• Journal of the Korean Institute of Intelligent Systems
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• v.7 no.3
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• pp.55-64
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• 1997

In this paper, a fuzzy set based decision support system is designed for the color planning, that uses the linguistic image words of the space to be colored and progressively recommend the harmoneous colors for each objects in the space. The linguistic image words denotes various emotional effects of the colored space represented as the adjectives like 'romantic', 'beautiful', and so on. The search for object color should not destroy the overall image of the colored space and should be harmoneous with the previously determined object colors. The developed color planning system is composed of five subsystems; two dimentional graphic tools to draw the color space, the input system to receive the linguistic image words, the system to determine and recommend the main colcrs, the system to determine the harmonious colors and the system to adjust the determined wlor objects. We expect that the system can help designers and the persons who are not good at color design, and it can be applied to various color design such as interior, fashions, and product design.

• Journal of Fashion Business
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• v.24 no.2
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• pp.32-43
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• 2020

The purpose of this study is to analyze the granny look of the new-tro trend via Alessandro Michele's Gucci collection and to provide a reference standard for future design developments by identifying the representation of the granny look. To analyze the new-tro trend and the granny look, basic concepts were analyzed through aesthetic and art books and the photographic data were collected through Internet sites. A total of 186 fashion images were considered as granny look by five clothing experts. The images were subdivided into silhouettes and items, materials, patterns, and colors to analyze the modeling factors and identify the intrinsic inner meaning based on the theory of Nostalgia. The analysis showed that the silhouette was expressed naturally without exaggeration or shrinkage. The thermosetting materials included fur, velvet, knit and quilted materials, while the colors showed raw and faded shades based on the use of natural colors. The patterns were mostly natural, such as flowers, leaves, and stalks, which were aimed at nature. The inner meaning of the granny look is based on the theory of Nostalgia, primarily because it is an emotional fairy tale and second, it reflected the sessions of nature. Also, it is a reinterpretation of the narrative. In conclusion, the academic and fashion industries need to understand the various emerging trends in accordance with the social and cultural backgrounds to derive a positive benefit.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.1-10
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• 2009

The purpose of this study was to investigate the effects of the types and the colors of men's casual wear, hairstyles, and the methods of stimulus manufacture on men's image perception. The subjects were 360 women from the metropolitan area of Seoul. The clothing types used for the study were a sweater and a jumper(casual jacket) with jean pants. The clothing colors were beige, indigo, and red. Two hairstyles, the short and the medium length hairs, were compared. Two types of stimuli, the photograph and the computer simulation picture, were used. The results of the factor analysis disclosed five dimensions on men's image: neatness, individuality, ability, activity, and sociability. In general, the photograph stimuli were evaluated more positively in activity, individuality, and sociability than the picture stimuli. The sweaters were perceived higher in ability, activity, and sociability than the jumpers. The Indigo color was evaluated as neat. The medium length hairstyles were perceived as neat and the short hairstyles were perceived as sociable. The jumpers were evaluated lower in individuality in the picture stimuli than in the photograph stimuli. The beige and indigo colors were evaluated to be neater in the picture stimuli than in the photograph. When using the picture stimuli, the men's image wearing the sweaters with the medium length hairstyles were evaluated lower in individuality. When using the photograph stimuli, the men's image wearing the sweater with the short hairstyles were evaluated higher in activity. Men's image wearing the indigo jumper and the beige sweater with medium length hairs were evaluated as high in neatness.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.375-390
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• 2017

The aims of this research were to characterize magic realism by analyzing existing magical reality literature reviews and research and to identify material that may inspire ideas for stage and film costume design by analyzing and drawing design characteristics and magic realism of costumes from Director Tarsem Singh's movie, 'Mirror, Mirror'. For the methodology, characteristics of magic realism in literature and, movies were analyzed, with a theoretical consideration of these materials on magical realism. Data on costume design and magical realism characteristics for use in the analysis were collected from the main characters of 'Mirror, Mirror' as well as from other characters. The result of this analysis was the emergence of five common characteristics of the magic realism Historicity, the most remarkable characteristic seen in Tarsem Singh films, was expressed through the symbolic meaning and decorative patterns shown by the traditional-style costumes, colors. Symbolization was expressed through the symbolic meaning, decorative elements, and traditional clothes, as shown by the colors and forms of the costumes. Fantasy was expressed through the colors, decorative elements, forms of traditional clothing, and forms with symbolic meaning. Reproducibility was expressed through the method of decorative element, symbolic meaning, traditional forms and de-structural clothes. Ambiguity, which can be associated with the combined characteristics of historicity and fantasy, was expressed in the clothes worn in the scenes that confounded time and space within the film.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.85-97
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• 2012

This study is aimed to identify the color characteristics of the current Korean Brand Apartment, focused on the color of kitchens and dining rooms in the cyber model houses. The Brands which were selected for this study ranked from first to fifth in the contractor ranking and now account for 64 percent of the apartments in sale in Seoul and Gyeonggi Province. In addition, the size between $99m^2$ and $165m^2$ were selected, because it was most preferred at the 2011 survey for user preference on the size of apartment. As this study is for the colors shown on the monintor, colors were extracted from the images of web site with L*, a*, b*. And then, they were converted to Munsell values through computer program, which values were used to identify the color characteristics of hue, tone and to apply the theory of Moon Spencer. The result of the study on the color characteristics of the kitchen and dining room of the five brands' apartments is as follows. Regarding the color use, most of the brands used Y and YR color while as the accent color, P, PB and G were used. This result of main color use for hue was same as the guideline by the literature review, but color for tone showed the difference between brands and the difference between sizes. Next, regarding the color combination, first ambiguity of color harmony was shown the most. And the larger the size was, the more the contrast of color harmony was shown. It means that the color tone had close relation with the sizes of households.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• Journal of the Korean Society of Costume
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• v.25
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• pp.105-118
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• 1995

Chinese shroud through literature are as follows. 1. Taetae, SimeI, P'oo, Hansam, Ko, Mal, Nukpaek , Kwatu, Ch'ungi, Pokkn, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek , Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows . The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Chk two Chn or one Chk two Chn or one Chk five Chn, the length of Aksu was one Chjk two Chn and it's width was five Chn. The chil of Mo reached the hands and the length of Swae was three Chk and the length of m was five Chn. 4. In Chinese shroud, , cotton was put in P'oo. Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo warpped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kum were one hundred Ch'ing in the Chinese. The impliment of Soryon were Kum, kyo, SangeI, SaneI, Ch'im , Yok and Kyon in the Chinese shroud. In the case of the implement of TAeryom, the chinese shroud had Kum , Kyo, SangeI, Sane, Ch'im and Yok.

• Journal of the Korean Society of Costume
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• v.25
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• pp.117-118
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• 1995

Chinese shroud through literatures are as follows. 1. Taetae, Sime i, P'oo, Hansam, Ko, Mal, Nukpaek, Kwatu, Cu'ungi, Pokk n, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek, Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows. The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Ch' k two Ch'on or one Ch' k five Ch'on, the length of Aksu was one Ch' k two Ch'on and it's width was five Ch'on. The chil of Mo reached the hands and the length of Swae was three Ch' k and the length of m was five Ch'on. 4. In Chinese shroud, cotton was put in P'oo, Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo wrapped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kun were one hundred Ch'ing in the Chinese. The impliment of Soryom were Kum, Kyo, Sange i, Sane i, Ch'im, Yok and Kyon in the Chinese shroud. In the case of the implement of Taeryom, the chinese shroud had Kum, Kyo, Sange i, Sane i, Ch'im and Yok.

• 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.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.