• Journal of the Korean Home Economics Association
• /
• v.48 no.5
• /
• pp.17-24
• /
• 2010

Although design, color, and material are important elements in stage costumes, stage lightning also plays significant role in the presentation of stage costumes. Costumes color, material and perception can be significantly influenced by visual effects. Stage illumination can be arranged or managed so that colors are closely related to or enhanced or change the effects of costume colors on the runway or display at specific times. The results of this thesis are as follow; 1) Fabric tone, name, brightness, and chroma of colors were changed by the colors of stage lighting. 2) An achromatic color was changed to a chromatic color after being combined with colors of stage lighting. 3) Stage illuminations can make fabric, colors look similar to stage colors. 4) Plain satin silk fabric which reflects light shows high brightness and chroma after being influenced by stage lighting its shining effects and color changes were clear and apparent. 5) Velvet pile fabric which absorbs light shows low brightness and chroma after being influenced by stage lightning its shining effects and changes of colors were not clear and apparent. In conclusion, natural lights did not significantly influence fabric colors and perception, while artificial lights had wide range of effects on fabric colors and perception.

• Fashion & Textile Research Journal
• /
• v.3 no.2
• /
• pp.105-114
• /
• 2001

The result of this study is on textile expressed in the costume of the Kazakh tribe, Kirgiz tribe, Tajik tribe. Basically the material of costume is fur, cotton flannel, felt, silk, cotton outwear, velvet cloth and beads, silver, earing, bracelet is used frequently. The tribes did embroider on the shoes, made of sheepskin or calfskin and collar, belt, button, pocket with the sketch of national trait. Eventually their cultures of costume seem to be very similar because of the resemblances in circumstance of nature, religion, custom of life but definitely they show conservatism in itself and independent culture. In the basic structure of traditional costume by races, there is no big difference. Then, in men, the trousers and the shirts of tunic type become the basic with the style which is convenient to act. And, to wear vest, or jacket, or chaban, over it makes a little difference. In women also, same structure shows with the form to wear vest or outwear, on the basis of one piece. But, in a small hat, head wear, color contrast, and decoration element etc., strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion, and life habit etc., But, the discrimination is made in the detailed side. So, it can be said that they show the conservative nature of nationalities, and have preserved the unique identity of their own culture.

• Fashion & Textile Research Journal
• /
• v.17 no.1
• /
• pp.64-73
• /
• 2015

This paper examines the characteristics of Hungarian women's costumes under the Reign of the Habsburg Empire in the $19^{th}$ Century. Since the beginning of the $19^{th}$ century, the Habsburg Empire inflicted strong oppression on Hungary. Under the influence of the European upper class, exaggerated and sumptuous costumes were fashionable in the Hungarian Aristocracy. They preferred blouses decorated with colorful embroidery, pleated sleeves, gorgeous beads and lace, long pleated skirts with velvet borders, corsets decorated with delicate embroidery, coats adorned with lace, and capes. However, Hungarian nationalists protested against the Habsburg Empire's oppression; consequently, Hungarian national costumes expressed a sense of resistance and solidarity. The results of the study are as follows. The Hungarian women's costumes were different from women's costumes of the Habsburg Empire in regards to headdress, bodice, apron, pattern and shoes. The Hungarian women's headdress consists of the parta and veil. The bodice is richly adorned with colorful embroidery and differs from skirts in color and material. The Hungarian women's apron is distinct from the Habsburg Empire as a unique Hungarian item. Finally, Hungarian costumes are characterized by the Oriental pattern and short boots with metal heels.

• Fashion & Textile Research Journal
• /
• v.16 no.3
• /
• pp.366-377
• /
• 2014

This paper is a comparative research study between Korean and American women's garments from the 1910s to 1930s. It focuses on the articles and advertisements of Korean women's magazines and American women's magazines. The Korean women's magazines investigated are 신여자[Siyeoja], 신가정[Singajung], 부인[Buin], 신여성[Sinyeosung], and 여성[Yeosung]. The American woman's magazine investigated is Ladies' Home Journal. This paper explores the differences and similarities between the garments that appear in these magazines. There is little evidence about women's clothing in Korean women's magazines while the American women's magazine includes a lot of information about women's dress and life. Korean women usually wore Korean traditional costumes with traditional terms like Chima and Jeogori but they wore western shoes, stockings, shawls, umbrellas, and some clothing with western materials such as lace, velvet, and rayon with borrowed words. These western accessories and some clothing materials like lace and rayon were the same fashion in America. So, Korean women wore traditional and western clothing together while American women wore clothing influenced by Paris fashion. American women wore various pieces of clothing like suits, frocks, coats and sportswear with undergarments. There were also lots of advertisements about women's under garments and sportswear which was different from Korean women's clothing during the period.

