• Journal of Fashion Business
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• v.6 no.1
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• pp.43-52
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• 2002

The purpose of this study was to present the plan for activation and rationalization of production of ladies' jacket and provide basic materials for improvement of the development of technologies in relation to the productivity improvement of ladies' jacket and the achievement of high quality product. For this purpose, this study attempted to investigate the present situation of jacket manufacturing process. The data is related with local ladies' jacket manufacturing companies in Seoul snd Kyonggi area. The results of this study are as follows. 1. 87.8% of the business firms responded that they acquired the productive process of jacket based on their own knowhow and 80.5% was aware of the need for the analysis of each process. The highest proportion of the business firms(65.9%) pointed out that the advantage of process analysis was the alleviation of the production time. 2. The jacket manufacturing process was made up of 4 stages such as the process of frontal/rear plate $\rightarrow$ the process of accessories $\rightarrow$ the process of completion $\rightarrow$ the process of finishing in a broad sense but composed of a total of 19 stages in detail. 3. Attachment of the sleeves(73.2), attachment of the collar(41.5%) and the formation of the overall silhouette(22.0%) were raised as the challenge in manufacturing ladies' jacket. 4. Most of the sewing business firms made use of the method of completing the collar and then stitching the outer material and the inner collar, and the line of the bodice and the outer collar as the method of stitching the tailored collar. and many of them used the method of completing the collar and then inserting it between the line of the bodice and the outer material and stitching it as the method of stitching the stand collar. They had a preference for the method of completing the sleeve and connecting it to the bodice as the method of stitching the sleeve. and used the method of treating the margin to seam of semi-lined and unlined jacket by treating it with the bias tape.

• Journal of Fashion Business
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• v.5 no.2
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.225-236
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• 1996

Computer simulation methods for three area of textile design, wearing, and design were developed by using CAD system, and its results were applied to pattern design simulation. Textile design created by using the CAD system was applied to T-shirt schematization. Created wearing, printing, and knitting design respectively were applied to women clothing, children's wear, and men sweater. In this rearch, several equipped since various color working, materials, pattern development and swift intention decision of goods direction are possible on the moniter. Third, many goods order are rushed within short time because spot direction are possible on the moniter. Third, many goods order are rushed within short time because intention decision of buyer could be induced and embodied design almost reflection the buyer's will on the spot before production of goods and samples. Forth, time and expense were saved to get the information in terms of design information systematically and could be managed annually. Fifth, creative design development can be not only availed but saved the service expense of outside orders and the traffic expense.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.267-278
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• 2021

This study differentiated it from previous studies by selecting Chinese lifestyle shops in the current situation where lifestyle shops are rapidly emerging due to the increase in single-person households in China and changes in consumption patterns. The purpose of this study is to present basic data for establishing VMD strategies for domestic lifestyle shops wishing to enter China through the analysis of the characteristics of VMD elements. The results of this study are as follows.The research results are as follows. In the display elements of the VMD of Chinese lifestyle shops-GAROSU, CH'IN, and Nome, the appliances and props used differentiated shapes and materials according to the product concept and design. There seemed to be a difference depending on the concept of the lifestyle shop. Also, there were differences in the form of VP and the presentation method of PP and IP in VP, PP, and IP according to the store product group and the amount of products displayed in the presentation element. In a follow-up study, it is considered meaningful to conduct a study on domestic lifestyle shops and a comparative analysis of VMD between Chinese and domestic lifestyle shops.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• Journal of Korean Home Economics Education Association
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• v.31 no.3
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• pp.155-177
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• 2019

The study aims to develop a teaching-learning plan that can solve the problem of the clothing and textiles area faced by the teenager as course of critical science perspective improving the empowerment. As a research method, it was conceptualized by applying the Laster(1986)'s curriculum development process. And it was applied to the conceptual framework of practical reasoning presented in: "Family, Food and Society A Teacher's guide" (Staaland & Storm, 1996). The results of this study are summarized as follows. First, based on the results of reviewing literature related to the clothing and textiles area, ongoing concerns related to the clothing and textiles is "Should we do with regard to clothing and textiles for families in the community? The valued ends is defined as a complex position with a high degree of freedom and a high responsibility, and the goal of learning is interdependence, emotional maturity, intellectual development, and communication ability. For the contents of education and activity structure, practical reasoning process was used as conceptual framework of education contents, and included sub-concerns, broad concepts, sub-concepts and intellectual and social skills. Second, based on the practical reasoning, we developed a teaching and learning plan in the clothing and textiles. As a result, a total of 12 plan of 5 modules were developed. And were developed a total of 31 tutorials, reading materials, picture materials, group activities, and video materials. The results of this study can be applied to teachers who want to try out practical inference process in class or teachers who have difficulty in practicing reasoning process in the field.

• Journal of Adhesion and Interface
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• v.14 no.3
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• pp.117-120
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• 2013

The prepreg material is a sheet of the reinforcement pre-impregnated with a resin. In this study, two types of prepreg were prepared with a general phenolic resin and the polyvinyl butyral (PVB) modified phenolic resin, respectively, with resin content of 40 wt%. After resin impregnation, the prepregs were heat treated in an oven to make them the B-stage. Surface morphology of the prepreg was observed by using a scanning electron microscope (SEM). Tack property of the prepreg is one of the major properties that govern the ability of prepreg to be laid up. In this study, the tack of prepreg was measured under various test parameters by a probe tact test. Test parameters were contact time, contact force and debonding rate. Most of the tack properties of the prepreg increased with the test parameters. Then tack properties exhibited a linear behavior with test parameters before a saturation point. Also, the tack of prepreg was investigated in relation with the fibrillation phenomena involved in the prepreg surface with the debonding rate.

• The Journal of Korean Academy of Prosthodontics
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• v.39 no.5
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• pp.492-501
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• 2001

The use of alginate impression materials today is prevalent because of its efficiency and simplicity in clinical settings. Unfortunately, the simplicity of the procedure tends to lull the dentist into a sense of well-being, and lead him into using careless or sloppy technique. Alginate impression materials are used to fabricate diagnostic and preliminary casts, and the final cast. Incorrect use of this material is known to affect the accuracy of the final prosthesis. The purpose of this study was to compare the effect of different mixing methods of alginate impression material and tray adhesive on the accuracy of the stone cast produced by each method. A total of 30 stone casts were produced by using 3 different types of mixing methods (10 stone cast for each mixing method, respectively). The first method utilized an automatic-mixing machine to mix alginate while the second method was carried out manually, strictly following manufacturer's instructions. The third method also involved manual mixing, but did not follow the manufacturer's instructions and was done in a random fashion. Also, 20 additional stone casts were produced by using alginate with or without tray adhesives were included in the study to evaluate effects of tray adhesives on the accuracy of alginate impression. 10 stone casts were produced by adding tray adhesives to the interior surface of the impression tray prior to taking the impression. The other 10 excluded this step. A total of 50 stone casts were analyzed by the three-dimensional measuring machine to measure and compare the dimensional changes of the impression material of each group. The results are as follows. 1. No significant difference was found between the automatic mixing group and the manually-mixing group(p>0.05). 2. For the group that followed manufacturer's instructions, less dimensional changes were record ed than the group that didn't in measuring distanced 4(p<0.05). 3. The group that used tray adhesives showed less dimensional changes(p<0.05). The findings revealed that mechanical methods of mixing alginate impression materials had little influence on dimensional changes. However, it is proven that following manufacturers instructions in alginate impression taking is an important step in acquiring accurate impressions and tray adhesives may play an important role in enhancing the results.