• 한국가정과학회지
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• 제4권2호
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• pp.48-67
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• 2001

The purpose of this study is both to describe and to explain the shapes and the changes of Kwangju women's productive activities from the middle of 1950's to the end of 1990's. Productive activities in this study include wage labors as well as economic activities in informal labor sector and domestic labor. Three factors - economic structure, the family, and women's consciousness - are drawn to explain women's work in Kwangju. The period from the middle of 1950's to the end of 1990's has been divided into 5 stages and the characteristics of women's work at each stage are as follows : Kwangju women during 1950's worked hard and contributed to the family economy not only inside but also outside the family : during the second stage from 1960's to 1970's, they accomplished not only the traditional women's role but also industrial wage worker : the third period of the first half of 1980's was the time for the development of social consciousness : the fourth period from the end of 1980's to the beginning of 1990's was the time when women tried to solve their problems by themselves: during the last period from the middle of 1990's to the end of 1990's. Kwangiu women wanted to establish their identities in the independent area from their families.

• 한국가정과교육학회지
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• 제19권4호
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• pp.137-151
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• 2007

1950년대 현모양처가 구성되는 조건은 매우 다양했다. 가사교과서와 여학교의 교육과정을 통해 본 1950년대의 현모양처주의의 특징은 다음과 같이 정리해 볼 수 있다. 첫째, 1950년대 가사교과서에 나타난 현모양처론은 일제시기와 달리, 유교적 여성 규율을 배제함으로써 성별분업에 근거한 '근대적' 전업주부상을 이상화하였다. 1950년대 가사교과서는 일제시기 여학생 수신교과서에 등장하는 '순종', '정절', '삼종지도' 등과 같은 유교적인 여성덕목이 사라지고 직분론에 근거한 '근대적' 주부상을 강조하였다. 이는 '민주주의'를 표방한 신생 대한민국의 국가 이념이 여성교육에 차별적으로 적용된 결과였다. 둘째, 가사교과서에서 여성 직업에 관한 내용을 강화하고 구체화함으로써 1950년대 현모양처론은 여성에게 가사 관리자 뿐 아니라 생계 담당자의 역할도 아울러 부과하였다. 기혼여성의 직업활동은 현모양처 역할을 수행하는 것을 어렵게 만드는 것이었지만, 가사교과서는 이것을 가정경제를 운용하는 '현대적' 현모양처의 임무로 수렴하였다. 셋째, 1950년대 여학교의 교육이념과 생활관교육과 같은 실제 교육 내용을 통해 본 현모양처론은 '근대적' 주부상과 '전통적' 규범을 내재한 여성상을 접목한 것이었다. 1950년대 여학교의 교육이념은 순종적 부덕보다는 '민주주의'에 부합하는 여성 인재의 양성에 목표를 두었지만, 실제 교육은 여전히 현모양처주의를 중시했다. 교육이념과 실제 교육의 이중성은 50년대 처음 시도되었던 생활관 교육에서 그 전형을 볼 수 있다. 생활관 교육은 가사의 합리적 설계자로서 '근대적' 전업주부를 이상적 모델로 하면서도 '전통적' 여성 규범을 강조하였다. 이것은 50년대 현모양처론의 특징을 잘 보여주는 것이라고 할 수 있다. 이상과 같은 사실을 종합해 볼 때, 1950년대 여학교 교육은 가사교과서와 여학교의 교육이념에서 유교적 여성규범을 일면 강조했던 일제시기의 그것을 탈피하면서도 실제 교육 내용은 여전히 '전통적 부덕'을 중시하였다. 이러한 사실을 통해 볼 때, 1950년대 현모양처는 가정개량과 양육을 책임지는 '근대적' 전업주부 모델이었지만, 또 한편으로 '서구화'에 물들지 않고 '전통적 부덕'을 계승해야 하는 존재였다고 할 수 있다. 따라서 1950년대의 현모양처는 서구의 '근대적' 전업주부상과는 달리, 윤리적으로는 '전통성'을 체현하는 한편 가정을 '근대적'으로 개량하는 주부상이었다고 하겠다.

