• Journal of Fashion Business
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• v.13 no.4
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• pp.163-177
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• 2009

In this study, the characteristics of headwear design by John Galliano's collections had been placed under the interpreting the immanent characteristics of presented in external things. His headwear design was found to have following characteristics; ethnic forms, historical forms, natural modeling forms, artifical forms, false hair forms and abstract forms. And his headwear design was found to have folling immanent characteristics; expaned exaggeration, introduced into existing form and reconstruction, mixed with different motives, change of texture, introducing and parody by natural and artifical form, pure abstacted construction. Furthermore, it can be identified that immanent characteristics and external things are mutually linked.

• Science of Emotion and Sensibility
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• v.25 no.4
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• pp.3-20
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• 2022

The origins of the world-recognized Korean gat can be traced back to Gojoseon, and the jades for the sangtu and gwanja come from Hongshan culture. This study examines the etymology of the hat, the symbolism of the gat and the jade comb, and the history of the development of the accessories for the hat. The research methods of literature review, investigation of relics and murals, and analysis of cases of pronunciation changes were used. Most of the relics excavated from the Hongshan are identical to those excavated from Korea. The Byun-Khan people wore a triangle-shaped conical hat (the byun), which was shaped to fit the protruding sangtu hairstyle, with a foldable brim that, if pulled downward, changed the hat to a gat. The Chu sangtu, a pointed top-knot hairstyle, is uniquely found among Northeast Asian peoples, and it is an ethnic symbol for Koreans. Until the modern period, many Koreans wore their hair in the sangtu style, indicating their descent from the sky. Jade combs shaped like birds and clouds from the Hongshan period emphasized the religious nature and ceremony of hair styling at that period. The word hat is widely used to refer to gat all over the world. The pronunciation of ㄱg, ㅎh. and ㅋq/kh are closely related to each other, and the ancient pronunciation ㄱg gradually evolved to ㅎh or ㅋq/kh. The English 'Hat' and Korean 'Gat' were transformed from the middle-ancient sound 'gasa > gosa > got' of the crown 'gwan, gokkal'. This creative hair style culture that started from the Hongshan culture continued to be fashionable during the Gojoseon Dangun period, and the decoration techniques for hats and accessories were inherited over time and continuously developed. Along with the method of making gat, creative hair-related parts, such as manggeons, donggot pins, gwanja buttons, and fine combs were developed over the course of a thousand years.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.470-480
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• 2003

This study looks upon the borderless phenomenon of genres and at the disintegration of boundaries in fashion, the current 'borderless trend', and analyze modern men's fashion having borderless phenomenon under social changes and disclose current men's fashion. The borderless phenomenon of men's fashion declines traditional image of gender and expresses modern men's images strongly in accordance with social changes: Thus, in modern days, men's images have changed from muscular men having show-off and superiority to women-like men having pearly skin and slender figure. Men's fashion also looked for feminization to let men like make-up, beauty salon, cosmetic surgery and women-like hair style, etc. Men have been also given women's sexy and sensual beauty to put on innerwear as an outerwearization. The Influx and mixing of mutually different cultures is expressed in Hippie, Ethnic, Oriental trends. Mutually opposing country's factors mix so that a new culture is established. Also, the sharing of fashions amongst younger and older generation has occurred for reasons that are similar to the reasons above.

• Journal of Fashion Business
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• v.17 no.6
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.

• The Journal of Korean Academy of Prosthodontics
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• v.34 no.3
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• pp.457-463
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• 1996

An esthetically pleasing result in denture service is dependent upon several consideration. Esthetic considerations for the edentulous patient include tooth size, shape, arrangement, positioning, gingival contour, age, sex, personality differences, and ethnic type. Especially, the form of anterior artificial teeth is an important factor on the esthetics. The selection of artificaial teeth requires understanding and knowledge on physical and biologic factors and has to meet the indivisul esthetics and functional needs of each patient. However, the selection of artificial teeth is based on the large degree of subjective judgement of the dentist, Therefore, this is one of the most unscientific processes. Many attempts have been made to find a guideline for the selection of artificial teeth. Temperamental theory by White and Hall utillized with the physical characteristics such as body size, body form, color of eyes and hair, and disposition. SPA theory by Frush and Fisher utilized with the basis of sex, personalities, and age of the indivisual. There has not been provided for a guideline and study on the selection of artificial teeth for Koreans yet. This study was aimed to evaluate the William's typal matching theory in Koreans. 1. The facial forms of korean adult were ovoid(46.3%), square(36.7%) and tapered(17.0%) form. 2. The anatomic forms of natural maxillary incisors were ovoid(45.3%), tapered(31.3%), square(23.3%) form. 3. The forms of face and natural maxillary incisors were ovoid(21.9%), squared(11%), tapered(6.3%). 4. The natural maxillary incisors were similar in form to the facial form only in 39%. There was no correlation between the form of the face and the form of natural maxillary central inisors in Koreans. 5. Artificaial teeth which was selected according to the typal matching theory did not represent the form of the natural teeth in 61 per cents of the fatal, but it felt that they harmonized with the form of the patient's face and produced good results.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.23 no.1
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• pp.5-20
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• 1997

War and poverty depress the consumption of cosmetics, while peace and prosperity encourage their proliferation. With the end of World War II, the US, Europe and Japan witnessed rapid growth of their cosmetic industries. The ending of the Cold War has stimulated the growth of the industry in Eastern Europe. Improved economies, and mass communication are also responsible for the fast growth of the cosmetic industries in many Asian nations. The rapid development of the cosmetic industry in mainland China over the past decade proves that changing economies and political climates can deeply affect the health of our business. In addition to war, economy, political climate and mass communication, factors such as lifestyle, religion, morality and value concepts, can also affect the growth of our industry. Cosmetics are the product of the society. As society and the needs of its people change, cosmetics also evolve with respect to their contents, packaging, distribution, marketing concepts, and emphasis. In many ways, cosmetics mirror our society, reflecting social changes. Until the early 70's, cosmetics in the US were primarily developed for white women. The civil rights movement of the 60's gave birth to ethnic cosmetics, and products designed for African-Americans became popular in the 70's and 80's. The consumerism of the 70's led the FDA to tighten cosmetic regulations, forcing manufacturers to disclose ingredients on their labels. The result was the spread of safety-oriented, "hypoallergenic" cosmetics and more selective use of ingredients. The new ingredient labeling law in Europe is also likely to affect the manner in which development chemists choose ingredients for new products. Environmental pollution, too, can affect cosmetics trends. For example, the concern over ozone depletion in the stratosphere has promoted the consumption of suncare products. Similarly, the popularity of natural cosmetic ingredients, the search of non-animal testing methods, and ecology-conscious cosmetic packaging seen in recent years all reflect the profound influences of our changing world. In the 1980's, a class of efficacy-oriented skin-care products, which the New York Times dubbed "serious" cosmetics, emerged in the US. "Cosmeceuticals" refer to hybrids of cosmetics and pharmaceuticals which have gained importance in the US in the 90's and are quickly spreading world-wide. In spite of regulatory problems, consumer demand and new technologies continue to encourage their development. New classes of cosmeceuticals are emerging to meet the demands of increasingly affluent Asian consumers as we enter the 21st century. as we enter the 21st century.