• The Journal of Korean Academy of Prosthodontics
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• v.37 no.1
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• pp.51-70
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• 1999

Dental porcelain is one of the materials of choice for restoration where esthetics is of concern, but has a considerable potentials of wear. The wear of enamel is variable when opposed by different porcelain systems and surface conditions, and the exposed dentine and opaque porcelain due to clinical failure is expected to have high potentials of wear. The purpose of this study was to investigate the wear effects of self-glazed, polished incisal porcelain. polished dentine and opaque porcelain against human enamel in the laboratory by use of a pin-on-disk type wear tester. 4 types of dental porcelain($Vita-{\Omega}$, Ceramco-II, Vintage powder $Vita-{\alpha}$ of In-Ceram system) and type IV gold alloy as cotrol group were used for test specimens. Intact buccal cusps of maxillary premolar were used for enamel specimens, and the cusp converged to a point and was devoid of visible abrasion, caries, decalcification. The upper part was the cusp of a maxillary premolar and the lower part was a porcelain specimen. The enamel wear was deter-mined by weighing the cusp before and after each test. Surface profilometer was used to quantitate wear of the porcelain specimens. Vicker's hardness tester was used to evaluate the surface hardness of test specimens. The SEM was used to evaluate the wear surfaces. The results were as follows : 1 Self-glazed porcelain produced more enamel wear than polished porcelain, especially the enamel wear of $Vita-{\alpha}$ self-glazed porcelain was 3.2 times more than that of other groups. 2. Opaque porcelain produced least porcelain wear, $Vita-{\alpha}$ self-glazed porcelain produce greatest porcelain wear, but there was no statistically significant difference between the groups(p>0.05). 3. The enamel wear of dentine porcelain was 3.8 times more than that of polished inisal porcelain(p<0.05), and the enamel wear of opaque porcelain was 1.9 times more than that of polished inisal porcelain, but there was no statistically significant difference between the groups(p>0.05) 4. Overglazed porcelain produced less enamel wear than self-glazed porcelain, and more enamel wear than polished porcelain, but there was no statistically significant difference between the groups(P>0.05). 5. The hardness number of $Vita-{\Omega}$ dentine and Ceramco-II opaque porcelain was larger, but that of Vintage dentine and $Vita-{\alpha}$ self-glazed porcelain was similar to other groups. 6. Examination of SEM photographs revealed that overglazed porcelain had smoother surface than self-glazed porcelain, and self-glazed porcelain had smoother surface than polished porcelain. Much polishing scratches and larger porosities were observed on the opaque porcelain specimen, and much polishing scratchess and small porosities were observed on the dentine porcelain specimen.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.859-870
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• 2008

The purpose of this study is to investigate the fashion reflecting the aesthetic consciousness of a generation and age spirit and to study Mods-Look aesthetically by analyzing how Mods-Look expressed on the fashion magazines(Collezioni Donna) from 2001 to 2006 developed into a new form. 1960's Mods-Look appeared in the well known collections such as New York, Paris, Milan in the form of crossover or with a changed style. Especially after 2000's, in addition to the British fashion, even a new word Mods Story was created to prominently express the free style of the Mods spirit. The expressive characteristics represent 1) minimal style, 2) sports casual style, 3) vintage style, 4) dandy & androgynous style. In conclusion, Mods-Look in 21st fashion used to be street fashion started from minority subculture after world war II, but now suit of that time, geometrical pattern and sensibility are becoming design sources for the various fashion market from high fashion to sports look. Therefore, as young people are becoming the center of society in new millenium, sensibility of that time will be reinterpreted to design and Mods-Look will not be limited to subculture but reflected in design development fulfilling people's taste and new future fashion sense by compromising the past and new trend.

