• 복식
• /
• 제64권3호
• /
• pp.155-164
• /
• 2014

This paper discusses the social changes in the late 19th century that provided a historical background in the appearance of the ready-to-wear clothing in the West. It examines the social meanings of the appearance of the ready-to-wear clothing at the time and traces the origins of these social characteristics to the book published in the $16^{th}$ century by Thomas More, Utopia. The results of this study can be summarized as the following. First, the appearance and expansion of the ready-to-wear clothing coincided with the social transition from a class-based society to a democratic society in the west in the $19^{th}$ century. Second, uniforms were produced in the $18^{th}$ century Europe in order to distinguish different classes and ethnic groups, with the military uniforms being the most visible example. Frequent military campaigns in Europe resulted in the increasing demand and expansion of military uniforms, which later became the basis of the standardization of the men's clothing with uniforms. Third, the women's ready-to-wear clothing appeared later than their male counterpart and was made possible by the simplification of design, an important characteristic of women's wear in the later period. Fourth, the social characteristics of the ready-to-wear clothing can be traced to a democratic and egalitarian society without personal properties that was depicted in the book of Utopia by Thomas More. Fifth, one of the characteristics of the ready-to-wear clothing can be found in the description of Utopia, in which everyone in Utopia wears a clothing of the same form for life.

• International Journal of Human Ecology
• /
• 제16권2호
• /
• pp.33-44
• /
• 2015

Malaysian modern housing typologies (such as bungalows, semi-detached houses and terrace houses) are influenced by international style and constitute unique regional characteristics because they are modified in accordance with climatic conditions and unique social, ethnic housing cultures. This research identified unique characteristics and planning principles of how rooms and spaces of a house are related and organized into coherent patterns of form and space. For the analysis, we surveyed twenty-two residential precincts that identified twenty-five unit plan types for landed properties built in Ara Damansara, Malaysia. The methodology adopted in this study consisted of a document review and field surveys. It is difficult to find unique characteristics of space organization (except for the location of bathrooms) because the form of terrace houses is standardized and limited in design from the aspect of space organization. However, the organization of bedroom space and kitchen space has strong regional characteristics that have become stereotyped for semi-Ds and bungalows. General guideline for areas of unit plans are proposed based on the results of area analysis. We also found that the areas of L + D and MB increase as the total area of the house increases; however, the remaining rooms do not increase in area as long as they satisfy appropriate standards due to the addition of multi-purpose extra rooms. This study only examined limited cases in Ara Damansara and it is difficult to generalize the findings of other new towns in Malaysia. Nevertheless, it is worthwhile to collect and systematically organize data according to typologies. Finally, the authors were able to understand the unique regional design factors to be considered for landed property housing planning in Malaysia.

• 한국식품과학회지
• /
• 제47권5호
• /
• pp.623-632
• /
• 2015

본 연구는 한국식 소스의 세계화를 위해, 훈련된 패널을 대상으로 묘사분석을 수행하였으며, 한국 및 중국 소비자들을 대상으로 다양한 한국식 소스를 적용한 닭강정에 대한 전반 기호도, 외관 기호도, 향미 기호도 및 익숙한 정도를 알아보았으며, 각각의 시료에 대해 좋아하는 이유 및 싫어하는 이유에 대해 CATA 설문을 이용하여 조사하였다. 한국 및 중국 소비자들은 다양한 한국식 소스를 이용한 6종의 닭강정 시료에 대해, 한 두 시료를 제외하고는 전반적으로 선호하는 경향을 보였다. 한국 소비자는 다진 마늘을 주재료로 이용한 닭강정 시료에 대해, 중국 소비자는 고추장 및 다진 마늘을 주재료로 이용한 닭강정 시료를 각각 비선호하였다. 해당 시료들은 각 나라에서 각각 익숙한 정도가 낮게 나타났으며, 낮은 향미 기호도 점수를 나타냈다. 따라서 이전 연구들과 마찬가지로 '익숙함'은 문화권이 다른 소비자들의 기호도에 있어 중요한 영향을 미치는 동인임을 알 수 있었다. 특히, 본 연구의 경우 '익숙함'에 의해 시료를 선호하기 보다는, '익숙하지 않음'에 의해 시료를 비선호하는 경향을 더 분명하게 관찰할 수 있었다. 한국 및 중국 소비자들이 시료의 좋아하는 이유 및 싫어하는 이유에 대해 응답한 CATA 결과는 각각의 시료에 대한 소비자의 구체적인 기호유도인자를 이해할 수 있도록 하였다. 전체적인 결과를 살펴보면, 한국 소비자들은 국내에서 판매되는 닭강정에서 주로 이용되는 재료인 케첩과 고추장의 특징이라 할 수 있는 토마토 향미, 윤기, 신맛, 색의 붉은정도, 입안부 착성, 점도 및 고추장 향미와 같은 특성들에 대해 긍정적으로 반응하였다. 반면, 중국 소비자들은 상대적으로 단맛 및 물엿향미가 강하고 매운 감각이 약한 닭강정 시료들에 대해 긍정적으로 생각하는 것을 알 수 있었다. 또한 중국 소비자들은 기호도가 높았던 케첩을 주재료로 이용한 시료들(KET-I 및 KET-II)에 대해서는 익힌 토마토 향미 특성을, 간장을 주재료로 포함한 시료들(SOY 및 JASOY)에 대해서는 간장향미 특성을 CATA 선호 이유로 보고하여, 위의 특성들에도 긍정적으로 반응하는 것을 알 수 있었다. 본 연구의 결과로 도출된 한국식 소스에 대한 한국 및 중국 소비자의 교차문화적 기호도 연구 결과는 향후 한국식 소스를 개발하고 세계화 하는데 있어 유용한 기초자료로 활용될 수 있을 것으로 보이며, 이를 통해 한국식 향미를 세계화하는 데 있어 이바지할 수 있을 것으로 여겨진다.

