• 한국의상디자인학회지
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• 제17권2호
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• pp.79-92
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• 2015

Covers of fashion magazines are part of the media that reflects the zeitgeist. Thus an analysis of the covers is a tool to probe the social and cultural changes of a period. This study attempts to shed light on the changes of the image of women on the cover of men's fashion magazines; this study intends to investigate the changes of status and role of women, from the past up to the present, through analyzing the meaning of the image of female models. For this purpose, this study conducts both literature and corroborative research. The period for the analysis is limited to post-1960s when female models began to appear alone on the cover of men's fashion magazine. The three decades from the 1960s through today have been analyzed according to its characteristics. The result is as follows: female models in the 1960s were shown as subjugated and ancillary to men as a commodity for the affluent materialistic civilization after World War II. In the 1970s, thanks to feminism movement, the image of resistance dominated. As a result of women's right movement, the 1980s came to witness the female image of subjective characteristics. Finally, starting in the 1990s, a mixture of subjugated, resistant, and subjective image of female models has appeared. In the contemporary culture, where the communication through images is being increased, the image of the female models in fashion magazines could work as a criterion to measure the social change.

• Tribology and Lubricants
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• 제35권5호
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• pp.286-293
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• 2019

In friction and wear tests that use friction force microscopy (FFM), the wear debris transfer to the tip apex that changes tip radius is a crucial issue that influences the friction and wear performances of films and coatings with nanoscale thicknesses. In this study, FFM tests are performed for bilayer $MoS_2$ film to obtain a better understanding of how geometrical and chemical changes of tip apex influence the friction and wear properties of nanoscale molecular layers. The critical load can be estimated from the test results based on the clear distinction of the failure area. Scanning electron microscopy and energy-dispersive spectroscopy are employed to measure and observe the geometrical and chemical changes of the tip apex. Under normal loads lower than 1000 nN, the reuse of tips enhances the friction and wear performance at the tip-sample interface as the contact pair changes with the increase of tip radius. Therefore, the reduction of contact pressure due to the increase of tip radius by the transfer of $MoS_2$ or Mo-dominant wear debris and the change of contact pairs from diamond/$MoS_2$ to partial $MoS_2$ or Mo/$MoS_2$ can explain the critical load increase that results from tip reuse. We suggest that the wear debris transfer to the tip apex should be considered when used tips are repeatedly employed to identify the tribological properties of ultra-thin films using FFM.

• 한국의상디자인학회지
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• 제26권2호
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• pp.1-14
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• 2024

Digital transformation has been actively evolving through the use of digital platforms. The fashion industry also utilizes digital platforms and significant changes have become particularly evident in fashion shows. Therefore it is essential to research digital fashion shows. The purpose of this study is to analyze the evolution of digital fashion shows in terms of their form and characteristics in response to changes in digital platforms. The research method consisted of literature research and case analysis. In this study, the development stages of digital platforms were divided into four stages: Internet platforms, SNS platforms, Metaverse platforms, and Artificial Intelligence platforms. Results were derived by analyzing digital fashion shows published on digital platforms at each stage. Internet digital fashion shows were used as an ancillary implement for fashion shows. SNS digital fashion shows expanded the fashion presentation method by experimenting with various fashion show formats. The Metaverse Digital Fashion Show offers a unique experience by integrating Virtual Reality and digital technology to create visual effects customized for the virtual environment. The Artificial Intelligence digital fashion show used virtual graphics created using Artificial Intelligence. Digital fashion shows will continue to evolve and become a significant digital strategy for fashion content and brands. The change in the format of digital fashion shows clearly showcases the characteristics of each stage, but the formats appear to merge during the development process.

• 복식문화연구
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• 제19권2호
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• pp.430-448
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• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• 복식
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• 제60권7호
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• pp.1-13
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• 2010

The purpose of this study is to review changes of gender identity of men as a sexual role changes and their cognition on fashion and to analyze changes and features of their fashion required in the diversified era and suggest implications for future men's fashion design. To understand a correlation between a change of men's gender styles and fashion and aesthetic features and differences by gender style, this study analyzed significant brands of the men's design market. The results of this study are as followings. First, metrosexual and uebersexual were mixed in the 1990's and the 2000's. The ratio of uebersexual in the 1990's was higher as three times as metrosexual. On the other hand, the ratio of metrosexual in the 2000's was higher than uebersexual by about 3.5%. It implicates that there were significant changes in design of men's clothes between the 1990's and the 2000's. Second, aesthetic properties and differences of metrosexual and uebersexual obtained from the survey. Metrosexual fashion uses almost all details and has no limit in using materials and accessories. The other side, uebersexual fashion rarely has details. In conclusion, this study showed that the relationship between male and fashion on the social and cultural phenomena. which have been recognized that there is a low correlation, is being newly established as a sexual role changes by gender.

