• 한국의류학회지
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• 제37권3호
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• pp.399-412
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• 2013

This study introduces a new delivery method for designs as observed in the artwork trends of Damien Hirst and reflected in the unique expression methods of Modern fashion Collections. The study analyzed numerous resources (literature, dissertations, magazines, and the internet) about Damien Hirst and the examination of a modern fashion timeline is limited to after the 2000s. The 'grotesque trend' that appears in Damien Hirst's works can be classified into five categories (fragmented animal, mismatch, excessiveness and exaggeration, comedy and awfulness, and abnormality). Based on this, the study found that heterogeneous, abject abhorrence, double sided of the play, exaggerated atypia and devilishness in Modern fashion. This study suggests a positive direction for the 'grotesque technique' that could be recognized as one of the delivery methods for a unique fashion design based on the attachment of an aesthetic value that supersedes bizarreness and strangeness to expand various methods of expression.

• 한국의류산업학회지
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• 제13권1호
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• pp.7-16
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• 2011

Maximalism is the code which has a power to interpret a fashion phenomenon expressed complexly and variously in the multicultural society. In the 21st century, maximalism which reappeared is not the expression by a method only. It is presenting the experimental design for the new pursuit through the mixture such as expansion, splendor, variety, decoration, distortion of configuration or transformation, and composition. Therefore, this study aims at analyzing expression of fashion design by four types(expansion, decoration, mixture, non-structure) materializing a feature of maximalism expressed in the domestic and foreign collection works from 2005 to 2010. The research results are as follows. 1. Expansion: It was showed artificial, formative, unique, and odd teatures through the expansion of the upper half of the body, the lower half of the body, and both of them. 2. Decoration: It was showed the actual decoration considering functionality and practicality and the decoration emphasizing and unique character and featuring domination and emphasis. 3. Mixture: It was showed through the mixture of the contrary textiles or the different sex image. 4. Non-structure: It showed the non-structure of the avant-garde trend and non-structure through decoration, detail, adjustment direction of a dress.

• 패션비즈니스
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• 제20권4호
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• pp.1-14
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• 2016

Japan has several unique traditional colors. The traditional colors of Japan include a collection of colors used in traditional Japanese literature, textiles such as the kimono, and other Japanese arts. Japanese color system has a long history, leading to some consistencies in color and naming. During the Edo period(1603~1867), the unique color sense of 'iki' produced many color names that are often related to mouse(nezumi) and tea(cha), and fashion color originated as kabuki actors. As for colors named after animals, the most popular appears to be the mouse, which is used to express grey tones. Recently, many fashion companies in Japan have been working on reviving an interest in traditional Japanese colors. Ordinary people of Edo named even slightly different color tones, each with individual exquisite and mind valuing 'iki' senses. They translated these into their livelihood and culture. The colorimetry result of 49 restored dyed fabrics were as follows; Hue difference was 7.8, value difference was 2.9, chroma difference was 1.8 of prefix siro. Hue difference was 3.8, value difference was 1.6, chroma difference was 1.7 of prefix usu. Hue difference was 3.5, value difference was 1.5, chroma difference was 1.4 of prefix cha. Hue difference was 6.4, value difference was 1.1, chroma difference was 1.6 of prefix koi. Hue difference was 7.5, value difference was 0.8, chroma difference was 3.3 of prefix nezumi.

• 복식
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• 제54권3호
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• pp.53-64
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• 2004

The study was done to provide domestic fashion multi-shops with basic information about the product and price strategies through an investigation the marketing strategies for domestic multi-shop dealt with imported product only. Data were collected from Interview with a buyer or a staff of marketing department of Domestic Fashion Multi-shop dealt with Imported Product only. Through the study, it was clarified that these multi-shops showed a tendency to compose of promising brands. brands set a high value on unique character or technique, and brands of promising designer noticed at the main collection. And they also extended their lines as a total life style shop dealt with accessory. shoes and home collection as well as clothing. Therefore, they had to analyze their target consumer's life style and applied this to organization of product, brands or sizing. To maintain the balance of multi-shop they bought products keeping the balance between all the brands and didn't lose variety of concept, it was demanded to develop new brands as well. Their distribution channels had to be planned by regional characteristic that could be accepted their target consumers.

• 한국의류학회지
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• 제36권5호
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• pp.489-500
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• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.

• 복식문화연구
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• 제21권1호
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• pp.93-116
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• 2013

This paper explored and compared the textile pattern and motive design of fashion designers' brands and H&M collaboration collections. In particular, this study put it focus on textile pattern design of seven fashion design brands such as Roverto Cavalli and Versace, etc., which were collaborated with H&M. The color, motive type, motive layout, motive expression, and pattern drawing technique were collected from fashion internet sites over the five year period, and then were cross-sectionally examined and compared based on their color, motive type, motive layout, motive expression, and pattern drawing technique of products between fashion designers' brands and H&M collaboration collections. The analyses showed the following results: First, the similar color, motive type, motive layout, motive expression, and pattern were found between fashion designers' brands and H&M collaboration collections, in order to show the perspective texture of products to consumers. Second, H&M collaboration brands demonstrated unique textile design of H&M rather than the trendy design patterns. Finally, the textile design pattern used in H&M collection was more restricted in terms of motive expression technique and chromaticity than that used in fashion designers' brands.

