• Journal of the Korean Society of Food Culture
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• v.24 no.5
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• pp.467-477
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• 2009

This study was conducted to investigate and analyze food related and space related elements of popular Vietnamese restaurants in Hong Kong to identify restaurant images related to food, to examine how Vietnamese traditions are applied to such restaurants, and ultimately, to get their implications for us. Luxury Vietnamese restaurants in Hong Kong tended to be located in major office buildings and famous shopping malls in the downtown area; therefore, they were highly accessible to foreigners. In addition, most Vietnamese restaurants were quite formal in size or atmosphere. The food-related elements of the luxury restaurants reproduced traditional menus, but the table setting and service generally adopted a formal Western style setting. The presentation of foods was also creative and contemporary, to suit international customers' tastes. Regarding the spatial elements, restaurants serving traditional menus had interiors influenced by the French colonial period, while those serving contemporarily adapted menus had interiors with simple contemporary images emphasized by Vietnamese traditional decorations. These characteristics allowed foreigners from diverse countries to access the restaurants without a sense of rejection. Casual restaurants were primarily exposed to many people on busy roadsides, but they tended to be inferior in terms of size and quality. Apart from size and price level, food-related elements failed to reflect Vietnamese unique traditional characteristics. The outward appearance consisted of basic construction materials (glass, chassis, and bamboo) instead of those representing Vietnamese architecture. Additionally, the interior of the casual restaurants contained traditional elements or objects more frequently than luxury restaurants, but they looked rather disorderly and lacked harmony. Overall, the image of casual restaurants was degraded by the use of cheap and low quality finishing materials and furniture. The results of this study may be useful for organizations promoting the Branding of Korea or businesspeople and designers promoting the globalization of Korean foods.

• Conservation Science in Museum
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• v.1
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• pp.15-26
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• 1999

More than 200 objects selected for the newly-opened Kimhae National Museum were treated for conservation. The objects which represent ancient Kaya culture, were mainly composed of metallic such as gilt bronze, silver, copper alloy and iron. The corrosion products on gilt bronze and copper alloy objects were preserved or removed according to their stability. Minimum treatment was done for preserving the original state of the objects. For silver objects and iron objects with silver-plate decorations, silver surfaces were revealed after treatment of corrosion products and treatments to prevent corrosion of silver and iron were done emphatically. For iron objects, which were stabilized, the original shape of objects was restored and acrylic coating was applied to prevent further corrosion. For the objects which were being corroded, 2-step de-chloride treatments were undertaken. The first step was immersing the objects in a solution of 0.3M sodium hydroxide and the second was the pressure de-chloride treatment using borax-distilled water. The main purpose of those treatments was to get rid of the causes of corrosion. Besides, conservation treatments for potteries, making of special mounting board for exhibition and amendment of various modeling were done too.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• Journal of the Korean institute of surface engineering
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• v.56 no.6
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• pp.420-426
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• 2023

We prepared a highly sensitive hydrogen (H₂) sensor based on Indium oxides (In₂O₃) porous nanoparticles (NPs) loaded with Platinum (Pt) nanoparticle in the range of 1.6~5.7 at.%. In₂O₃ NPs were fabricated by microwave irradiation method, and decorations of Pt nanoparticles were performed by electroless plating on In₂O₃ NPs. Crystal structures, morphologies, and chemical information on Pt-loaded In₂O₃ NPs were characterized by grazing-incident X-ray diffraction, field-emission scanning electron microscopy, energy-dispersive X-ray spectroscopy, respectively. The effect of the Pt nanoparticles on the H₂-sensing performance of In₂O₃ NPs was investigated over a low concentration range of 5 ppm of H₂ at 150-300 ℃ working temperatures. The results showed that the H₂ response greatly increased with decreasing sensing temperature. The H₂ response of Pt loaded porous In₂O₃ NPs is higher than that of pristine In₂O₃ NPs. H₂ gas selectivity and high sensitivity was explained by the extension of the electron depletion layer and catalytic effect. Pt loaded porous In₂O₃ NPs sensor can be a robust manner for achieving enhanced gas selectivity and sensitivity for the detection of H₂.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.1-16
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• 2024

This study aims to investigate the differences in blue jean styles and the visual images associated with them. To achieve this, literature reviews, case studies, and surveys were conducted. The results are as follows. 1) Based on previous studies, it was found that the design elements influencing the style of blue jeans and their visual images include waistline position, silhouette, details, decorations, and color. Additionally, differences in the preferences and visual evaluations of Korean and Chinese individuals regarding the style of blue jeans were confirmed. 2) Skinny blue jeans are typically characterized by a high waistline and a length that reaches the ankles, featuring a snug fit with stretchy fabric. Straight blue jeans, on the other hand, usually have a natural or high waistline and cover the instep, with a straight silhouette descending from the thigh to the hem. Bell-bottom blue jeans are primarily high-waisted and cover the instep with a silhouette forming a bell shape from the knee to the hem. 3) Korean and Chinese women in their 20s evaluated skinny, straight, and bell-bottom styles of blue jeans as having a 'casual' image. However, they also associated bell-bottom style blue jeans with 'unique' and 'attractive' images. Interestingly, Korean women described skinny-style blue jeans as making someone look 'youthful', while Chinese women perceived them as 'sophisticated', 'making the waist look thicker', and 'unassuming'. As for straight-style blue jeans, Korean women saw them as 'well-fitting', while Chinese women described them as 'making one appear taller', 'desirable', and 'free-spirited'.