• 패션비즈니스
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• 제12권4호
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• pp.143-157
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• 2008

The purpose of this study was to evaluate the visual effects and images according to changes in the silhouettes and length of miniskirt. The silhouettes of the miniskirt were classified into two different categories according to side line, H-line and A-line. We altered the length of the miniskirt in five categories with changes in 25cm, 27.5cm, 30cm, 32.5cm, and 35cm. For the visual evaluation, 10 stimuli were placed in mannequins, and were estimated by the experts in the fashion design. For the visual evaluation according to changes in the silhouettes and length of the miniskirt, we used 13 pairs of items to find the visual effects, and 23 pairs of adjectives to measure the visual images. The stimuli and adjectives were randomly given to the evaluators and were evaluated by the 7-Point Likert Type Scale. The data have analyzed by frequency, t-test, factor analysis, anova, scheffe's test and the MCA method. According to the factor analysis of the visual effects of the miniskirt, the result was classified into 3 factors: the thickness of the lower body, the length of the lower body, and the shape of the lower body. According to factor analysis of the visual image of the miniskirt, the result was classified into 4 factor: personality, attraction, elegance, and activity. The silhouettes of miniskirt had more positive visual effects and images in A-Line than in H-Line. Among the visual effects of miniskirts, the length affected the thickness and length of the lower body more than the silhouette did and, the silhouette had more effects on the shape of the lower body than the length did. And shorter the skirts, stronger the image of personality. However, 32.5cm and 35cm miniskirts are estimated to be more attractive than excessively short skirts. There are many differences in the image of personality and activity according to the changes in the length of miniskirts.

• Journal of Information Technology Applications and Management
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• 제31권3호
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• pp.53-69
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• 2024

This study was attempted to promote changes in traditional design education at a time when non-face-to-face education is necessary, such as digitalization, rapid social structure change, and post-COVID-19 situations, and to meet the demands of the times when user-centered design is more emphasized. Therefore, the goal of this study is to explore the process of developing mobile apps and operating education for deaf learners through design thinking-based interaction design education for design students. Specifically, the curriculum was designed by selecting a design thinking methodology suitable for major students to experience empathy and solutions to user problems. The subject that students majoring in this study want to sympathize with is deaf learners, and the subject of the curriculum is the development of educational support applications for deaf learners. Accordingly, a mobile app prototype that can support online learning for deaf learners was created based on the interaction design education plan designed based on design thinking. In addition, after collecting and analyzing the feedback of deaf learners to evaluate the prototype effectiveness, the final mobile app prototype was presented as an output. Through this process, interactive design education based on design thinking helped to strengthen the ability to empathize with and solve the needs of deaf learners to major students and improve the design learning experience. Based on these findings, if a methodology suitable for various user groups is selectively accepted for design education, the students in the major will have the ability to design by prioritizing the actual needs of users despite changes in the environment of the future design society.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.58-59
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• 2004

• 패션정보와 기술
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• 제9권
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• pp.66-72
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• 2012

• 복식
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• 제26권
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• pp.289-310
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• 1995

The present study aims at investigating the style change of the Korean women's traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the tranditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drastic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960's Korean women usually wore traditional costumes as ceremonial dresses be-cause the western style dresses replaced the tra-ditional costume in everyday life. After 1970's, however, the A-line silhouette, combined with ornaments, adapted to the traditional costume in order to emphasize women's beauty, thereby resulting in remarkable modification in the tra-ditional costume. In those days, the large pro-duction of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages ; (1) "the period of settlement" (1965 1975), (2) "the period of maturity" (1976 1985), and (3) "the period of stabilization" (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tra-dition and modern sense.h tra-dition and modern sense.