• 복식
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• 제58권6호
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• pp.145-157
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• 2008

Vivienne Tam was born in mainland China and educated in Hong Kong and has worked mainly in New York. Within multi-cultural background, she has shown unique fashion designs where western styles and China esprit were harmonized.. This study analyzed the ethnic look featured on Vivienne Tam's design to identify how she has expressed her ethnic identity into fashion. Photos featuring ethnic appeal among her New York collection from 1996 S/S to 2005 F/W were analyzed in terms of shape/silhouette, color, fabric, motifs, detail and accessaries. She utilized frequently chinese motifs and patterns such as bamboo, panda, budha, flowers, letters, and masks. Secondly she modified the shapes of Chinese traditional costume like Quipao to render ethnic appeal. Color, fabric and detail like frog and embroidery also contributed to enhance China mood. Comparatively, she used western clothing items including shirts, blouses, skirts, pants, dresses, and coats and maintained the silhouette tight and fit so that most her designs look wearable and westernized.

• International Journal of Oral Biology
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• 제46권4호
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• pp.155-159
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• 2021

This study aimed to develop strain-specific polymerase chain reaction (PCR) primers to detect Fusobacterium hwasookii KCOM 1249^T, F. hwasookii KCOM 1253, F. hwasookii KCOM 1256, F. hwasookii KCOM 1258, and F. hwasookii KCOM 1268 on the basis of nucleotide sequences of a gene specific to each strain. The unique genes for each F. hwasookii strain were determined on the basis of their genome sequences using Roary. The strain-specific PCR primers based on each strain-specific gene were designed using PrimerSelect. The specificity of each PCR primer was determined using the genomic DNA of the 5 F. hwasookii strains and 25 strains of oral bacterial species. The detection limit and sensitivity of each strain-specific PCR primer pair were determined using the genomic DNA of each target strain. The results showed that the strain-specific PCR primers correspond to F. hwasookii KCOM 1249^T, F. hwasookii KCOM 1253, F. hwasookii KCOM 1258, F. hwasookii KCOM 1256/F. nucleatum subsp. polymorphum KCOM 1260, or F. hwasookii KCOM 1268/Fusobacterium sp. oral taxon 203 were developed. The detection limits of these strain-specific PCR primers ranged from 0.2 to 2 ng of genomic DNA for each target strain. The results suggest that these strain-specific PCR primers are valuable in quality control for detecting specific F. hwasookii strains.

• Nuclear Engineering and Technology
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• 제54권3호
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• pp.896-908
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• 2022

As a part of probabilistic risk (or safety) assessment (PRA or PSA) of nuclear power plants (NPPs), the primary role of human reliability analysis (HRA) is to provide credible estimations of the human error probabilities (HEPs) of safety-critical tasks. In this regard, it is vital to provide credible HEPs based on firm technical underpinnings including (but not limited to): (1) how to collect HRA data from available sources of information, and (2) how to inform HRA practitioners with the collected HRA data. Because of these necessities, the U.S. Nuclear Regulatory Commission and the Korea Atomic Energy Research Institute independently developed two dedicated HRA data collection systems, SACADA (Scenario Authoring, Characterization, And Debriefing Application) and HuREX (Human Reliability data EXtraction), respectively. These systems provide unique frameworks that can be used to secure HRA data from full-scope training simulators of NPPs (i.e., simulator data). In order to investigate the applicability of these two systems, two papers have been prepared with distinct purposes. The first paper, entitled "SACADA and HuREX: Part 1. The Use of SACADA and HuREX Systems to Collect Human Reliability Data", deals with technical issues pertaining to the collection of HRA data. This second paper explains how the two systems are able to inform HRA practitioners. To this end, the process of estimating HEPs is demonstrated based on feed-and-bleed operations using HRA data from the two systems.

• Acta Via Serica
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• 제8권2호
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• pp.1-24
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• 2023

The art of carpet weaving is the most habitual form of traditional art in Azerbaijan, it reflects a rich inner world and occupies a special place in the history of a national culture's development. The Azerbaijani carpet has always stood out for its plots, ornaments, compositions, and high quality and the Azerbaijani people, faithful to their spiritual values, have protected and developed it throughout the centuries. In this article, several Ganja-Gazakh-type carpets from the Azerbaijan National Carpet Museum collection and their artistic and technical characteristics are discussed. Specimens of material, sacred language, and ornamentation are considered. The deepest meaning is embodied in tamga in particular. Tamga is a unique phenomenon serving as an amulet, lineage sign, and self-identification of Turkic peoples. The Gazakh carpets of the Ganja-Gazakh type cover the Gazakh region of Azerbaijan, the Borchali region of Georgia, and the Goycha Lake region of Armenia. Karapapakh Azerbaijani Turks have inhabited these areas since ancient times. Tarakama (nomads) are often equated with the name Karapapakh (black hat). One of the densely populated regions of Tarakama is Gazakh. Gazakh, Garagoyunlu, Salahli, Shikhli, Kamarli, Damirchilar, Gaymagli, Goycali, Daghkasaman, Oysuzlu, Gachagan, and pile carpets with different compositions are woven in the Gazakh carpet weaving center. Large, simple in form, step-shaped or hook-like medallions, horn-shaped patterns, animal images, and stamps with symbols of ancient Turkic tribes characterize the Gazakh carpet weaving group.