• The Research Journal of the Costume Culture
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• v.32 no.1
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• pp.108-123
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• 2024

This study aimed to explore sustainable fashion design plans and directions by analyzing Marine Serre's collection. Previous research was reviewed to derive classifications of the aesthetic characteristics of sustainable fashion design. This classification was then used to analyze the characteristics of the Marine Serre collection. Design analysis was conducted on Marine Serre's 2018 FW to 2023 SS collections. Marine Serre's sustainability characteristics are functionality, surprise, handicraft, and inclusion. The results are as follows. First, functionality is the highest among the four characteristics and includes the functionality of movement, the functionality of form, and futurism. This characteristic was observed in the use of all-in-one body suits, pockets, and workwear, showing the will and values of designers who value daily activity. Second, surprise includes the scarcity of materials and the unexpectedness of composition. The value of the clothing is enhanced by the use of scarce materials not typically used in clothing. In addition, Marine Serre is highly regarded for expanding clothing into life by incorporating material upcycling into the theme of the collection. Third, handcrafted features include exaggerated decorations, logo, retro designs, and natural properties, and intentional utilization is differentiated. Marine Serre's signature pattern suggests a suitable expression for the fabric to use the crescent moon for the season. Fourth, the collection expresses themes of inclusivity and cultural diversity. The results indicate that Marine Serre wants to contribute to a better future characterized by global coexistence.

• FLOWER RESEARCH JOURNAL
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• v.18 no.4
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• pp.315-322
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• 2010

To analyze our country's education program for flower decoration and occupational satisfaction of florist, 60 present florists and 60 applicants were surveyed. To investigate satisfaction of florist, the questionnaire items consisted of satisfaction for occupation etc. experienced by attendants, contents of related education, recognition from society, social treatment. And this study analyzed followings : considerations to select occupation, satisfaction on job of person who majored in related subject and non- person without such an educational background, satisfaction on present occupation, satisfaction on education period, significance of florist ability, significance of requirements for occupational development. The points which present florists and applicants consider as important were aptitude for gardening and prospect. From the analysis by major of florists, majored persons had more satisfaction than non-majored persons but there was no statistically significant difference between them. From the analysis by applicant, as in present florists, majored persons had more satisfaction than non-majored persons. For the satisfaction by career and education period of present florists and applicants, the satisfaction on education related to flower decoration or learning experiences and lecturer's teaching method showed that the lower the career is, the less the satisfaction is. Seeing the result by education period of applicants, the satisfaction on job was similar each other regardless of education period. For difference in recognition on ability by major of present florists and applicants, the result of analysis by major of present florists showed that majored persons considered the ability more important comparing to non-majored persons in the fields of gardening and making decorations. In the other hand, in the fields of quality maintenance, flower decoration, and flower distribution and management, there was no significance difference between majored and non-majored persons about the recognition of ability. The result of analysis by major of applicants showed that majored persons considered the ability more important comparing to non-majored persons in the fields of gardening, flower decoration, making decorations, flower distribution and management. For the significance of quality maintenance, majored persons wholly considered the significance more important comparing to non-majored persons but there was no significant difference. Based on the results of this study, in working as a florist, persons who majored in flower decoration had more occupational satisfaction than non-majored persons. And among the contents of education, the education related to gardening was recognized as most important. But at present the systematic and special education programs to cultivate professional florists are deficient. Therefore it is suggested that courses based on systematic educational contents which integrate theory and practice are needed to solve education problem related to flower decoration in this rapidly changing society.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.66-83
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• 2018

This article focuses how the materials of hatstrings of the 19th to 20th century gat, the Korean top hat for men among the collections of National Folk Museum of Korea, was transformed after port opening treaties with overseas since 1876. As a result of analyzing the materials of the hatstrings, amber, tortoiseshell, wood and bamboo as the traditional materials were used, and ivory, glass (soda glass, lead glass, alkali mixed glass) and plastics (cellulose nitrate, phenol-formaldehyde, polystyrene, acryl) were newly used for the hatstrings. Bamboo, wood and amber were the most frequently used materials. Bamboo was mainly used for the pipe of hatstring and were combined with beads and central decorations of other materials. This shows the trend of bamboo hatstring according to the simplification of the clothing and the culture by Regent Heungseon Daewongun. Ambers were used in the central decorations and beads and the origin of ambers was baltic amber just like the amber relics found in Korea. Compositions of glass were soda glass and alkali mixed glass which were excavated or handed down in Korea from ancient times to Joseon dynasty. But in the case of lead glass, Na2O was detected and it is considered to be a new type lead glass for crafts which came from overseas after port opening since 1876 because it showed the characteristic that it deviates from the lead glass component found in Korea. Plastics such as cellulose nitrate and phenol-formaldehyde were used as new synthetic materials to replace traditional materials such as tortoiseshell, amber, and coral as in the West. Cracks, crazing, crumbly and yellowing of cellulose nitrate of hatstrings were observed by deterioration. The survey of the materials of the 19th to 20th century hatstrings among the collections of National Folk Museum of Korea showed that the introduction of new materials such as glass and plastics were used to replace natural materials such as tortoiseshell and amber along with the use of traditional materials after port opening since 1876.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.46-61
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• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.76-98
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• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.