• Journal of the Korean Society of Costume
• /
• v.52 no.7
• /
• pp.1-11
• /
• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• Korean Journal of Pharmacognosy
• /
• v.30 no.3
• /
• pp.314-319
• /
• 1999

The composition of biochemical components such as lipids, proteins and their amino acid components and inorganic elements in the ashes in unossified antlers from Cervus nippon Temminck var. mantchuricus grown in Korea were analyzed to obtain fundamental data for quality control. As a result, it was found that total lipids were 20.75% which was approximately similar contents with those of proteins (21.8%). Sixteen amino acids were identified from the hydrolysate of the protein fraction. Three gangliosides with very similar TLC patterns of those such as $GM_3$, $GM_1$ and $GM_{1a}$ were identified from the water soluble layer of Folch's partitions. Ash contents were revelaed to be much higher in the sponge layer (40.0%) than in the velvet layer (3.7%).

• Journal of the Korean Society of Fisheries and Ocean Technology
• /
• v.51 no.2
• /
• pp.171-178
• /
• 2015

Selectivity and by-catch are the main features used to define fish catch for fisheries management or to determine fishing gear efficiency. A fish girth distribution analysis was carried out to determine the retention rate of juveniles discarded and to establish common selectivity for a multispecies catch. Total body length, body weight, and girth of juvenile fish retained in the cod-end and cover net separately were collected using an 18-mm mesh cover net during 12 fishing trials with a 41-mm cod-end beam trawl. The by-catch weight ratio in the cod-end was twice that of the by-catch ratio in number. The 50% selectivity of body length and 50% girth of redfin velvet fish were not significantly different between the cod-end and cover net, whereas those of other fish species were significantly different between the cod-end and cover net. The difference in 50% selectivity girth of other fish between the cod-end and cover net was similar between cod-end mesh size and cover net mesh size. Furthermore, the difference in 50% body length selectivity of other fish between the cod-end and cover net was almost double the difference in girth. Girth selectivity in a multispecies catch using towed fishing gear was effectively used to determine fish and net mesh size.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.11
• /
• pp.1527-1576
• /
• 2002

Quick Response based Mass-Customization can be produced and distributed customized goods and services on mass basis in apparel e-business. Because consumers can: t touch and feel the apparel products in e-business, they tend to have the negative buying behavior. The purpose of this study is to investigate the differences of consumer's texture sensibility of apparel products based on marketing channels (on-line/off-line). Two types of questionnaires for on-line and of f-line were used to assess consumer sensibility on apparel fabric. The 8 swatches were selected in regard to the previous literatures. 205 questionnaires for each type (on-line/off-line) were distributed. Statistical devices were t-test, mean and standard deviation with SPSS10.0. The result of this study was showed that there were partially significant differences on consumers' texture sensibility on apparel products between on-line and off-line. Under on-line environment, consumers perceived corduroy as warm, strong, and sandy. taffeta as warm, sandy, and glossy, denim as sandy, and warm, organza as sandy, and thin, satin as sandy, dense, and modern, chiffon as sandy, and flat, velvet as warm, and soft, single jersey as warm, soft, and comfortable. Therefore, apparel firms cooperating based Mass-Customization in e-business have to pay attention to the differences on consumers’ texture sensibility of on-line apparel products from those of off-line.

• Journal of Fashion Business
• /
• v.8 no.2
• /
• pp.116-125
• /
• 2004

In the history of western costume, women's hairstyle and headdress have been fluently studied but men's headgear has not. To study and manufacture headgear designs and details, which indicate varieties in forms and ornaments, can be utilized for the fashion currently in vogue. Purpose: the purpose of the study is to investigate one of the headgear, the hat in terms of shift in design and manufacturing method, and to study through manufacturing in order to do a literature review by era and to provide information as the source in new design. Study method and scope: Like previously manufactured and presented bonnet of women's headdress or headgear, the hat in the study was manufactured on the basis of literature review and portrait analysis. Target era is from the late 16th century to the early 17th century when the hat was used. The hat to be manufactured was selected by investigating the details such as hair style and hat features using literature. The pattern of the selected hat was analyzed, and velvet, silk, and wool were used as the materials as in the literature. Ornaments used similar things as in the photos.

• The Research Journal of the Costume Culture
• /
• v.12 no.1
• /
• pp.73-89
• /
• 2004

The following is a summary of comparative study on costumes between 『Cheng-Hoe-Jeon-Do』 and 『Chen-De-dang-an』 in Gun-Ryung 41st, 42nd and 43rd yew to find out costume situation actually worn by Emperor Gun-Ryung in Qing dynasty. In Gun-Ryung 41st year, Emperor's costumes showed a sign of royal tour robes. In 42nd year, a phase of mourning robe system came out and a plain side of costumes was shown owing to the mourning. In 43rd year, it showed costume situation worn by Emperor in peaceful year without any particular event. Velvet, material for traveling crown was used in a short time before and after the change of the season besides royal tour and this can be understood as a well-timed and reasonable selection of material. Eventhough robe material, Jik-kyung-Ji-chack-sa(a kind of silk) had been used for summer robes since Gun-Ryung 42nd you. Memorial costumes followed Emperor's court costume system I in 『Cheng-Hoe-Jeon-Do』 and court belt I or II as memorial suit belt was used for the memorial costume of Emperor Gun-Ryung and they properly applied of the costume system in 『Cheng-Hoe-Jeon-Do』 for coats.