• Journal of Fashion Business
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• v.27 no.2
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• pp.26-38
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• 2023

This study aimed to develop a visually differentiated quarantine suit design for giving 119 paramedics comfort to work and psychological stability and to awaken awareness without fear or pressure of the public through literature review and practical research. Basic research was conducted on firefighting uniforms and quarantine suits in Korea and abroad, focusing on domestic and foreign related literature. An interview survey was conducted to identify the current status, problems, and preferences of the design. Research subjects were eight dispatched paramedics and two executives in Seoul and Gwangju. The survey period was from September 15, 2022 to October 10, 2022. Interviews were conducted through phone calls. Results of this study were as follows. Most of the quarantine suits currently worn were Level D style ready-made clothes without coverall patterns. The current quarantine suit was designed without reflecting the symbolism of the National Fire Agency. They were wearing a generous size without having to think about the fit. Most of these quarantine suits were white. In addition, the quarantine suit could not be equipped with a camera for the safety of paramedics. After identifying improvements based on results of the above interview analysis, the following quarantine suit design was proposed. First, it would be differentiated from other institutions by designing suits with symbolism. Second, the convenience of size, camera equipment, and better breathability and style than Level D should be considered. Based on these results, a total of five quarantine suits were designed.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.577-585
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• 2023

This study applied ALOHA Program to predict the damage caused by fire and explosion predicted to occur from gas leakage at LPG stations and presented plans to prevent damages by diagramming the impact range and distance. The propane gas leakage from LPG stations causes human damage like breathing issues and property damage, including building destruction to residents in the surrounding areas. As a way to reduce this, first, the hazardous substance safety manager of the LPG station needs to check frequently whether the meters and safety valves are working properly to prevent leakage in advance. Second, the LPG stations' storage tanks should be worked by the person who received "hazardous substance safety manager training" under the provisions of the Act on the Safety Control of Hazardous Substances and has been appointed as a "hazardous substance safety manager" by the fire department. Third, LPG station's various safety device functions, such as overfill prevention devices, must be checked on a regular basis. Finally, wearing work clothes and shoes that prevent static electricity at LPG stations is highly recommended, as static can cause a fire when gas leaks.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.97-111
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• 2023

Dynamic orphism images expressed with abstraction and construction in color are often found in modern fashion. Orphism stressing color is one of the many art trends that influence fashion. This work aims to examin its expressive effects and characteristics that appear in fashion and provide basic materials for fashion design study. This study proceeds with the following steps. First, the study takes on a theoretical examination of the orphism trend using a literature review. Second, based on its results, modern fashion's expressive features influenced by orphism are analyzed. Third, the study draws expression effects in modern fashion from these characteristics. The study coverage is confined to domestic and foreign collections released in the 21st century. The study contents come from an Internet-base domestic and international database and published material, including dissertations and books. Orphism expression effects are found in the following ways in modern fashion. First, it lies in the abstraction effect of color. This feature arrays flat geometric figure on the clothing surface and applies a strong sense of color inside it, as if color has an abstractive structured design. Second, it gives a dynamic sense visually to the clothes all at once by stressing the relation among and between the colors with powerful contrast. Third, it has a collage effect of color. This effect develops into an organic combination composed of geometric plane figures with intense complementary colors in a single piece of clothing. Expression types that presents the orphism effect in fashion are divided into clothing showing traditional orphism characteristics faithfully and clothing expressing conventional orphism characteristics mixed with modern trends. Further developed orphism fashion can be classified by the playful type, with graffiti added onto an orphism color structure, and the destructive type, where traditional orphism color orders are taken apart and reformed into a new color order.

• Human Ecology Research
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• v.62 no.1
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• pp.121-135
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• 2024

