• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.916-927
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• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.679-685
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• 2011

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Power suit in 1980s and the images of the Power suit styles shown in 08/09 F/W, 09 S/S, 09/10 F/W and 10 S/S collections. The results of this study are as follows: 1) The aesthetic values of the Power suit in 1980s are authority, sexuality and luxury to express the power, body and wealth. Authority is represented in wide and hard shoulders with pads and dark colors with stripe and no patterns. Sexuality is represented in tight waist jacket and tight skirt. Luxury is represented in luxurious fabrics and handicraft ornaments. 2) The Power suit styles shown in collections are expressed in classic, romantic, avant-garde and ethnic images: Classic images appeared in jacket which exaggerated shoulders with pads, mini skirt, tapered pants, dark colors with stripe and check patterns, rough materials and a waist belt. Romantic images are represented in the skirt with an asymmetric hem, pastel and splendid colors, lace and silk, romantic details made with gathers and flounces and fantastic accessories. Avant-garde images appeared in the deformed jacket, unperfected skirt, special materials and exaggerated accessories. Ethnic images are represented in big silhouette forms with wide shoulders jacket and wide pants, ethnic patterns, gold, orange and other vivid colors and ethnic accessories.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.473-487
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• 2011

The purpose of this study is to analyze the body type and fashion of posthuman in SF movies. The method of this study was to analyze documentaries, internet web site, fashion books and so forth. The results were as follows: The body types of posthuman were expressed as mutation type, prosthetic type, clone type by biological hybrid or renovation and digital type by computer simulation. The mutation type was expressed as reinforcement of masculinity or feminity and reinforcement of body functions. The fashion item was expressed as a black tailored suit, leather jacket, cat suit, whip, black sunglass, garter belt, high heel shoes, short pants, black one piece dress and functional body suit. The prosthetic type was expressed as reinforcement of body functions and reinforcement of masculinity or feminity. The fashion item was expressed as a military item, high-tech power suit and ergonomic armor suit. The clone type was expressed as the plural ego with reinforcement of body functions. The fashion item was expressed as a power shoulder jacket, fake fur coat, vinyl, black see-through look and functional suit. The digital type was expressed as reinforcement of masculinity or feminity and the plural ego with reinforcement of body functions. The fashion item was expressed as a data suit, leather jacket, black over coat, boots, black sun glass, ethnic items and military items. The meanings of posthuman fashion in SF movies were impurity of posthuman, display of superhuman's power by sexuality, metaphor of power and fantasy of superhero in opposition futuristic dystopia. As mentioned above, posthuman body type and fashion in SF movies become the conversational topic in the real world. The fact that we think about utopia and identity of posthuman in the future is of great significance.

• Journal of the Ergonomics Society of Korea
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• v.15 no.1
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• pp.91-103
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• 1996

For determining thermal comfort properties of work suit in an atomic power plant, three different coverall ensembles (PVE, PET/Rayon, PP Nonwoven) were selected and the resistance to dry and evaporative heat transfer were measured for each ensemble by using a sweating thermal manikin. Also, PMV (Predicted Mean Vote) and PPD(Predicted Percentage of Dissatisfied) indices were predicted according to ISO 7730. As a result, ideal environmental conditions in an atomic power plant were suggested to make workers feel thermally comfortable. In addition, ideal intrinsic insulation values of coverall ensembles as a work suit under the present environmental conditions in the at6omic power plant were provided. The information given in this paper can be used to control environmental conditions in the atomic power plant thermally comfortable and to select a proper work suit for providing thermal comfort to the workers.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2009.06a
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• pp.957-958
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• 2009

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.125-135
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• 2011

This study compares the expected values of appearance management for the suit buying behavior of men in two age groups: (20s-30s and 40s-50s) to investigate the effect of male consumers' expected values in regards to appearance management on the purchase behavior of men's suits between two generations. A survey was carried out with male consumers between the ages of 20 and 50; a total of 135 responses were analyzed by descriptive analysis, factor analysis, a reliability test, an independent samples t-test, MANOVA, ANOVA, and regression analysis. The results of this study were as follows: 1) From a result of the factor analysis on male consumers' expected value of appearance management and the information sources and purchase evaluative criteria for buying men's suits, each of three variance assessments clearly showed factorial structures. 2) There were significant differences between those in their 20s-30s and those in their 40s-50s in terms of male consumers' expected values of appearance management, their information sources, and their purchase evaluative criteria when buying men's suits. 3) As a result of looking at the differences in the effects of expected values of appearance management on men's suit buying behavior according to age (generation), the younger generation in this study showed that men's suit purchasing tendency was affected by the managing appearance factor for internal reasons such as enjoyment and self-satisfaction. On the other hand, the assessment of the older generation revealed that appearance management for external reasons such as showing social power, good human relationships, and conformity influenced their suit purchase behaviors.

