaceness, disharmony and isolation(closing). Also the preference factors were the design and material in several elements of the fence. 4. At the part of function, the preferable places were estimated highly as boundary mark, eye interception but in the visual effect were so low. 5. Psychological factor, related to the satisfaction of the fence, had a grip of three factors, evaluation, formation, potentiality, and the presumption formula was: Satisfaction=1.61(Evaluation)+0.30(Formation)+0.55(Potentiality)+6.23(R2=0. 63)

• Fashion & Textile Research Journal
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• v.6 no.3
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• pp.307-313
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• 2004

The Purpose of this study is to investigated characteristics of many pleated skirt of Miao women's Guizhou province in China. The method of this study is referd to sundry recordes and demonstrated traditional clothing of several region in Guizhou province. The most important characteristic of the costume of the Miao is the many pleated skirt, worn by most but not all groups. Pleats are pulled into place with a sharp pointed instrument and sprinkled constantly with starch. The length of the pleated skirt depends on the group. The long skirts reach to the ankle, the medium-sized to the shank and the short ones not below the knee. The design of the pleated skirt is simple but most pleated skirt ornamented with fine, cross-stiched or batic designs of geometrical figures. The figures decorated on the pleated skirt has been handed down with little change from generation to generation and has become an important mark of Miao women's each area. Seeing the many pleated skirt of Miaos investigated in these several respects by the standard of contemporary beauty, it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristics of almost perfect costume.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.352-366
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• 2009

The purpose of this study was to investigate the actual wearing conditions and the preferences of knit wear school uniforms. The subjects were 480 high school girls from 6 high schools placed in Daejeon. The method of study is a survey consisted of actual wearing conditions questionnaires, preferences questionnaires, and demographic attribution. Data was analyzed by frequency, variance, crosstabs, and correlation analysis using SPSS 12.0 program. The results of study are as follows. First, high school girls over 90% wearing knit wear school uniforms were satisfied with current knit wear school uniforms(navy color, V-neck, and wool mixed). Second, high school girls preferred 100% cotton material and black/white/gray color group. The style of knit wear school uniforms was most preferred monochrome cardigan with cable pattern. High school girls wanted to show neat image by knit wear school uniforms and to diversify the style of them. Third, the differences of preferences between groups, they were wearing knit wear school uniforms(A group) or not(B group), were about pattern and improvement. A group preferred school mark pattern, and wanted to improve the quality and after service. B group preferred monochrome cable pattern, and wanted to diversify the style. Both groups wanted to wear knit wear school uniforms because knit wear was 'warm' and 'comfort'. Consequently, knit wear school uniforms will help high school girls express individuality and beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• Archives of Plastic Surgery
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• v.46 no.4
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• pp.303-310
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• 2019

Background Prosthetic hands with a myoelectric interface have recently received interest within the broader category of hand prostheses, but their high cost is a major barrier to use. Modern three-dimensional (3D) printing technology has enabled more widespread development and cost-effectiveness in the field of prostheses. The objective of the present study was to evaluate the clinical impact of a low-cost 3D-printed myoelectric-interface prosthetic hand on patients' daily life. Methods A prospective review of all upper-arm transradial amputation amputees who used 3D-printed myoelectric interface prostheses (Mark V) between January 2016 and August 2017 was conducted. The functional outcomes of prosthesis usage over a 3-month follow-up period were measured using a validated method (Orthotics Prosthetics User Survey-Upper Extremity Functional Status [OPUS-UEFS]). In addition, the correlation between the length of the amputated radius and changes in OPUS-UEFS scores was analyzed. Results Ten patients were included in the study. After use of the 3D-printed myoelectric single electromyography channel prosthesis for 3 months, the average OPUS-UEFS score significantly increased from 45.50 to 60.10. The Spearman correlation coefficient (r) of the correlation between radius length and OPUS-UEFS at the 3rd month of prosthetic use was 0.815. Conclusions This low-cost 3D-printed myoelectric-interface prosthetic hand with a single reliable myoelectrical signal shows the potential to positively impact amputees' quality of life through daily usage. The emergence of a low-cost 3D-printed myoelectric prosthesis could lead to new market trends, with such a device gaining popularity via reduced production costs and increased market demand.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.49-63
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• 2010

This study was intended to analyze and interpret the pattern of naming the domestic apartment brand from a semiologic viewpoint in a bid to review the meaning and value of apartment brand, while on the other hand, evaluating the characteristics of persuasive message pursued by current apartment brand in 2010, and consequently, the conclusion of the study is outlined as follows. 1. As a result of analyzing the coinage of branding naming, the words such as combination, joint and blending pattern tended to dominate, which seemed to attempt to represent the variety of values of the housing culture. Brand ideation tends to stress the character symbolism and polysemic message using syllepsis, and the experimental attempt to revive the traditional dwelling concept in a modern sense in a way of combining the archaic word with the Chinese character was found as well. 2. As a result of analyzing the frequency of verbal identity and lexeme of domestic apartments, those frequently used are in order of ville, nature, beauty(美), park, hi, green, palace(宮), nobility and center(tra), which are the lexemes representing the landscape, view, nature and dignity. 3. As a result of identifying the pattern of lexeme using analysis frame based on existing researches such as apartment brand positioning, the most important external core concepts controlling the direction and value of apartment brand are 'environment-orientated' and 'emotion-orientated', and internally, 'function-oriented'. Given the persuasive language expressing the 'environment-oriented' feature and the priority of brand lexeme are garden, park, view and the nature, a landscape-oriented persuasive message is seen to be surging in brand naming. 4. An emotion-oriented persuasive language such as dignity axis having major lexeme represented by palace, nobility, class and a pride axis having major semantic elements represented by human, I and you are used as major value concepts and persuasive language that lead domestic apartment brands to differentiation and upgradation. 5. Among the lexemes focusing on view from environment-oriented standpoint, hi, hill, tower, view, mark, heights are the trend pursued by high-rise apartment aiming at the view such as residential-commercial apartment, and thus the persuasive language focusing on high-rise concept is expected to become the element dominating the trend of apartment brand for the time being.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.