• The Journal of Advanced Prosthodontics
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• v.11 no.1
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• pp.7-15
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• 2019

PURPOSE. The aim of this study was to identify the effects of three aesthetic restorative materials on the wear between tooth and restoration by a pin-on-disk manner. MATERIALS AND METHODS. Six aesthetic restorative materials were used to prepare disk specimens for wear test, which were Lava Zirconia as zirconia group, Vintage MP and Cerabien ZR as veneering porcelain group, Gradia Direct microhybrid composite containing prepolymerized fillers, Filtek Z250 microhybrid composite containing zirconia glass and colloidal silica particles, and Filtek Z350 nanocomposite as composite resin group. Vertical loss of the worn cusp, change of the surface roughness of the restoration materials, and the surface topography were investigated after wear test under 9.8-N contact load. RESULTS. The porcelain groups (Vintage MP and Cerabien ZR) caused the largest vertical loss of teeth when compared with those of the composite resin and zirconia groups, and Filtek Z250 microhybrid composite results in the second-largest vertical loss of teeth. The surface of Filtek Z350 nanocomposite was deeply worn out, but visible wear on the surface of the zirconia and Gradia Direct microhybrid composite was not observed. When the zirconia surface was roughened by sand-blasting, vertical loss of teeth considerably increased when compared with that in the case of fine polished zirconia. CONCLUSION. It was identified that microhybrid composite resin containing a prepolymerized filler and zirconia with reduced surface roughness by polishing were the most desirable restorative materials among the tested materials to prevent the two-body wear between aesthetic restorative material and tooth.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.531-542
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• 2009

This study examines the correlation between the characteristics of sustainable slow design, The outcome derived from the pro-environmental consciousness in fashion design, and the trends of modern fashion design. The conclusion of this study is as follows. First, slow design for sustainability shows an environmental consciousness and stresses the ethical aspects of fashion design that take into account the wellbeing and sustainable development of human society. It also focuses on the continuos present in which the consistent pace of life endures, rather than pursuing speedy changes of fashion by titillating desire. Second, the five characteristics of slow design have been extracted from the analysis of the examples of fashion industry and other fashion-related areas. They are sustainability, recyclibility, handicraft, naturalness, and simplicity. Third, these characteristics of slow design have much to do with modern fashion genres. For instance, classical style fashions such as Chanel suit and Burberry coat have the same qualities of sustainability, while at the same time the Vintage fashion, which reinterprets the fashions from bygone eras in modern style, has the tendency of recyclibility, and the Hippie style, a resurrection of hand-touch spirit that emerged as a secondhand style expressionism resisting uniform mass production, has not only the quality of handicraft but also recyclibility.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.715-722
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• 2010

The purpose of this study is to consider the characteristics of 'slow' fashion style expressed on fashion magazine in pursuit of sociocultural paradigm change towards 'slowness'. As for the research methodology, content analysis for Vogue magazine has been undertaken. The results of this study can be summarized as followings. First, the concern toward eco-friendly ethics has been involving simple style which is long-lasting, junky style which is reused or recycled, and sustainable style which is motived by nature. Second, the interest toward local diversity has been involving ethnic exotic style which is inspired by global culture and vintage retro style which is applied the old tradition. Third, the attention toward self-made has been involving personal style which is produced through the process such as made-to-measure, made-to-order and reform. Also, anonymous dresses can be personalized easily under mix-n-match. In Conclusion, the 'slow' fashion characteristics has been expressed on contemporary mass fashion in various way and the 'slow' fashion would be expected to improve in accordance with the change toward sociocultural paradigm of 'slowness'.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.81-90
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• 2013

There has been current trend running through each generation. All the leading areas in the fashion, art, architect industries etc. are absorbing the needs of the mass users and getting popular and high attentions from the society. One of recent trends are the interior design utilizing the aged style of materials such as bricks, antique and vintage objets. It is applied not only for the cafeteria, movie theater, museum but the cultural space. It reflects the brand-new and Utopian interpretation of design longings for the nostalgia and the old ages. This goes back to the picturesque aesthetics in the 1980s. The term "picturesque" means "picture-like". And it originated from the Utopian vision taken from the landscape paintings of English aristocrat's trip to Europe. it mainly reflects people's longing for the nostalgia and their the happy days in the past. In recent days of bad economies, it has been found in various areas from people's desire for the prosperity in the last days. The objective of this study is to examine the up-current trend of picturesque aesthetics and see its characteristics and how it can be applied to the interior design. And the feasibility study for the necessity of the picturesque aesthetics, any spatioperceptual elements and capable space for human beings to be made for an eclectic space in the desolate modern day life.

