• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.70-80
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• 2006

The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Water-moon Avalokitesvara of the late Koryo Dynasty. The results were as follows; 'Seon' has two main types, Standard and Decoration types. In the former type, Seon has not any decoration. While, in the latter, Seon is added with decorations. Here, Seon of decoration type can be reclassified into two types, same color and pattern and different color and pattern. Seon most appeared in the Water-moon Avalokitesvara had the type of Decoration, especially different color and pattern. Patterns used for Seon were complex in its composition type and filling in its arrangement style. Seon was mainly used to Guneui(裙衣) and Samkaksika(僧脚崎). For the color combination of Seon, the combination of similar colors was most often used and that of same color was somewhat frequently done. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and elegant when their Seon was Standard in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.68-84
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• 2006

The aim of this study is to examine a structure of trousers worn by males in the western world during the 17th and 18th centuries in order to understand the characteristics of evolution in construction. it mainly examined engravings from these era because they provided me fine and detailed portrayals of what it needed to observe. Then, it classified them into models according to each era. it supplemented a flaw of depending on single type of studying material by examining other types of historical materials such as historical paintings and documents for comparative analysis of materials and decorations and previous studies on preserved historical documents to observe the examples of structures of trousers. Secondly, it studied both historical documents and previous studies on the trousers patterns used back in those days, analyzed the characteristics of each designing method by actually draping these patterns, and observed the differences in these completed patterns to understand the characteristics of changes in fashion design skill. As for the changes in length, these patterns show only a slight difference around above and below the knee line. However, the widths of waist, hip, girth and hem were significantly altered over the years to reduce wrinkles and the cutting lines became more refined to make the clothes fit to the body. As a result, a simple but fine patterning technique was born. In particular, new methods in cutting and sewing were invented for detailed parts such as waist, pocket, front and slit.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.74-87
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• 2010

Jeokgwan(翟冠, crown decorated with pheasant motifs) is a queen's ceremonial headdress during the early Joseon dynasty. It originated from Bong-gwan(鳳冠, crown decorated with phoenix motifs) worn by the Chinese empress. Bong-gwan(鳳冠) was originally various types of hairpins worn with the topknot hair style, such as Bongchae(鳳釵) Hwasu(花樹) Bakbin(博鬢), but during the Sung dynasty(宋, 960-1279) these ornamental hairpins were combined with the crown worn by the empress. Bong-gwan(鳳冠) worn during the Ming dynasty(明, 1368-1644) varied according to the wearer's social status and it was worn both by the empress and other court ladies. Jeokgwan(翟冠), one type of Bong-gwan(鳳冠) worn by the queens and princesses of Ming dynasty, was given to those of the Joseon dynasty as a gift until the early 17th century. According to the portraits and remains of China, when women wore the Jeokgwan(翟冠), they were supposed to place the crown onto the hair, and then, fix the crown to the hair by putting on gorgeous hairpins. The lower edge of the crown was wrapped around with Gu-gwon(口圈), which was decorated with kingfisher's feathers. There are several flowery decorations on Gu-gwon(口圈), and this style is similar to Daeyobanja(大腰斑子), a queen's ceremonial hairband during the late Joseon dynasty.

• Journal of Fashion Business
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• v.20 no.3
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• pp.68-88
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• 2016

The purpose of this research is to investigate the characteristics of Chinese minority women's waistbands, in view of their lifestyle, costume, and symbolism. The research method combined literature research and case study. In the case study, this research targeted the secondary data of a total of 215 pieces from books, articles and the internet. A total of 5 pieces per each representative women's waistband of 43 minorities, excluding those who did not wear a waistband, we collected. We then quantitatively analyzed the form and decoration of the waistbands. As a result of considering the form, the waistbands of Chinese minorities per region were closely related to the costumes, mainly showing high similarity in respect to color and decoration. Moreover, the decorations of the waistbands were most often made from their own area's special products, such as silver, bronze, cotton, and linen, amongst other. The form and decoration of the Chinese minority women's waistbands were all connected with functionality, aesthetic impression, and symbolism, which can be said to be an important part of understanding Chinese minority costume culture. This research contributes to the development and preservation of Chinese minorities' costume culture by considering and analyzing unique costume factors besides giving excellent fashion design ideas for contemporary fashion.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.80-88
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• 2011