• 한국식생활문화학회지
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• 제25권6호
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• pp.639-651
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• 2010

This study investigated women's magazines and women's food consumption stories of the 1950/s. That is, it attempted to comprehend the connection between the public and private aspects of food consumption as discussed in the 1950's. The public aspect of culture was investigated using the women's magazine "Yeo-won" which reflected the social and intellectual hegemony of the time. The private aspects of culture were investigated by reviewing the daily life of women though in-depth interviews. Mass media reflected the social and intellectual hegemony and indicated that a cultivated woman who supported western food was a wise mother and a good wife, and that a woman who consumed flour-based food was a reasonable and modern consumer, ahead of her time The admiration for the U.S. and its advanced civilization through free handouts of flour and powdered milk accelerated the consumption of industrialized flour-based foods such as noodles, hardtack, and steamed bread. This lead to the rigid traditional food-eating habits of boiled rice, and side dishes changed to flour-based and processed foods. That is, food represented a cultural identity.

• 한국가정과학회지
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• 제2권2호
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• pp.39-48
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• 1999

본 연구의 목적은 두 종류의 다른 연구자료- 유물과 문헌자료를 이용하여 1950년대 초기에 유행하였던 미국여성복식 가운데 쉬스 드레스(sheath dress)의 디자인 특징을 고찰하는 데에 있다. 본 연구의 일차자료로는 하와이대학교(University of Hawaii)의 The Western Costume Collection에 소장된 1950년대 초기의 복식으로 추측되는 유물과 1950년부터 1955년 사이에 출판된 Vogue, Harper's Bazaar, New York Times Magazine을 문헌자료로 이용하였다. 연구결과, 1950년대 초기의 미국 여성복 디자인의 특징은 여성의 신체적 특징을 강조하며 여성스러움의 미를 극단적으로 추구하는 쉬스 드레스(sheath dress)의 ‘the straight and slender look’으로 요약될 수 있었다. 나아가 문헌분석을 통하여 본 연구의 유물자료가 50년대 초기(1950-1954)의 미국여성복식 디자인의 특징을 보여주는 대표적인 이 시기의 복식유물로 그 사용연대가 확증되었다. 본 연구는 지금까지 주로 문헌자료의 분석만으로 한정되어 왔던 한국의 전형적인 서양복식연구에서 한 걸음 나아가 과거에 실제로 입혀졌던 복식에 대한 이해를 확장하기 위한 또 하나의 연구방법으로 문헌분석과 유물분석(object study)을 병행하여 시도해 보았다는 데에 그 의의가 있다.

• 복식문화연구
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• 제28권1호
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• pp.114-130
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• 2020

The purpose of this study is to reveal the cultural meaning behind modern experiences of diversity through the history of clothing in Korea. To this end, this study examines aspects that dictate clothing culture acceptance experienced and practiced by women by analyzing the case of the Naju rural area in Jeollanam-do from the 1950s to 1980s. Modern clothing was accepted later in the 20 century in this village, and the Satgolnai traditional textile tradition was an important factor after 1950s. In addition, the continuity of the rural five-day market is different from practices in the city. Limitations in access to media such as TV, films, and magazines, and the functional meaning of clothing in rural areas contributed to limitations for women to get the opportunity to access modern clothing items that were popular in the city. Unlike in the city, the event that inspired the transition to full-scale modern clothing in this village was the Saemaul Undong Movement of the 1970s. Additionally, Mombbe (labor cloth) worn during the Japanese colonial period was continuously worn as daily clothes for Naju women even after the 1950s. Therefore, colonial modernity continued through clothing.

• 한국의류학회지
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• 제15권3호
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• pp.239-250
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• 1991

The purpose of this study was primarily aimed at the revealing changes in the aspects of women's clothing derivationed with the women's self-consciousness, liberation movement, women's suffrage and social participation from the mid-l9th century to the mid-20th century. According to the study, the main change of western women's costumes were eradication of corset, emergence of troussers and tailored suit, and transformation of sportwear. So that, women's liberation movement has an deep effect on leading up to a change tendency the functionalization and masculinization of women's costume.