• Journal of the Korean Home Economics Association
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• v.33 no.5
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• pp.75-88
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• 1995

The objectives of this study were to classify the contents of clothing shopping orientation, to group women into shopper types, and to examine the differences in clothing purchase criteria according to the shopper types. Samples were 335 women(20-49 years of age) in Seoul, Korea. The data were analyzed using factor analysis, cluster analysis, one-way ANOVA, Duncan's multiple range test, X2 test, paired t-test, multiple regression analysis. The results of the study were the followings. 1. Five factors of clothing shopping orientation derived by factor analysis : F.1 'impulsive shopping' ; F.2 'rational shopping' ; F.3 'independent shopping' ; F.4 'economic shopping' ; F.5 'convenient shopping'. Three shopper types were classified by cluster analysis of the 5 factors : T.1 'convenient shopper' ; T.2 'impulsive shopper' ; T.3 'rational shopper'. 2. Significant differences were found among the 3 shopper types in all clothing purchase criteria. Rational shopper perceived all purchase criteria as more important than did the other 2 types. Impulsive shopper perceived 'fashion', 'attractiveness', 'style', and 'bland' as more important than did convenient shopper. 3. Married women and unemployed women were more distributed in rational shopper, while the unmarried and the employed more in impulsive shopper. Impulsive shopper used more credit care, purchased suits and blouses at department store and brand specialty store more than did rational shopper. Rational shopper purchased at discount store and wholesale store more than did impulsive shopper. 4. Women assessed 'color and fabric design' as most important in suit and blouse purchase criteria. 'Care' was perceived more important in blouses than in suits, and the other 9 purchase criteria(fashion, attractiveness, style, color and fabric design, fabric, durability, costruction, comfort, and brand) were perceived more important in suits than in blouses. 5. Rational and economic shopping orientation scores were higher in suit purchase than in blouse, while impulsive, independent, and convenient shopping orientation scores were higher in blouse purchase. 6. Post-purchase suit satisfaction was influenced by rational shopping orientation, educational level, style, income, and comfort. The explanatory power of the 5 variables was 17.2%. Post-purchase blouse satisfaction was influenced by style, care, rational shopping orientation, and independent shopping orientation. The explanatory power of the 4 variables was 10.2%.

• Journal of Fashion Business
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• v.15 no.1
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• pp.171-184
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• 2011

This paper is purposed to clarify that an increase of the matter of concern about men's fashion in the mid-1980s was coincided with rapid change of images for men and diversification within the context of economy, society, culture and to analyze the characteristic of each fashion and the meaning. Findings are as follows: 'New men' played a key role creating and communicating the new male image through the media, as a new masculine appeared in the middle of 1980s. Especially it was spreaded into with British as a center between the generations of young men described as a white-collar worker about the ages from 18 to 35 specifically and appeared by the cultural background in accordance with the spread of consumerism, materialism and post modern feminism and the development of men's fashion. There were 2 types of fashion styles for 'New men' image on the media in the mid-1980s. The First is 'power suit look style' which is self-conscious, including 'corporate formal suit look' and 'soft & sexy suit look'. The Second is 'extravagant body conscious style' which characterize the decolletage and androgynous, including 'tough sports look' and 'sexy skirt look'. Lastly, the 'New men' image means a man as a visible object and a man in the image world.

• Journal of Arbitration Studies
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• v.27 no.1
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• pp.85-106
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• 2017

This article deals with the relationship between arbitration and state court in each procedural stage. As most legal systems over the world respect arbitration agreement, the relationship between arbitration and state courts puts emphasis on party autonomy and provides the independent power of arbitration agreement tribunal (Kompetenz-Kompetenz). Most institutional arbitration rules the arbitral tribunal to rule on its own jurisdiction. Modern national laws have similar provisions based on Art. 16 UNCITRAL Model Law. In this regards the author throws a question in Chapter II, whether the doctrine of Kompetenz-Kompetenz, namely the ability of the tribunal to decide upon its own jurisdiction is worth while persisting, and whether the Kompetenz-Kompetenz-agreement should be regarded as valid, with the conclusion, that this doctrine should concede to the power of state court and that Kompetenz-Kompetenz-Klausel is invalid. In Chapter III the author discusses the issue of whether the breach of an arbitration agreement could lead to the compensation of damage. Although the author stands for the procedural character of arbitration agreement, he offers a proposal that the breach of an arbitration agreement bring about the compensation of damage. The issue of anti-suit injunction is discussed also in this Chapter. He is against the approval of anti-suit injunction based on an arbitration agreement resisting the other party from pursuing a lawsuit in a foreign country.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.2073-2084
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• 2010

This study provides references that can be applied to future suit design by analyzing the formative characteristics of modern men's and women's suits. Research on related literature and case studies were carried out simultaneously. A criterion for analyzing formative characteristics of suits was drawn up through an examination of past research. A total of 1,410 suit photographs that appeared in the U.S. edition of Vogue Magazine from 1985 to 2008 were analyzed in order to observe the formative characteristics of men's and women's suits. Research results showed that in the 1980s suits pursued a more comfortable and natural fit based on the original properties of simplicity, modernity, and practicality; in addition, women's suits had a tendency to use excessive shoulder pads due to the power-look influence. In the early 1990s exaggerated shoulders and boxy straight silhouettes were in fashion but towards the later years suit designs gradually started to fit the body and established a skinny versus slouch conflict. Women's suits gradually began to show more curvy body lines, and men's suits became more feminine on the surface in terms of color and material. In the 2000s suits have become more feminine and sensual than the 1990s, design focuses of both men's and women's suits moved to the waistline. Skinny and long styles became the ideal silhouette and differences between formative characteristics of the two genders decreased. Fashion elements of men's and women's suits are seen to have changed with a mutual intimate connection under the influence of a similar societal environment.