Designs of Takashi Sugimoto suggested new concepts on the space after broking out fixed ideas, and attempted spatial expressions differently from existing interior decorations through independent thoughts and new interpretations. It is showing orientalism's influences strongly based on Japanese traditional beauty unlike western country's design trends. Takashi Sugimoto is implementing unique own design viewpoints by using materials in nature rather than artificial ones, and stressing extra ordinary view of the world having been edited with daily life through traditions and local cultures along with recycling old daily goods and wastes rather than pursuing modem and futuristic spatiality. Sugimoto thought that beautiful designs and uncommon ideas could be gotten from simple daily experiences, and thus materialized it with a technique of extraordinary daily life's implementation through such design viewpoints. Also, He pursues designs in which dense communications are made variously between spaces, space and user, and this becomes design techniques having been used mostly in his projects. It creates soft boundaries through using certain objet as an intermediate of doing communication or erasing physical boundaries, and then induces close communication within the space. This design viewpoints and techniques of Takashi Sugimoto have directed own discriminated designs nowadays.

• Journal of Applied Tourism Food and Beverage Management and Research
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• v.13 no.1
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• pp.81-110
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• 2002

The temporary tax deduction on investment cutting the corporate income tax within 10% of the amount of investment is aimed at stimulating the investment for economic activity. 25 business sectors are applied to this tax law and in tourism, the accommodation registered by tour promotion law and international convention plan business belong to it. I'd like to mention the problem of the temporary tax deduction on investment amount for hotels and suggest better solutions. This tax law is so temporary applied that we shouldn't get tax deduction after June 30, 2002. So, we can't get income tax deduction on the investment out of the available period. And further more this tax law has a rule not real investment but solely new project investment for hotels. There are numbers of difference between real investment and new project investment. The amount of investment is based on an object of acquisition taxation. And also there are numbers of difference between real investment and an object of acquisition taxation. For example, landscape construction is a great part of hotel construction but it's not an object of acquisition taxation. For running hotel business, we also need lots of equipments such as linens utensils for restaurant and decorations for hotel interior. But these are also excluded from this tax law. As you know, these equipments can be regarded as product equipments in manufacture industry. Therefore we should take the specificity of hotel investment into consideration and expand the role of the temporary income tax deduction on investment amount for hotels.

• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.11-26
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• 2003

It is an important means of expressing oneself and is affected by the social and cultural environment, too. People are creating another new lower culture, it's Sub Culture, that is, their own unique new fashion through the coordination status of a lower culture and its components to reveal the visual symbol of such garments and body decorations most clearly. The Punk formed as an reaction to 1960's hippie appeared as the most unpleasant image to the established generations with their ultimate resisting action and new aesthetic-consciousness. Their coordination by the use of the disorder and stimulative tool which gives abhorrence appears again as Cyber Punk being influenced by optical art and multimedia in '90s. It can be seen that the form of lower culture mentioned above became a storehouse of new fashion creation through the most nuclear role of lower culture and the unique characteristic coordination by age and that each lower culture fashion can become a style icon of new fashion through free coordination.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.99-111
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• 2005

The research analyzed the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference. The result which tries to observe the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference, it was visible a difference little by little. When comparison it tries the design which it prefers but consequently most in type of performance musical instrument, the big difference is not born and not to be putting the difference of the preference design which it follows in type of musical instrument specific your neck line, color, and silhouette of the vocal musician or wind music performer. When seeing whole, the clothing attitude regarding a performance luck compared to considered seriously an aesthetic pursuit and a convenient characteristic and harmonious, there design preference is the clothes which have no sleeve, neckline like camisole, black and pastel color, design with lots of decorations, princess silhouette, and they prefer the fabrics which have softness to it. Now, I want to introduce restriction of this research and proposal. First, the fundamental research of performance's clothes is insufficient with restricted point and the literature investigation is difficult, second, it was difficult to stretch the whole market for performers because of limitation for research volunteers. Only few volunteers are from college who are majoring in music.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.197-206
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• 2015

The purpose of this study is to analyze characteristic interior spaces for TV news center studio. Based on eight channels including public and comprehensive programming broadcasting stations the method for this research is to make differentiate existing relevant literature by creating analysis items for interior spaces through various case studies as well as find out characteristics of spatial forms, colors, materials, decorations, and etc. The conclusions are as follows. Firstly, spatial form of desk and ceiling are similar shapes but floor and wall are different comparing with public and comprehensive programming broadcasting stations. Secondly, preferred color for floor and ceiling is black, for wall and desk are blue and gray. Thirdly, various materials are preferred between public and comprehensive programming broadcasting stations. Fourthly, Flat and elevated floors are preferred as well as space and logos of broadcasting station are preferred for background images as decoration elements. Lastly, Soffit ceiling, desk accommodating more than 4 people, spotlight for public broadcasting stations, and architectural lighting for comprehensive programming broadcasting stations are preferred.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.