• Journal of Korean Library and Information Science Society
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• v.30 no.1
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• pp.1-29
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• 1999

This study intends to identify the current situations, and, to investigate the major problems of academic library automation in South Korea. Emphasis was on the quality evaluation of the present library automation systems from the perspectives of both librarians and end-users. Three most representative automation systems were chosen for a comparative analysis: Seoul National University's SOLARS, Postech's LINNET, and Pusan National University's PULIP. Each automation system was analyzed and compared [no another in terms of the development history, the system functions, and, the strength and weakness. The final suggestion includes the philosophy and strategies for the future development of academic library automation systems.

• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.31-51
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• 2013

Hawaiian textile art has inspired artists and fashion designers worldwide and accounts for the high value of vintage Hawaiian apparel as collectibles. Other than tropical designs, a large portion of the textile art showcased the ethnic diversity of Hawai'i. In the 1800s, Hawai'i attracted immigrants from all over Asia, and the majority of Hawaii's residents today claim Asian ethnicity. This ethnic mix was made visible in textiles, a trend championed by Alfred Shaheen, an apparel manufacturer who loved Asian designs. He was committed to the celebration of cultural diversity at a time when Hawai'i was rapidly westernizing. The team of Asian textile artists he led created textile designs based on motifs and imagery from Asia. Shaheen's passionate vision led to the unique textiles produced in the 'golden age' of Hawaiian textiles, from 1940 through the 1960s. Alfred Shaheen has been called "Hawaii's Master Printer" and has been credited for turning Hawaiian textiles into art. The author's interviews with Mr. Shaheen were conducted over a decade, and form the basis for this paper in which Shaheen's own words are used to discuss his use of textile art in the transformation of the Hawaiian textiles and garment industry.

• Fashion & Textile Research Journal
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• v.14 no.3
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• pp.430-437
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• 2012

This study analyzed the sensibility of eco-friendly fabrics for college students and investigated their attitude on environmental problems, trust reliability onto eco-apparel products, and their purchase state. We tested 6 eco-friendly fabrics (recycled polyester, organic cotton, green tea, charcoal, bamboo, and nettle) through a survey using the Likert scale of 12 polar sensibility words. Most fabrics showed feelings that were smooth, natural, female, and country these were followed by fashion, cheap, functional, sustainable, warm, and vintage. In addition, nettle fabric showed 'rough' feeling, and recycled polyester fabric showed an 'artificial' feeling. Correspondence analysis showed the distance and direction between fabric types and sensibility words with a 2D diagram where the X axis was named with 'Soft <-> Hard' and Y axis was with 'Environmental <-> Manmade' to represent the relationship between fabric types and the sensibility words. According to the results of the multiple regression analysis, the cognition level of the consumer for environmental problems was found to be the most influential variable on the loyalty purchase of eco-friendly products; however, the trust reliability level of consumer onto eco-friendly apparel products was found to be the most influential variable on the conditional purchase of eco-friendly apparel products.

• Asia pacific journal of information systems
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• v.20 no.3
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• pp.33-49
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• 2010

We empirically examine the impact of online auction knowledge and category-specific knowledge on the final price of online auctions. Specifically, we question how the relationship between buying and selling experiences affects the final prices of online auctions. Related to the trust between buyers and sellers, we examine the multiple interactions between a buyer-seller pairand aim to identify how these repeated transactions influence the final price. To contrast these effects with other product related factors, we focus on so called 'common value' auctions of vintage stamps on eBay, in which the ex-post value of the product is the same among participating agents’ perceived value. Online auction of stamps provides a representative setting to examine the relationship between market experience and the auction participation behavior in the common value auction, as it provides the book value of stamp as well as price variation across individual buyers with different expertise levels. Our analysis of over 3000 stamps auctions on eBay indicates a significantly high frequency of buyer-seller (pair) interactions, thus suggesting a 'relationship view' of auctions. The work validates five hypotheses derived from the existing theory in economics, marketing, and information systems. Through the common-value auction data, we find that seller's online auction experience and category-specific experience favor sellers by increasing the final price. However, buyer's online auction experience does not affect the final price, but buyer's category-specific experience favors buyers by decreasing the final price. We find that the trust between two trading parties increases the final price.