• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.175-192
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• 2017

The purpose of this study is to provide the characteristics and development direction of K-fashion and to systematize the strategic features performed by government agencies, fashion associations, fashion companies, and other companies to activate K-fashion. This research analyzed K-fashion related articles published in major newspapers and magazines in Korea from the late 1990s to early 2017. The results of the study are as follows. 1. The characteristics of K-fashion are as follows: The first is a trendy and sophisticated design with modern sensibilities, unique designs that reinterpret the latest trends with designer creativity, practical and popular designs that ordinary people can wear comfortably in everyday life. The second is functional and trendy materials. The third is excellent sewing technology. The fourth is rapid turnover of products by quick connections among planning, production and sales. The fifth is a lower price than quality. 2. The direction for K-fashion to pursue was the continuous and ongoing development of the above characteristics and the creation of a 'design with the Korean emotion of its 5,000 year history'. 3. The following projects were carried out to promote K-fashion. 1) Utilization of K-pop, K-drama and other Korean wave content. (1) Holding a fashion concert event that combines Idol's K-Pop performances with fashion shows. (2) Hallyu (Korean wave) star's costume support and design collaboration with Hallyu stars. (3) Collaboration between entertainment companies and fashion companies. 2) Nurturing a global fashion branding project. 3) Business support for overseas expansion of the K-fashion brand. (1) Support project for foreign trade fair participation. (2) Holding a fashion brand fair in Korea. (3) Overseas business support by establishing a showroom and design center 4) Business to discover and nurture new designers

• East Asian Journal of Business Economics (EAJBE)
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• v.1 no.2
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• pp.29-41
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• 2013

Purpose: Today, travelers are provided large amount information which includes Web sites and tourist magazines about introduction of tourist spot. Many approaches have been proposed to analyze the large amount of available information with the aim of discovering the most popular Points of Tourist Interest and routes. However, it is not easy for users to process the information in a short time. Therefore travelers prefer to receive pertinent information easier and have that information presented in a clear and concise manner. Research Design, Data and Methodology: Whether you are looking for banks by company, foreign exchange services, free wireless hotspots, touristic attractions, campsites, supermarkets, restaurants, cinemas, The aim of POI Tourism Services is to enable tourists to find spots that only the locals know, giving the tourists opportunity to the tourists to explore new areas of the place like never before. This paper proposes find the scope for a personalized service for tourist "Special Interest Tourism" recommendation for tourists who travel within India & for the benefit of Foreign Nationals who visit the country. Results: The major focus of the study is to understand the demand for such a service being integrated into the conventional tour package. The major findings made during the course of the show that the market for "Special Interest Tourism" based services stands at approximately 63%. Travel today is mainly for the people from the middle income group having a fixed budget while traveling and would like economic travel solutions that fit their budget. Conclusion: This accounts for a major part of the market for the service. Most tourist prefer to go on week end getaways or trips that last more than a week, this means that a specialized trip plan based on the travelers interests is feasible with these type of travelers. Maximum demand for "Special Interest Tourism" based services would be during the festive seasons.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.123-131
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• 1998

This research was investigated the improved changes of Korean traditional costume after introducing the western costumes in this society. For this study microfilms of Chosun llbo, the popular newspaper since 1920s, and costume magazines for 1950s and 1960s were examined. The periods of the improved changing of Korean traditional costume were divided by the characteristics of qualitative and quantitative changes. Those were two, such as passive period and active period of change. At passive period, the change was not far from the original from of traditional costume and it was limited to the waist of skirt, length and width. But at active period, there was distinctive change from the previous period. Active period is divided by 2 sub-period again. In 1950s, the concept of darts of western costume was accepted to Korean costume and there was the western clothing for everyday costume, the characteristics of Korean costume were added to the base of the western clothing. It was named 'Arirang dress'. Original Korean costume had worn for special occasions since late 1950s.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1374-1385
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• 2009

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

• Journal of the Korean Society of Food Culture
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• v.37 no.5
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• pp.418-428
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• 2022

