• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.8
• /
• pp.1364-1377
• /
• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.4
• /
• pp.89-102
• /
• 2010

Atayal studied in this paper is one of the indigenous tribe in Taiwan, which is receiving considerable publicity gradually. Atayal has a quite unique traditional dress and custom as facial tattoo. The study was limited to the conventional culture of body adornment of the Atayal including the clothing which is less preserved and practicing by them at the present day, and the origin and the process of the historical development of those are just a little included in the scope of the present study. Through this study, we can get know about indigenous tribe's cultural background, such as their life, custom, religion, and the influences on traditional costumes. As for the research method, I examined the Atayal's traditional costumes and clothing through related books, magazine, research papers, internet sites, and etc. I also examined the common ground between facial tattoo patterns and their clothing using reference books and official web-site. Traditional clothing materials, basic forms of dress, and the pattern and technique of facial tattoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Atayal. In way, I hope this study will make a contribution to the field of Korean fashion industry which intends to enter Taiwan market.

• Fashion & Textile Research Journal
• /
• v.8 no.4
• /
• pp.413-419
• /
• 2006

This study was performed to analyze the wearing practice and the purchasing characteristics of jeans in order to offer basic data to produce superior jeans made of denim with small flexibility and to improve the wearing comfort. The questionnaire were 236 Korean women from the age of 10th to 50th. For data analysis, descriptive analysis and crosstabs were used. The results were as follows, in the purchasing characteristics, when the women of 10th to 30th decided to purchase jeans they considered fashion, design and price rather than wearing comfort. But the women of 40th to 50th considered that wearing comfort is the most important factor. The 10th is found the best preferred jean is wide straight style, the 20th is straight style, the 30th is boots cut style and the 40th to 50th is straight style. In wearing practice, there was a difference among age groups on the region that felt uncomfortable when wearing jeans. As the age increases, the abdomen size also increases. Most people answered that they mend jeans after purchase for length, without any relation with age. The reason why consumers prefer jeans with middle length between the crotch and waist and also purchase jeans with a short length is because they look refined and neat. This informs us that the short length between the crotch and waist does not match with ease and comfort, which are the images of jeans in the past. Recently premium jean brands are competing to show Low Rise Jeans, which seems like a Premium Jean=Low Rise Jean formula is created. Some manufacture companies are recklessly copying foreign designs that does not fit Korean's body shape. However, as mentioned in this study results, there is a clear difference between designs that they think consider as aesthetic and functional. Therefore, it is considered necessary for developing designs for jeans that can satisfy both aesthetic appreciation and functions for Korean consumer's body shape and each age group.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.3
• /
• pp.516-525
• /
• 2016

Lumbar discs are one of the first parts of the musculoskeletal system to age in the human body. Lumbar disc for females start to age at twenty years of age and completely age between fifty and sixty. The number of lumbar herniated intervertebral disc patients are increasing rapidly; however, studies on protective inner wear are insufficient. This study was conducted to develop protective inner wear equipment that retains an aesthetic appreciation of the body. The methods and procedures of this study are as follows. First, foreign and domestic lumbar pads were researched and analyzed by visiting medical shops and internet shopping malls that sell lumbar pads. Second, the survey was conducted on forty patients with disc disease in hospitals located in Seoul and surrounding suburbs. The following are the study results and observations. First, the lumbar pads selling on the market had a variety of designs, textiles, and fabrics. The result of the research was to develop additional inner protective equipment for lumbar herniated intervertebral disc patients. Second, the survey results of the forty patients with disc disease were that housewives were the most vulnerable. All patients had experience purchasing lumbar pads. The prevention of pain and stress were the most selected responses for the motivation to buy lumbar pads. Most individuals said that they used lumbar pads for less than 1 year. Dissatisfaction came from fabric, activity and design. 'Being uncomfortable to wear' was the most common complaint. 'Protection and how easy the clothes were to wear' were the most selected for the necessity of developments. The Inner wear shape was the most selected in shape. Except for six respondents, all favored the lumbar protective inner wear design.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.29 no.12 s.148
• /
• pp.1582-1594
• /
• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.18 no.1
• /
• pp.140-159
• /
• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• Korean Institute of Interior Design Journal
• /
• v.22 no.3
• /
• pp.183-194
• /
• 2013

