• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.108-127
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• 2006

The purpose of this study is to examine the principles of clothing design and the way of design approach in Lamanova. She caused a revolution in the art of dress and created the foundation for costume design theory. She Addressed Art in everyday life to self-taught dressmakers. The distinguishing feature of the design is simplicity and functionality. In an article "The Russian Style", Lamanova raised the question of the new Soviet costume and traditional costume. In "On Contemporary Costume" she classified the new forms of clothes into everyday and holiday attire, showed the principles of costume, and analyzed in detail the necessity of constructing a costume to suit the individual figure. In "On the Rationality of Costume", she found a basis theory for clothing design which is for whom, from what, and for what purpose. Lamanova's theory was made public in full in 1928 and was presented at the exhibition of Handmade Textiles and Embroidery in Women's Contemporary Costume. The main contents are the costume's purpose, it's material, the figure of its wearer, and its form. She argued that the new costume could be in line with the new life and her theory could be the creed of clothing designers. The principles of Lamanova's theory can still be applied today, not only in Russian traditional and contemporary costume, but in contemporary world fashion.

• Journal of the Korean Home Economics Association
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• v.31 no.3
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• pp.15-27
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• 1993

The Purpose of this study is to serve as the basic data for the succession of traditional culture. The subjects of this study were (926) mothers and their daughters living in Taegu. The analysis of the data was done through SPSS pc+ programs. The major findings of this study are as follows: 1. Regarding to the degree of the people's participation in Traditional Customs of Four Seasons,“New Year's Day”,“Chusok(Chinese Thanks-giving Day)”,“Sangwon(The 1st Full-Moon Day)”,“boknal”are the occasions of the high participation. Ragarding to the characteristics of the groups participating, mothers' groups (compared with daughters'), the group with the positive concept about the customs(compared with the one with the negative concept), and the buddhist group(compared with other religion) are predominant. 2. Regarding to the degree of women's working lord for the Traditional Customs of Four Seasons, the significant variables on family environment in which the women are situated are family religion, The place of grown-up, Daugthers-in-laws order, and family type. Family type is found as the significant variable of Family environment in the degree of socialization of preparing effort of dishes. 3. Through factor analysis concepts of the Traditional Customs of Four Seasons are classified into 3 type, i.e.,「Conventional customs of good morals」,「Women's role in preparation for dishes」, and「The weights of the related load in women's housework」. 4. The direct factors influencing the women's housework related to Traditional Customs of Four Seasons are「Conventional customs of good morals」,「The weights of the related load in women's housework」and「The satisfaction of Traditional Customs of Four Seasons」. The indirect factor is found as 「Conventional customs of good morals」.

• Journal of the Korean Home Economics Association
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• v.43 no.11 s.213
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• pp.141-152
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• 2005

The purpose of this study was to investigate the actual state of Korean 'geese mothers' in New Zealand. The analysis was peformed for 66 Korean mothers, who had moved temporarily to New Zealand for their children's education. The data have been analyzed by frequencies, percentiles and content analysis. The summarized results of this study are as follows. Most of the mothers were living in New Zealand temporarily for one to three years with one or two children. They hoped that their children will gain better and wide-spread opportunities because of studying abroad. The mothers expected their children to become well prepared as internationalized persons, able to achieve a satisfying occupation with high standard abilities. New Zealand's education system and their migration were highly satisfactory in the mothers' opinions. Most of the them contacted with their husbands who remained in Korea, through e-mails and phone calls, at least once in a week. Most of their friends were Koreans. They listed differences of language, mental values, and personalities as the reasons for having a larger number of Korean friends. The communication with the friends in New Zealand were being done by phones and e-mails mainly. Although there are difficulties for them to communicate others in English, they preferred to enjoy leisure time outside other rather than stay in house. And they gave themselves positive rates on adapting to the new environment, New Zealand.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• Proceedings of the PSK Conference
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• 2003.10b
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• pp.249.2-250
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• 2003

${\beta}$-blockers are considered as standard therapy for patients with stable chronic heart failure (CHF) and to prolong survival and reduce hospitalizations. We examined the effects of the ${\beta}$-blocker on mortality, hospitalization and symptoms in patients with CHF and the related factors to the use of ${\beta}$-blockers. Patients in New York Heart Association class II-IV were included if they were treated for heart failure from January 2002 to June 2002. At baseline, 6 months, and 12 months, they were assessed for the change of NYHA class and all deaths and hospital admissions. (omitted)

• The Korean Nurse
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• v.15 no.4 s.84
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• pp.12-14
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• 1976

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.1-8
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• 2001

No Abstract.See Full-text

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.115-123
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• 2001

The crossover in fashion refers to the coordination of different items, each with a different atmosphere. In a broad sense, it is the mutual exchange across the existing areas, that is, the creation of a new style by disparate and opposite elements coexisting in a look. This paper studies typical features of the crossover shown in modern fashion based on sub-culture by examining the concept and formation factors of the crossover through social aspects rather than particular art modes to predict the current fashion and suggest a new direction. Crossover fashion appeared in social and cultural environments, has four characteristics : the visual discordance of sexes, the appearance of the lingerie look, the mixture of folk style, and the appearance of the reactionary mode. The crossover, appeared in sub-cultures and diffused into the public, may be considered the creation of a new sense of beauty and a possibility for the future. It is expected to keep expanding ifs range in fashion, since it is an expression of human will to restore liberal sensibility not confined to formality.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.55-79
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• 2000

This study is the design research for the practical use of Casual Hanbok. The conclusion of basic research for Casual Hanbok design reads as follows. Today's college women are fairly positive to the practical use of Casual Hanbok. Especially, they are strongly interested in the new design and have the active intention to wear it on actually. The concrete design of every parts of Casual Hanbok which is wanted by college women is as follows. Firstly, college women like well matched two-piece dress style in colors. And they want to decide the coloration independently than to follow the traditional coloration passively. Secondly, according to the design of jacket, sometimes they like the presence of a collar, a collar strip, a gore etc. and at other times they like absence of them. Thirdly, the side line of jacket they like and the seam line of sleeve they like is smoothly curved one and the adjusting means they like is a fancy button. Fourthly, the length of jacket they like reaches to their waist and the width of an armhole they like must be convenient for moving of arm. Fifthly, one out of two college women likes mixed spinning fabrics as material for jacket, skirt, pants. In the other hand, one out of five college women likes cotton. Sixthly, the skirt style they like is A ­line one having from two to four gathers on the waist and the length of skirt they like reaches to their ankle or calf of the leg. Seventhly, the pants style they like is the western style but the hem line of pants is the korean traditional pants style.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.16-26
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• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.