• 한국의상디자인학회지
• /
• 제20권1호
• /
• pp.61-77
• /
• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• 한국농촌건축학회논문집
• /
• 제17권1호
• /
• pp.105-112
• /
• 2015

The purpose of this study is to analyze characteristics of literature on the residential environments of Korean-Chinese people residing in China. The number of such studies on residential environment is a total of 123, of which 86 (69.9%) are Korean studies and 37 (30.1%) are Chinese studies. Research has been conducted in China since the 1980s, but from 1990s onward, research was conducted in Korea following the establishment of diplomatic ties between the two nations. More studies related to history, society, and tradition have been conducted in China than Korea because China is a multiracial nation and Korean-Chinese people comprise an ethnic minority. In terms of residential environment, the majority of studies are related to architecture and space and are typically focused on villages and housing. Studies on traditional housing of the Korean-Chinese focus on general characteristics of traditional housing, targeting China's three northeast provinces and the Yanbian Korean Autonomous Prefecture of China. Studies on modern housing of the Korean-Chinese have mainly been conducted in Yanji City in China. The reason for this is that 41% of Yanji City's population is Korean-Chinese, a distinct difference can be seen between Yanji City and other areas regarding changes of modern housing, and ondol (the traditional Korean floor heating system) is commonly found in modern housing there.

• 복식
• /
• 제64권6호
• /
• pp.47-64
• /
• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• 한국의류산업학회지
• /
• 제5권5호
• /
• pp.511-519
• /
• 2003

The traditional culture has been developed for a long time with an unique property according to folk character, custom and environment within an area. Especially in 1906, when the westerners were interested in oriental cultures more and more, Paul Poiret presented Japanese traditional dress of napping sleeve coats and harem pants, henceforth japanese fashion theme began to rise. The Japanese style rose as an important fashion item of the modern fashion, with various fashion themes such as orientalism, ethnic, folklore, ecology, etc., needless to say of activities of Japanese designers. The revealed patterns on Japanese dress and it's ornament plays a role of expressive decoration as well as stand for the nation, the ideology of the age and aesthetic consciousness. For this reason, it is necessary to study Japanese traditional patterns expressed in modern fashion systematically. Therefore, in this research, the demonstrated Japanese traditional patterns on the modern fashion were divided into natural, artificial and complex design and were looked out the characteristic, furthermore it was studied in regard that Japanese patterns were how to apply in modern fashion. It was concluded that the characteristics of the Japanese traditional patterns presented in the modern fashion were as follows: first, creation of environmental friendly design using plenty of natural materials; second, expression of paint-like impression and beauty of margins by simplifying of patterns; third, expression of amusing design by using bright colors and print; finally, various patterns were spreaded out complicated on dress. The characteristics of Japanese traditional patterns in the above were expressed in the modern fashion.

• 패션비즈니스
• /
• 제12권2호
• /
• pp.100-116
• /
• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• 복식
• /
• 제43권
• /
• pp.259-282
• /
• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• 헤리티지:역사와 과학
• /
• 제34권
• /
• pp.138-171
• /
• 2001

This paper, based on the filed survey conducted from August 14 to 21, 2000, examines the architectural characteristics of traditional dwellings of Sujeonchon(수전촌, 水田村) village. Sujeonchon village is located on the northen slope of Changbaishan Mt., Andohyun(안도현, 安圖縣) of jilin Province(吉林省), a province in the northeastern region of China. The village was established between late 1940's and early 1950's by the Korean-Chinese. Later on, some of the Korean-Chinese residents moved out of the village and presently, the residents are composed of both the Korean-Chinese and the Chinese consisting about fifty-fifty. Since the cultural background and the living custom are different from each other ethnic group, that is, the Korean-Chinese and the Chinese, their dwellings reveal some differences between them. Through the study, the architectural characteristics and distinctions of the Korean-Chinese and Chinese dwellings are found and summarized as follows: 1.The way of building layout is different between them: the Chinese mainly follows the north-south direction of building layout, while the Korean-Chinese considers the surrounding environmental condition. 2.The floor level of kitchen is different between them: that of the Chinese house is same as the outdoor earth level, while that of the Korean-Chinese is lower than the outdoor level. 3.The way of providing the kitchen space is different between them: the kitchen of the Chinese house is consist of one separate room, while that of the Korean-Chinese is open to the living area. 4.The way of heating system is different between them: the Chinese house has kang only at the sleeping area, while the Korean-Chinese install whole under-floor heating of gudeul in the living area. 5.The attitude to the way of building is different between them: the Chinese are easily adapt to the new building materials and construction method, while the Korean-Chinese are showing strong attachment to the traditional way of building. 6.The houses of the Chinese and the Korean-Chinese have their own traditional ornaments and talismans on and in the building.