Exhibition space emphasizes the experience in the space rather than viewing or appreciation of visitors. Because the experience spaces in today's life are limited, people experience rest, comfort, and sometimes extraordinary space experience through exhibition space. Exhibition space has changed from a static place to a space where visitors move and act with the exhibits to freely feel the space. Also, the static space expressed only with illumination and shadow becomes a new space different from daily space for users. This study analyzes the characteristics of phenomenological expression through such user-oriented exhibition space. This study is to analyze the characteristics of phenomenology through the exhibition experience space structure. It is to analyze and study on the characteristics of phenomenological expression of the exhibition experience space structure centered in the opinion of Merlo-Ponti that considers the experience of body among 'characteristics' discussed based on the study of the phenomenological experience published up to date and the viewpoint of Steven Hall that sees light as a subject of creating the space. This study is also considers how the perception of the experiencer is built in the correlation between the phenomenology and exhibition experience space by studying the relationship of the experiencer that is the common point of the exhibition experience space structure and the characteristics of phenomenological expression and analyzing the common point and difference of them. It also focuses on the space of dark whether forming any light rather than looking at the light which is the sense factor among the characteristics of phenomenological expressions. Thus, the purpose of this study is to analyze the case on whether there is any light or not applied to the exhibition experience space grounded by the theoretical materials of Merlo-Ponti and Steven Hall based on the characteristics of phenomenological expressions in the exhibition experience space structure and, based on the result, to set up the basics on the characteristics of phenomenological expressions in the composition of exhibition experience space.

• The Korean Journal of Pain
• /
• v.11 no.1
• /
• pp.105-108
• /
• 1998

Backgrounds: Cervical epidural nerve block is useful in the management of a variety of acute, chronic and cancer related pain syndromes involving the head, face, neck and upper extrimity. To safely perfom the cervical epidural block, an appreciation of the expected distance from skin to epidural space is important. We studied the distance from skin to cervical epidural space of adults to determine if any relationship exists between patient height, weight and neck circumference and the distance from skin to epidural space. Methods: Patients 170, suffering from neck and upper extremity pain with cervical HIVD(herniated intervertebral dics) were selected. Cervical epidural block was performed at $C_{6\sim7}$ or $C_{7-}T_1$ intervertebral space. Then measured the distance from skin to epidural space and analysed the relationship between age, height, weight and neck circumference and the distance from skin to epidural space. Results: The cervical epidural depth of male $C_{6\sim7}$, male $C_{7-}T_1$, female $C_{6\sim7}$ and female $C_{7-}T_1$ groups were $5.17{\pm}0.63$, $5.47{\pm}0.59$, $4.84{\pm}0.56$ and $5.01{\pm}0.60$ cm respectively. Cervical epidural depth significantly correlated with body weight, ponderal index and neck circumference. Conclusions: The distance from skin to cervical epidural space has significant relationships with weight, ponderal index and neck circumference. Although experience is important, patient's weight and neck circumference are indicating factor, of the cervical epidural depth.

• Women's Health Nursing
• /
• v.24 no.3
• /
• pp.252-264
• /
• 2018

Purpose: To understand the essentials of rearing conflict experience by three shift nurses in advanced general hospitals. Methods: The design was a qualitative research of phenomenology. Participants were 7 shift nurses working in advanced general hospitals who were rearing young children. Data were collected individually through in-depth interview on their life experiences. Data were analyzed by Colaizzi's phenomenological methodology. Results: Eighteen themes were drawn from 256 meaningful experiences and these themes were integrated to six theme clusters. The most influencing themes were 'Regret that I cannot satisfy even the slightest wish', 'Fail to care for kids', and 'Mutual feeling to care giver between appreciation and inconvenience'. Other themes were as follows: 'Body and mind are broken', 'The need for a three-shift system to support nurses who are rearing children', 'Doing my best for work and child rearing'. Conclusion: The nature of three-shift nurses working in advanced hospital and caring kids is explained as 'lives with conflict' between work and home. This study suggests it is necessary to establish a 24-hour care center for 3-shift nurses to keep working while rearing their children.

• The Journal of the Korea Contents Association
• /
• v.12 no.9
• /
• pp.40-47
• /
• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.