• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.305-323
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• 1996

The purpose of this sty is to forecast the tendency of clothing colors, to provide materials useful for making the color plan for a better costume, and suggest new information in the apparel industry. To achieve these purposes, this study was carried out by suggesting vogue colors of recent apparel, along with the 20 standard colors of Muncell to 350 men and women in their 20s residing in Taegu.. We analysed and compared their preferred colors in suits vidual factor ;age, sex, education ,skin color, and body shape, and additionally classifying their interest in clothing colors, cause for color selection , degree of interest in color of clothes, color satisfaction of apparel market, and color combination of clothing, color satisfaction of apparel market, and color combination of clothing. We compared these elements according to their age, sex, and education. The results of this study is summarized as follows; 1. It was shown that both men and women in their 20s preferred warm colors the first colors mentioned being the most popular ; Pastels, Red, Blue and Black. They disliked dark and sordid colros in the order of Mauve, Khaki and Red. They preferred wearing Pastels and Yellow in the Spring, White, Blue, and Pastels were the favorites for summer, Beige in autumn, and black, Gray, and Beige in winter. The repugnated colors they chose two wear were Black, Red, Mauve, Khaki in spring and summer. Mauve, Red, Yellow were favorites for autumn, and Blue·White, Yellow·Green, and Pastels in winter. 2. The preferred colors for T-shirts were Yellow, Pastels, White in spring. White and Pastels were summer favorites, Beige an Red for autumn, and Black, Red, Beige in Winter. As for suits, the preferred colors in spring were in the order of Pastels, Beige and Yellow. The preferred colors of upper garments in summer were in the order of White and pastels. for lower summer garments Pastels, White and Blue were favorites. In autumn, Beige was shown to be highly preferred, and in winter, the order of preferred colors was Black, Gray and Beige. 3. On of those individual factors showing the greatest difference was sex. 4. Those factors having the greatest impact on the selection of clothing color were the season and their preference color. 5. The in vogue color of men in their 20s was at a higher level than hat of women. The groups that had an upper college level education showed a significant difference in their choices thant hose who were highschool graduates and technical college student and graduates. The consideration of inteterest in color of clothes, holding clothes during new purchasing, body shape and skin color was higher for women than men. In buying and wearing accessaries, women tend to take into consideration the harmony with the garment, and there was shown a significant difference between highschool graduates and the groups above the level of college education.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1043-1051
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• 1998

The main purpose of this paper was to investigate how ethnic dresses are adopted into modern fashion designs. This research focuses on Japan and Vietnam as a part of an ongoing larger project which examines ethnic dresses of five Asian countries. Fashion designs with influences of Japanese and Vietnames ethnic dresses were anlayzed in order to explore how ethnic dresses coexist with "world fashion" in contemporary society. Eight fashion magazines were examined and the pictures of eigher Japanese or Vietnamese influences were identified. A total of 66 pictures for Japan and 5 for Vietnam were analyzed in terms of eleven characteristics on zero-to-three scales according to authenticity of each characteristic. The characteristics included shape, item, silhouette, color, material, textile print, decorative details, method of dressing, accessories, hairstyle and make-up. The results showed that textile prints and color of Japanese ethnic dresses, and item, silhouette and hat of Vietnamese dresses were most frequently adopted in modern fashion designs. These suggested that fashion world adopts the most distinctive and easy-to-copy characteristics of the ethnic dresses when the designers wanted to incorporate the styles of ethnic dresses.c dresses.

• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.493-511
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• 2000

The objective of this study was to trace and to examine costume terminologies recorded in Pak Tong Sa Eun Hae. Names of costumes and costume related terms were collected from P마 Tong Sa Eun Hae. Books and various references from China and Korea were used for this study. Costume terms were examined from the Chinese and Korean. Classifications of costume terminologies from the data were made for the analysis : man and woman's costume, accessories, names of fabrics, colors, and decorative motifs used, professional costume, special occasion dresses and so on. Conclusions and summary of results and findings can be summerized as follows : It revealed that manes of man's costume and other costume related words were a large in number compared with those of woman. Only one name of woman's costume appeared in the text : It was kind of long vests. However, names of accessories such as a hat, a hat decorated with jewels and phoenix design, a hair pin, earings, bracelets, finger rings, a soft belt were shown in the text. While many costume names of man included in the text were of garments such as a kind of long vest, a short vest, an outer robe, a kind of long coat with pleated skirt, leg coverings, outer jacket and so on. Also names of undergarments such as an under skirt, a belly covering, and drawers were found in the text. Fabric names were mostly silks such as brocade, twill, sarcenet, damasks and plain silks. Blue was the most widely appeared fabric color in the text and red was the second. Design motifs of fabric design were of dragon, flowers, eight precious things, clouds which were characteristic design motifs of the Chinese. It was found that some of the Chinese costume terminologies were translated into the Korean although many Chinese costume terms were used as the original Chinese.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.103-116
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• 2010

Recently, the art of the Latin America Culture is being actively introduced into our country. Many concepts in the fashion field contain Latin American culture and their influence is growing. This present study, based on a correct understanding of and research on Latin American culture, is an attempt to expand the expression of fashion design and explore the use of works of art in fashion. The case study is on Frida Kahlo (1907~1954), who was a Mexican woman painter who gives us some inspiration in contemporary fashion design. The scope of this case study investigates the Haute couture and the Pr$\hat{e}$t-$\grave{a}$-porter women's wear collections and photos from 1998 to 2009 which were greatly influenced by Frida Kahlo and analyzes through the formative elements of dress, color, form, pattern and material. Frida Kahlo was a painter whose composition of surrealism held the world of life and death, pain and pleasure, love and parting, thought and freedom, and tradition and modern, etc. As a design inspiration, her influence reaches into accessories, and hairstyles, as well as the Pr$\hat{e}$t-$\grave{a}$-porter. This current study for the correct understanding of the new culture and the introduction of art into the fashion design might be helpful in making fashion a work of art and in extending the expression of the fashion design concept which is based on commercial art.

• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.532-542
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• 2014

This study developed a practical knitwear design with applying the pattern of Queen Yeong's pearl pouch. The ume flower pattern of pearl pouch was simplified to be one repeat pattern, and four simulated knit pattern samples of G-A, G-B, R-A, and R-Bwere made with cable, cross, and two background colors of gray and red using Texpro V.11.0. The items of design application were selected after an interview with a panel of university students in their twenties and knit samples were produced by hand knitting. The small sized G-A for the partial ornament of hat, sweater, skirt, kitchenware case and accessories; the long sized G-B for the tuck of sleeves, hem of skirt and one-piece dress, partial ornament of sweater, scarf, and curtain decoration: the small sized R-A was preferred for point ornament of pouch, boots, hat, partial ornament of children's fashion products and accessories: the long sized R-B for table runner, leg warmer, tuck of sleeves, skirt hem, necktie, and scarf. The knit samples were formulated with partial ornaments attached on dress and props or connected each other. Colors of pastel and navy were also presented to meet the demands of panels. The study placed a limit on the slight difference between the simulation samples and knit samples due to the characteristics of threads and hand tension. The color variation for multiple coordination and activation to reduce the piece rate for young customers remains to be discussed in the near future.

• Archives of Plastic Surgery
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• v.39 no.4
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• pp.384-389
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• 2012

Background Numerous procedures are available for nipple reconstruction without a single gold standard. This study presents a method for reducing donor-site morbidity in nipple reconstruction using a composite nipple graft after transverse rectus abdominis musculocutaneous flap breast reconstruction. Methods Thirty-five patients who underwent nipple reconstruction using a composite nipple graft technique between July of 2001 and December of 2009 were enrolled in this study. To reduce the donor site morbidity, the superior or superior-medial half dome harvesting technique was applied preserving the lateral cutaneous branch of the fourth intercostal nerves. The patients were asked to complete a previously validated survey to rate the color and projection of both nipples, along with the sensation and contractility of the donor nipple; and whether, in retrospect, they would undergo the procedure again. To compare projection, we performed a retrospective chart review of all the identifiable patients who underwent nipple reconstruction using the modified top hat flap technique by the same surgeon and during the same period. Results Thirty-five patients were identified who underwent nipple reconstruction using a composite nipple graft. Of those, 29 patients (82.9%) responded to the survey. Overall, we received favorable responses to the donor site morbidity. Projection at postoperative 6 months and 1 year was compared with the immediate postoperative results, as well as with the results of nipples reconstructed using the modified top hat flap. Conclusions The technique used to harvest donor tissue is important. Preserving innervation of the nipple while harvesting can reduce donor site morbidity.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.981-992
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• 2011

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a $2{\times}5{\times}4$(hairstyles${\times}$wedding headdresses${\times}$necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.364-372
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• 2003

In this study, the characteristics of catechol tannin and pyrogallol tannin contained in Pteridium aquilinum were analysed by It spectrum. Silk fabrics were dyed with Pteridium aquilinum extracts using various mordants, and their dyeing properties were discussed. Additionally the fastness the water digestion, perspiration liquid digestion and light irradiation were investigated. IR spectrum of catechol tannin showed bands of O-H at $3417cm^{-1}$, C-H at $2930cm^{-1}$, C=0 at $1722cm^{-1}$, C=C at $1644cm^{-1},\;CH_2\;at\;1402cm^{-1}$. And IR spectrum of pyrogallol tannin showed bands of O-H at $3409cm^{-1}$, C-H at $3003cm^{-1}\;and\;2933cm^{-11}$, C=0 at $1701cm^{-1}$, C=C at $1582cm^{-11},\;CH_2\;at\;1410cm^{-1}$, CO at carboxylic acid and carboxylic acid ester at $1287cm^{-1}\;and\;1135cm^{-1}$. The maximum absorption wavelength of the extracts appeared at 270.0nm and 311.5nm. The optimum conditions for dyeing silk fabric with Pteridium aquilinum extracts were $80^{\circ}C$, 60min. Surface color of the silk fabric dyed with Pteridium aquilinum extracts was 2.7Y Surface color of the pre-mordanted fabrics with Al, Cu and Fe were 4.3Y, 2.5Y and 4.7Y, respectively. And Surface color of the post-mordanted fabrics with Al, Cu and Fe were 3.7Y, 2.8Y and 0.2GY. The water fastness and the alkaline perspiration fastness were improved in the Al-mordanted silk fabrics. By acidic and alkaline perspiration treatment, ${\Delta}E of the unmordanted fabrics was lower than hat of pre- and post- mordanted fabrics. Also after 40hour irradiation, ${\Delta}E of the unmordanted fabrics was lower than that of pre- and post- mordanted fabrics.