By reviewing the cultural and historical literature on persimmon juice dyeing and Galot in Korea and Japan, this study aims to show the similarities and differences between the traditional and eco-friendly persimmon juice dyeing practices of these two countries and suggest a direction for the development of modern Galot. The root of persimmon dyeing in Korea is presumed to have begun around the 13^th or 14^th century; however, no documents or records have been found to support this notion. Meanwhile, there are records of persimmon dyeing in Japan that date back to around the 10^th century, but that fact is rarely mentioned. The historical and folk cultural significance of traditional persimmon dyeing in Japan and Korea was different in terms of the use of persimmon dye and the wearing of Galot. In other words, in Korea, Galot was mainly used as work clothes for farmers and fishermen, who took advantage of the garment's functional strength, while kaki-tannin in Japan was applied to fishing tools and industrial materials. Furthermore, Japanese traditional Galot (Kakigoromo) was worn by monks. This was a remarkable difference in that the garments were used as clothing by a special class within society. There were also differences between the two countries in terms of their use of modern persimmon juice dye and Galot. Korea is currently developing and releasing a variety of modern Galots. Meanwhile, Japan is attempting to develop a feeling of relaxation by using the natural colors of Kakisibu dyeing and applying sophisticated traditional pattern printing techniques to modern Galot.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Journal of Korean Home Economics Education Association
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• v.10 no.2
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• pp.29-42
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• 1998

The purpose of this study was to identify the contents that students want to learn the most on Home-Economics. Participants were 710 middle school students(359 boys and 351 girls) from 9 schools located in 4 cities and 5 counties in CholaBukDo. The results are as follows: 1. Of 32 contents on Family life, boys were interested in 'the puberty', 'pregnancy and the ethics on sex', 'social needs', 'the importance of family relationship', and 'adolescents' physical development'. On the other hand, girls were more intered in 'pregnancy' and 'the ethics on sex', 'the puberty', 'development of career consciousness' and 'career preparation', 'the adolescents' physiolosical and physical development', and 'the importance of family relationship'. 2. Of 37 contents of Managing home resource and Consumer life subarea, boys showed their interests on 'environmental problems', 'environmental conservation', 'environmental pollution', 'management of time and work', 'knowledge', 'management of their abilities'. And girls were more interested in 'environmental conservation', 'environmental pollution', 'environmental problems', 'adolescents life', and 'management of time and work'. 3. Of 49 contents on Dietary life, boys were more interested in 'puberty and the development', 'importance of nutriment', 'nutrition and health' and 'smoking and the health'. However, girls were more interested in 'smoking and health', 'puberty and the development', 'the importance of nutriment', 'nutrition and health', 'a realistic plan to reduce the food-based environmental pollution'. 4. Of 40 contents on Clothing life subarea, while boys were interested in 'the suitable cloths on oneself', 'clothing design', 'regulation of temparature', physical protection' 'merchandising for ready-made clothing'. On the other hand, girls were mostly interested in 'the suitable cloths on oneself', and next 'the clothing design', 'merchandising for ready-made clothes','physical protection', and 'the appropriate posture and physical adornment'. 5. Of 18 contents on Residence life subarea, teachers emphasized the importance of ventilation for adjusting the room environment and students were more interested in the effective use of the residing space. In general, those middle school students in Cheolabukdo showed the biggest interest on 'Clothing life', 'Residence life' the second, 'Eating life' the third, 'Human development and Family relationship' the fourth, and Management of family resource and Consuming life' was their fifth interest. Such result was consistent with Ⅱ-Rok Park's previous research(1997). Since the participants for this study were sampled form 9 schools located in CheolaBukDo, it is not suitable to apply the results nationwide. The restricted sampling must be considered and further studies are needed to make comparisons among areas.

• Science of Emotion and Sensibility
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• v.24 no.4
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• pp.149-156
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• 2021

The mechanical properties of a woven fabric made of SiC (silicon carbide) fibers were determined in this study using the KES-FB system. The woven fabric is used in high heat settings above 1500℃. Composite spun yarns were used to create SiC fibers. By analyzing the wearing properties, we studied the prospect of using the textiles as fire-retardant work clothes. Mechanical properties determine the wearing attributes. Therefore, the tensile linearity (LT), tensile resilience (RT), and shear stiffness (G) values of the fabric varied according to the yarn type (filament or spun yarn). The thickness, weight per square meter, and density of the fabric were found to have an effect on the shear hysteresis (2HG) and compression resilience (RC) values. In terms of wearable clothing qualities, the fabric qualities of the SiC composite yarn demonstrated the highest ratio of compressive energy to thickness (WC/T), which indicates bulkiness. The fabric manufactured from SiC composite yarns passed the KFI criteria for carbonation length and cumulative flame time in the flame-retardant test. Therefore, we discovered that the material can be used as a fire-resistant work cloth.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of the Korean Society of Costume
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• v.39
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• Journal of the Korean Society of Costume
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• v.18
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.