• 한국의류학회지
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• 제10권1호
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• 대한가정학회지
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• 제44권4호
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• pp.1-9
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• 2006

This study examines the esthetic characteristics in the haute couture work of Jean Paul Gaultier, who represents the fashion in France and is famous for avant-garde and experimental works through dismantling, from the first haute couture collection in 1997 to the present. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in domestic and international fashion journals. Three characteristics are revealed in his works. First of all, he provided a transcendental fashion different from the established wearing or ornamental ways by dismantling the dichotomies between male and female, time and space, and beauty and ugliness. Second, he reflected the decadent beauty recognized as representing women's sexual and provocative expression based on exposure, suppression, perversion, and grotesque manifestations by shaping an esthetic value within a different point of view. Finally, he was characterized as being transcendental with an eclectic fusion of intercultural differences or dynamics, items in costume formation, time and space, and eastern and western. This transcendental expression, Gaultier's desire for creativeness, can be an ideal characterizing this era.

• 대한가정학회지
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• 제49권9호
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• pp.25-33
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• 2011

The number of Ryu Ji Kyung's costumes that have been discovered is small but includes various kinds of coat. These coats have become important clues when trying to determine styles of coat that were present in the mid-17he composition of the costumes found were various, including unlined, lined, padded and quilted variations. Unlined clothes were sewed using broad-stitching, hemming, half backstitching, and backstitching. The unique sewing style of the 17th century was shown in Ryu Ji Kyung's costumes. Seams on the back of one coat were not connected but rather sewed as a whole because of the width of the cloth. There was a more elaborate sewing style on lined clothes than on unlined clothes, alongside the use of selvage on the reverse of the costumes, marking the face not by using other clothes, but by the sewing line. Because of their to kit types, the width of the sleeves, the presence of a Cheolrik string, the ratio of the upper jacket to the bottom skirt, and the width between the armpits and bottom hems in Jungchimak, Ryu Ji Kyung's clothes can be used as exemplary models of mid-17th century clothing.

• Fashion, Industry and Education
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• 제14권2호
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• pp.47-59
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• 2016

This research is concerned with comparing fluctuation in the Korean and the US economies in order to ascertain the degree to which the former is influenced by changes in the latter. The aim of this research is to explore business cycles, to examine consumer expenditure in Korea and the US, and to discover the relationships between business fluctuation indexes and overall expenditure. Statistical data from the national statistics of Korea and the US during period from 1990 to 2015 were used. The instrument included a measure of GDP, unemployment rates, GDP deflator rate (inflation rates), and household income and expenditure. For the average annual household expenditures, food, apparel and transportation expenditure data were compared across the two countries. Data were collected separately from different (though comparable) sources and were analyzed using relatively straight forward statistical techniques. It was found that Korean and the US consumers' income and expenditure were greatly affected by economic fluctuations. Total expenditure and the expenditures for food and transportation were much influenced by business fluctuation in the US, whereas, the expenditures for apparel were much influenced by business fluctuation in Korea.

• 대한가정학회지
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• 제43권3호
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• pp.131-145
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• 2005

The purpose of the study was to determine ae forms, patterns and structures of Huipils as traditional clothes in Guatemala and Mexico, and to cite possibilities of applying the findings of the study, acquired by comparing the differences of the two countries' Huipils, to textile or costume design. There are two types of Huipils. One is for everyday wear and another one is for special occasion. The latter is bigger in size, more colorful and is worn on top of the daily use Huipil. Huipils consist of 1 to 3 panels, and are usually made by weaving rectangular cloth which has 4 selvedges. There are various neckline such as - type, T type, 1 type, round type and square type. The types of the neckline depends on how many panels are used. The Mexican Huipils are worn usually over skirts, whereas the Huipils of Guatemalans are practically designed with white cotton that doesn't have any patterns so as to be easily put into skirts. Different from Mexicans' Huipils which mainly show big botanical patterns, the patterns of Guatemalans' Huipils combine animals, plants and abstract concepts display mixed aspects, and it seems to me that that expressed their emotions and dearest wishes.