Research on the birth (起源) and names (語源) of foods such as kimchi is important to understand traditional food culture. kimchi, an 'add flavored, fermented, pickled, vegetable food' was initially prepared with the simple purpose of increasing storage capabilities, but later, through a complex process of change, morphological diversification occurred. In addition to the basic name of 'kimchi', each variety has its unique name and history. This study was conducted through qualitative research using various research methods, such as oral records and interviews, as well as investigation of data from literature, including ancient literature, modern cookbooks, newspapers, magazines, papers, and videos. The study sought to investigate the context and the meaning of the name Chonggak kimchi. In addition, it is a compilation of how the name spread through the ages and evolved to its current name. The name Chonggak kimchi did not exist during the Joseon Dynasty and Japanese occupation and first appeared in the records in the late 1950s. Nevertheless, the original name of 'Altarimu kimchi' evolved and finally became a part of the standard Korean language (標準語) in 1988. In the process of the name spreading and becoming popular, the movie "Chonggak kimchi (1964)," starring Shin, S.I., and Eom, A.R. played a significant role. It was also confirmed that this was a meaningful and valuable case of contentization of traditional food culture, regardless of the intention behind the same.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.46-58
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• 2021

Parks became essential to people after the introduction of modern parks in Korea. Following mayoral elections by popular vote, issues surrounding parks, such as the creation of parks, have arisen and have been publicized by the media, allowing for the formation of discourse. Accordingly, this study conducted a topic analysis by collecting news articles from major media outlets in Korea that addressed issues related to parks since 1995, after the introduction of mayoral elections by popular vote, and analyzed changes over time in the discourse on parks through semantic network analysis. As a result of a Latent Dirichlet allocation topic modeling analysis, the following five topics were classified: urban park expansion (Topic 1), historical and cultural parks (Topic 2), use programs (Topic 3), zoo event (Topic 4), and conflicts in the park creation process (Topic 5). The park-related discourse addressed by the media is as follows. First, the creation process and conflicts regarding the quantitative expansion of parks are treated as the central discourse. Second, the names of parks appear as keywords every time a new park is created, and they are mentioned continuously from then on, thereby playing an important role in the formation of discourse. Third, 'residents' form discourse about the public nature of the park as the principal agent in park-related media. This study has significance in that it examines how parks are interpreted and how discourse is formed and changed by the media. It is expected that discourse on parks will be addressed from various perspectives in further research focusing on other media, such as regional and specialized magazines.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.

• Cartoon and Animation Studies
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• s.27
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• pp.99-125
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• 2012

Shojo manga, one of Japan's comic genres, is well-known around the world. There is an equivalent manga genre in Korea and it is called Sunjeong Manhwa. What distinguishes shojo manga from other comic genres is its unique visual representation of the inner world of comic characters. In this study, shojo manga depicted in various shojo magazines in the early 1960s are analyzed. The magazines reviewed include Shojo, Shojo Club and Shojo Book. Among the visual representations, flower expression, panel composition and title page design are selected for analysis. Based on the results of the analysis, the basic elements of shojo manga are portrayed well in manga published in the early 1960s, during which several female cartoonists actively led the creation of the said genre. These findings confirm that the representations adopted in shojo manga for the purpose of expressing the inner world and psychological aspects of the main characters were already evident in the early 1960s. According to earlier studies, shojo manga reached its golden age in the 1970s, when the genre's format and representation method were developed to its full extent. Therefore, studies investigating shojo manga often focused on this golden era, during which a variety of comics emerged and stories and presentation skills further improved. An increasing number of readers began reading shojo manga. Popular cartoonists also emerged, further accelerating the genre's burgeoning popularity. However, there has been no investigation on the unique representations found in shojo manga. This means that the shojo manga published between the late 1950s and the early 1960s were underestimated compared with those published in the 1970s. The aim of this study, therefore, is to reassess the comic works and cartoonists that led to the establishment of shojo manga by analyzing visual representations of shojo manga published from 1958 to 1963. This study proposes new ideas on when the unique representations of shojo manga first emerged and how those representations were described.