• Journal of Engineering Education Research
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• v.21 no.1
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• pp.77-89
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• 2018

The chromosomes of all the world are the same in all 24 pairs, but the key, skin color and appearance are different. Also, it is the resistance of adult disease, diabetes, cancer. In 1953, Watson, Crick of Cambridge University experimentally discovered a DNA double helix structure, and in 1962, They laureates the Nobel Prize. In 1964, Temin, University of Wisconsin, USA, experimentally identified the ability to copy gene information from RNA to DNA and received the Nobel Prize in 1975. In this paper, we analyzed 24 pairs of DNA chromosomes using mathematical matrices based on the combination order sequence of four groups, and designed the Taegeuk pattern genetic code for the first time in the world. In the case of normal persons, the middle Yin-Yang taegeuk is designed as a block circulant Jacket matrix in DNA, and the left-right and upper-lower pairs of east-west and north-south rulings are designed as pair complementary matrices. If (C U: A G) chromosomes are unbalanced, that is, people with disease or inheritance become squashed squirming patterns. In 2017, Professor Michel Young was awarded a Nobel by presenting a biological clock and experimentally explained the bio-imbalance through a yellow fruit fly experiment.This study proved mathematical matrices for balanced and unbalanced RNA.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.838-847
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• 2011

The object of this study is as follows. First, according to the silhouette of clothes, I will search the relationship with the embroidery design. Second, I will investigate the relation of coloration about the clothes color and embroidery color. Third, I will search the relation with the image in clothes and embroidery design characteristic. The data acquisition is selected to the total 447 pictures of embroidery clothing design from the www.style.com, www.samsungdesign.net which are the related information site. The data are limited from S/S season in 2004 till F/W season in 2008 in the Paris, Milano, and New York collection. The analytical method was made through the analyze method and statistical method. First, on the relation with the clothes silhouette and embroidery design, if the satin stitch technique is utilized as the X-shaped or A-line silhouette in the one-piece and dress, the image which is elegant and feminine can be expressed. if the satin stitch technique is utilized as the H-line silhouette in jacket and court, the mannish image can be expressed. Second, the embroidery color showed up as the contrast combination of the monotone when the clothes color was the monochrome. And the embroidery color showed up as the tone in which is bright and sober when clothes color had 2 or 3 or 4. So, if the embroidery color is utilized as the similar color scheme, it will be effective. Third, if the embroidery technique of the one-piece and dress is utilized as the the satin stitch technique and the bloom and leaf motive being stylized pattern is used in the all-over and border pattern, It will be effective to express the romantic/feminine, ethnic/folklore, active, and classic image.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.423-438
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• 2021

This study compared and analyzed the direction of Louis Vuitton creative directors Kim Jones and Virgil Abloh. Accordingly, 485 photos(251 Kim Jones, 234 Virgil Abloh) were collected. For data analysis, statistical and content analyses were combined. First, as for the overall design characteristics of creative director Kim Jones, complex colors, colorful barrels, tone-in-tone color schemes, H-line, plain fabrics, soft materials, heterogeneous material combinations, casual style. Second, as for the overall design characteristics of creative director Virgil Abloh, achromatic color, colorful tone, tone-on-tone color scheme, I-line, plain fabric, soft material, similar material combination, casual style. There were significant differences in color, tone, color scheme, silhouette, pattern, material type, material combination, fashion image, detail, trimming, top and bottom that differed in the creative directors' design direction. Therefore, it appears that Kim Jones has been directing the luxurious and unique men's wear through H-line, coat and slim pants, colorful color combination, soft material, heterogeneous material combination, plain fabric, and chic active sensibility. Meanwhile, Virgil Abloh is directing men's wear in a loose and trendy street mood through the I-line, jacket and wide pants, achromatic color, soft material, plain fabric, similar material combinations, and soft and sophisticated modern sensibility.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.49-61
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• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.75-85
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• 2014

This study is aimed to examine color expressed in fashion items and color of new senior generation in America and Korea. For this study, the three brands were selected by country after examining new senior fashion brand in the United States and Korea. The results of this study are as follows. First, In the case of Korea, t-shirt, cardigan, jacket, coat, and pants were investigated in order. In the case of the United States, blouse, sleeveless t-shirt, skirt, and one piece dress were investigated in order. In other words, Korea is characterized the practical and comfort features, the United States is characterized the practical and feminine modernity. Second, in the case of color, Korea is characterized Bk, YR, R, PB, G and the United States is characterized W, Y, YG, B, BG. In the case of tone, Korea is characterized dark greyish tone, light greyish tone, strong tone, vivid tone, deep tone, and light tone. In the United States, greyish tone, dull tone, soft tone, pale tone, bright tone, and dark tone were used. In the case of color by tone, both Korea and the United States are characterized R, RP, and PB in gorgeous tone. In the case of light tone, both Korea and the United States are characterized Y. In the case of plain tone, Korea is characterized Y and the United States is characterized B and G. In the case of dark tone, Korea is characterized R, Y, G, B and the United States is characterized P, R, and B. The results of the study is expected to be provide as forecasting dates of design planning for the new senior generation.