• 한국의상디자인학회지
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• 제10권1호
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• pp.135-144
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• 2008

The reason that we are familiar with fashion from the 1950s is because of the work such as New Look done by a french fashion designer, Christian Dior who had taken on an almost mythical significance by his name. Moreover, in the sense of popularity, the appearance of Marilyn Monroe and Audrey Hepburn, two typical Hollywood actresses who each has directly-opposed image, is the symbol of youthful America of the 1950s and represents the remarkable start of the American fashion. Still, these days designers and mass medias recall the fashion from the 50s remaking and parodying it to suit public's taste. Being due to the World War II, Europe suffered not only the loss of its national tradition and reputation but also got a fatal blow politically and economically. On the other hand, the United States of America occupied a primary position in the world and outstandingly became the most powerful country. The American fashion of the 1950s represents youth and newness and rejects outdated and outmoded style. In this period, appears the indication which announces previously the youth culture. Poodle skirt is the fashion item that acquired popularity among young american women and girls in the late 1950s. In effect, it is the fashion as American as apple pie. A costly A-line skirt had been transformed into a cheap felt skirt. Instead of a real poodle dog which was carried by French women like an accessory, they embroidered a poodle dog on the lower edge of their skirt. As deriding the snobbish gait, they swayed themselves frantically to the rhythm of Rock n' Roll which swept those days. This was an attitude of young Americans against the existing trend of Europe. Poodle skirt showed the free spirit and intention of young people unbound to custom and established vogue. In addition, in the aspect of comprising the American spirit of independent, pioneer, and subjective American people, it goes beyond the bounds of common concept of fad. Poodle skirt is an unique symbol of the 1950s' American fashion which prognosticates the advent of the United States and the success in modern fashion world which was changing after 1950s.

• 패션비즈니스
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• 제17권1호
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.

• 복식문화연구
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• 제22권4호
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• pp.543-554
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• 2014

The purpose of this study was to find whether hemline cycles exist and whether hemlines show greater within-year variability over time. Utilizing US Vogue data from 1950 to 2013 on hemline length of women's daywear, total 2102 day-dresses or skirts on full fashion pictures were analyzed. The skirt length was divided by the total length of figure in the picture which was measured from shoulder to ankle. Aggregated yearly means smoothed by means of three-point moving averages were used to provide a better indication of the long-term direction of movement of the hemline. Within-year hemline variability was smoothed by the way of three-point moving average as well. The data showed five cycles on hemline change processes. The first cycle took 21 years from 1950 to 1971, which was the longest period and had the biggest hemline changes. The second cycle was the shortest from 1971 to 1977, in which hemline moved between below-knee length and midcalf. The hemline in the third cycle moved between midcalf and miniskirt. The third cycle took 16 years from 1977 to 1993. The forth was a short cycle from 1998 to 2001, and hemlines moved moderately between below-knee length and above-knee length. The fifth cycle has been on going since 2001, and the hemline has been getting longer after 2007. The within-year variability of hemlines was bigger in 1980s than previous years and was steadily increased.

• 패션비즈니스
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• 제15권4호
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• pp.67-86
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• 2011

This study intended to understand overall history of make-up in Korea in an integrated and diachronic context by interpreting women's will and desire to express themselves reflected in the cosmetics culture in each period centering on women's magazine cover, cosmetics advertisement, and articles from 1950 to 1999 and examining women's make-up image and characteristics in each period. A total of 919 women's magazines (Yeonwon (Women's Garden), Woman Sense, Yeoseong Donga (Women's Donga), Jubusaenghwal (Homemaker's Living), Yeoseong Jungang (Women's Jungang)) issued between 1950 and 1999 were examined for the study. Key words of each period were extracted through fashion and beauty related articles and advertisement titles to examine the make-up culture of Korean women and set the standard for the make-up image of Korean women. A total 1,252 pictures were shot for each period and categorized based on the standard for the make-up image of Korean women. Then, the changes in the make-up image of Korean women were examined and identified the characteristics of images along with the change of images in each period. Next, the meaning of each make-up image was examined. This can be interpreted as the expression of values and desire by modern Korean women, especially Korean women in the late 20th century, as well as the consciousness for coping with the changing society.