• 대한가정학회지
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• 제46권3호
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• pp.1-12
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• 2008

This study examines the unique characteristics of the color red in relation to images used in areas other than fashion, such as the film or advertising industries. Based on analysed results, the aim was to identify red-colored costume's images expressed in contemporary fashion. Analysis of collected data has lead to four main findings. First, the fashion in which the red color is used delivers a voluptuous image when combined with a skinny silhouette or glossy and transparent dress material, arousing a strong sexual desire in a direct or indirect manner when exposing the body in public. Second, the fashion emphasizes a simplified appearance by minimizing the steps of the production process such as cutting, sewing, and decoration without artificial structural lines and creates an image of simplicity through a single red color or tone-in-tone colorations. Third, the red color, which carries a simultaneous negative and pleasure image represents grotesque playfulness by distorting or exaggerating clothes, transforming the body in disregard of clothing construction, or introducing unnatural makeup. Fourth, in combination of simple and clinging shapes, a material feeling tough like leather and an intensely noticeable red tone, promotes the feminine rather than masculine quality in a splendid, aggressive sporty and active "alpha girl" image.

• 한국의류학회지
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• 제4권1_2호
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• pp.1-9
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• 1980

The purpose of this study were: (1) to determine buying practices of mothers concerning child-ren's shirts and slacks; (2) to find out the characteristics of satisfaction and dissatisfaction about these same two items of children's clothing; (3) to make gathered information available to consumers and manufacturers, and to suggest ways to improve children's clothing for consumers. The data for this study were collected through questionaires to 789 mothers of seven and eight years old children in three elementary schools from December 3 to December 14, 1978. The findings are as follows: 1. More than $71\%$ of mothers stated that all of their children's shirts and slacks were purchased ready-made. More than half of the children acquired some part of their clothing through hand-me-downs. 2. The store in which mothers purchased their children clothing most frequently was near-by market or wholesale market and the next was children's wear specialty shop. 3. Childrens accompanied mothers more frequently when slacks were being purchased than when shirts were. 4. More than half the children of seven and eight years old wear size 9$\~$10 and the next common size was size 11$\~$12. 5. Most mothers determined the proper size in clothing by having the child actually try on the clothing. 6. $44\%$ of mothers stated that they have a fitting problem with shirts and $64\%$ of mothers stated that they have fitting problems with slacks.

• 한국의류학회지
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• 제44권5호
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• pp.856-877
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• 2020

This study examines how class differences are expressed through costumes based on the costumes of characters in Bong Joon-Ho's film . Based on Video on Demand (VOD), the main situations in which characters' costumes change in the play were captured and used as analysis data. Colors, textures, and color symbol were analyzed to find the formative properties shown in the characters' costumes. The results are as follows. The home wear of Kim's family were unsuitable for the top and bottom, faded clothes, and the vague boundary between outdoor and indoor clothes appeared. In comparison, Park's family's home wear was featured a modern and elegant design, a clear distinction that suited purpose and situation. Analysis of street wear showed that the Kim's family had a big difference before and after getting a job, and Park's family wore different costumes for the purpose of going out. Social class expressed in the film costumes were shown to have the characteristics of intrinsic class invariance, temporary class changes, differences in class expression by age, and differences in costume choice by class.

• 한국의류학회지
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• 제47권2호
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• 한국식생활문화학회지
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• 제21권2호
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• pp.154-160
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• 2006

This study examines the service satisfaction rate on high school students(637) in order to provide the basic data for marketing direction by analyzing the importance and satisfaction rate of the service quality. In IPA for the service quality, as the following properties are high in expectation as well as satisfaction they needed to maintain. They are the taste, scent, saltiness, proper temperature of the food, the quantity main food, nutritional value, the degree of freshness, and the smell of dining room. The following properties need the excessive efforts. They are the number of side dishes, eating place, the shape and material quality of dish, the costume of dining workers. As the following showed low importance degrees as well as satisfaction degrees, they don't need concentrated efforts. They are the harmony of color and shape, the interior design of the dining room, the arrangement of tables and chairs, the atmosphere of dining room, and the effect of nutrition instruction. As the education of nutrition is compulsory among the school group meal, the analysis based on the response of questioned students is supposed to be more careful. The items showing low satisfaction degrees while high importance degrees are considered to make an operational plans for the improvement through a variety of menu, the quality of food, the quantity for side-dishes, health control, the cleanness of dishes, the kindness of cooks, the performance of nutritionists, the charge of school meal, and meal time.