• Journal of the Korean Home Economics Association
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• v.39 no.8
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• pp.107-120
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• 2001

The purpose of this study is to characterize the preference for fashion design according to fashion value of Net generation's. This study has 824 samples of individuals aged from 13 to 24. These sampling data are analyzed by frequency analysis, cross-tabs analysis, T-test, LSD-test, MANOVA and ANOVA utilizing SPSS WIN package. The results of this study are as follows; Net generation's is economic value higher than other fashion value and prefer for ring cuffs, mandarin sleeves, shirt collar, round neckline, tailored pants, blue color, check pattern according to economic value. It is proved that in case of shirt, people prefer ring cuffs, raglan sleeves, shirt collar, for jacket, prefer coat cuffs, mandarin sleeves, tailored collar, for jumper, they prefer single cuffs, set in sleeves, soutien collar and for T-shirt, prefer round neckline. For the design and length of pants, people prefer long tailored pants, color of blue and check designed one. It is proved that women haute a higher degree of preference for sleeve-design, neckline-design and color than men do.1318 teenagers have a higher preference for sleeve-design, neckline-design and color than semi-adult. Above university educational-course Net generation has a higher degree of preference for sleeve-design, neckline-design and color than high school educational-course Net generation does. A class of average monthly income of 2-3 million won has a higher degree of preference for neckline-design and color than other lasses do. And there is no difference at the preference for the fashion design when considered classes of average monthly expenditure on purchasing clothes.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.78-90
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• 2014

This paper examines the way that the principles of coloration for Hoecha(繪次) and Sucha(繡次) were applied for shoe making in ancient China and Korea. Hoecha is the principle of drawing, and Sucha is the principle of embroidery. Hoecha and Sucha is the application principle of the five colors(五方色) from the five elements(五行: metal, wood, water, fire, and earth). Hoecha matchs a color with the opposite side color, and Sucha matchs a color with the beside color. A shoe consists of Sinul(body of shoe) and ornaments attached to it. According to the ratings of shoes, Hoecha and Sucha were differently applied for coloration of Sinul and its ornaments. In general, shoes were classified into Seok and Gu. For Seok, which was the high-ranked shoes, Hoecha was applied, while Sucha was applied to Gu, the low ranked shoe. As Hoecha was originally a principle of coloration for patterns on tops(jacket. 上衣), it was applied to the high ranked shoes i.e., Seok. Also, as Sucha was a principle of coloration for patterns on bottoms(skirt. 下裳), it was applied to the low ranked shoes i.e., Gu. Thus, black was decorated on red Seok, blue on white Seok, red on black Seok, yellow on hyeon(玄: a kind of black color) Seok, and white on blue Seok, all of which were applications of the principle of Hoecha. As the application of the principle of Hoecha to Seok was also done for red Seok for males and females in late Joseon, and red Seok for the crown prince in the period of the Korean Empire, black decorations were used for red Sinul. However, for blue Seok, worn by females in the period of the Korean Empire where Ming's systems prevailed, black decorations were used, which was an application of Sucha. Though there had been no discrimination between genders in the application of Hoecha and Sucha originally, the low ranked principle of coloration was applied to Seok for females.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.15-31
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• 2012

This study is intended to understand the styles, colors and color arrangements of costumes expressed on Kisan Kim Jun-geun's genre paintings of Joseon in the late 19th century. The paintings vary according to the status and gender of the person wearing the costume as well as the time period and different situations the person belongs to. Also, this study aims to examine the meaning and value of Kisan's paintings in terms of the history of Korean costumes. The result of this study are as follows: The basic and common attire for people of all status and class is the jeogori(jacket), baji(pants) for men and Banhoijang jeogori, chima(skirt) for women. Men wear Po(coat) that represents their status and age, and they put on various hats according to different weather conditions or work-skill even when in the same status and class. However, women wear the Baeja(vest), Durumagi(coat) and head-dresses when they are cold. Overall, the costume patterns and shapes that appear on Kisan's paintings show the same patterns and structures when compared to different data during the same time period. Thus, they provide useful information to help not only understand the changes of patterns and structures of costumes, but also the situations and emotions of the people of that time period. Moreover, it can be understood that various colors and color arrangements that reflect the situations and emotions of the late 19th century were used. This study that analyses the colors and color arrangements used in Kisan's genre paintings can provide the very basic and systematically arranged data to help understand the unique colors in Korea. These data can also provide important information to understand the use of dyes and pigments during that time. Therefore, Kisan's genre paintings are meaningful and valuable in terms of the history of Korean costumes for these are the data, from which we can review the costumes, colors and color arrangements in the years from 1890 to 1910.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.13-26
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• 2011

The purpose of this study is to analyze the preference of design and body shape for korean baby-boom generation women. For this study, in-depth interviews were carried out to 11 women who were born in 1955~1963. They are called korean baby-boom generation. The results were as follows; 1) Korean baby-boom generation women care to their body shape, and they make much of the balance of body, not just looking slim. 2) Korean baby-boom generation women become more interested in their clothing, and they want to look with casual image than elegant image before. But overweight women preferred elegant image. 3) Korean baby-boom generation women prefer mix-match style for everyday clothes, but they prefer suit-set for formal wear. 4) When Korean baby-boom generation women choose of jacket or coat color, they consider more of their body-shape than season color. 5) Korean baby-boom generation women prefer plain style and jacquard with metal yarn. 6) Korean baby-boom generation women prefer out-door cloth fabric, at special time, they choose pure wool and pure silk. At ordinary time, they like more comfortable fabric like cotton mixed spandex or wool mixed spandex blends.