• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.56-68
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• 2016

Popular culture has symbolic meaning and has been constructed through different mass media. Newspapers played a significant role in 1950s and 1960s public culture. In particular, editorial cartoons in newspapers expressed social aspects of the age implicitly through satire and criticism. This study examines delivered culture by reflecting the past social aspects and inquiring on clothing featured in the editorial cartoon "Gobau". As for a research method, literature research was conducted on clothing of the age with a review of "Gobau". As for a research range, examination was done based on the complete works of Gobau composed of 5 volumes published as a first edition by Hankookmunhwasa on November, 1973. Early "Gobau" cartoons from 1951-1963 were published in 5 volumes; therefore, research was conducted for the era from 1950s to the early 1960s. Clothing expressed in "Gobau" were reviewed, classified into formative characteristics and internal meaning. Internal meaning was examined by dividing into the expression of social aspects and criticism of society. The research findings are as follows. First, clothing in "Gobau" reflected characteristic in direct manner. There was a coexistence of Hanbok and western-styled, clear distinction between men's trousers and women's skirt. Besides, various kinds of women's western-styled dress appeared in the 1960s. Second, they showed the dress culture that reflected past social aspects. Many aspects were included to reconstruct old and worn clothes due to scarce resources after the Korean War, and cherishing clothes, buying fabric directly to making clothes, making clothes from dressmaking shop, and restrictions on imported goods and luxury items. Third, the study also examined the social norms for fashion. It contained negative perspectives on women wearing pants, short skirts, and new hair styles (like perms) from western culture as well as lipstick.

• Journal of Fashion Business
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• v.17 no.4
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• pp.22-39
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• 2013

This thesis aims to investigate the characteristics of the civil costume in Netherlands women and the way how the civil culture was reflected on these by analyzing the women's costume depicted in the works of the Johannes Vermeer regarded as the representative painter of Netherlands in 17th century. The method of study was to select 24 pieces of Vermeer's works among the 30 pieces, and were analyzed in detail. These were approved to be common civil costumes by researching the works of other painters in that era on the other hand. The result shows that the civil costume of Netherlands women from 1653 until 1675 was in the simple form of two pieces dress, and minimal decorations with simple hair style and headdress would take the constitution of the frugality, chastity and practicality as the mainstream, along with using the red, yellow and blue as the primary three colors on to the costumes. These characteristics might be ascribed to the Netherlands civil culture influenced by the Calvinism that emphasized the frugality and chastity, denouncing the luxury with supporting the religion and morality. This trend was also noted in the men's costume, giving evidence of the intimate relationship between the costume, religion and civil culture. This thesis might be a help to elucidate the relationship between the costume and cultural society, and be a affordable tools to study the contemporary costume.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.112-120
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• 2022

In order to examine the cultural vicious cycle of gender representation in online educational content, this paper reviewed the top five popular webtoons of inamootoon (EBStoon), Korea's first children's webtoon platform. The patterns of appearance representation that distinguish character's gender, the desire and psychology of characters according to gender, and their functions in the work were critically analyzed from a feminist perspective. In most of the works, the appearance of characters often follows gender stereotypes. It appears that women have long hair and wear dresses while men have short hair. On the other hand, the gender characteristics in terms of psychology and function show the aspect of breaking gender's cliche. The gender proportion of the protagonists is almost the same. Regardless of gender, they function as solvers or rescuers, bravely and wisely overcoming the problem situation. By the way, it is interesting that in representing the main character's gender, the weaker the gender stereotypes, the more popular the work among the readers. This fact suggests that the critical acceptance and choice of young readers can break the cultural vicious cycle of gender representation.

• KSBB Journal
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• v.10 no.5
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• pp.561-567
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• 1995

Using superoxide dismutase (SOD)-deficient mutants of Saccharomyces cerevisiae, the oxygen toxicity induced by paraquat was studied. In aerobic culture condition, yeasts lacking MnSOD (milochondrial SOD) showed more significant growth retardation than CuZnSOD (cytoplasmic SOD)-deficient yeasts. However, not so big differences in growth pattern of those mutants compared with wild type were observed under anaerobic condition. When exposed to paraquat, the growth of yeasts lacking CuZnSOD was severely affected by higher than 0.01mM of paraquat in culture medium. By the analysis of several cellular components ivolved in free radical generating and scavenging system, it was found that, under aerobic condition, the content of lipid peroxides in cell membrane as well as cellular activity of glutathion peroxidase of CuZnSOD-deficient mutants was increased in the presence of paraquat, although significant decrease of catalase activity was observed in those stratns. In MnSOD-deficient yeast, however, increment in cellular activity of glutathion peroxldase and catalase by paraquat was observed without any deterioration of membrane lipid. It implies that the lack of mitochondrial SOD could be compensated by both of glutathion peroxldase and catalase, but that only glutathion peroxidase might act for CuZnSOD in cytoplasm. In contrast, all of SOD-deficient mutants showed a significant decrease in catalase activity, but slight increase in the activities of glutathion peroxidase, when cultivated anaerobically in the medium containing paraquat. Nevertheless, any significant changes of lipid peroxides in cell membranes were not observed during anaerobic cultivation of SOD-deficient mutants. It suggests that a little amount of free radicals generated by paraquat under anaerobic condition could be sufficiently overcome by glutathion peroxidase but not by catalase.

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.535-548
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• 2012

The purpose of this study is to research the achievement motivation of beauty industry professionals. The research method involved one-on-one, in-depth interviews with 7 hair professionals, 7 make-up professionals and 7 skincare professionals. The in-depth interviews were recorded in their entirety, and the recorded content was transcribed and organized. Analysis of the transcribed data involved encoding, deconstructing and re-composing the interview content. Research results revealed 5 factors that were extracted to explain the achievement motivation of beauty industry professionals. Four of the 5 factors were similar to the results of precedent studies, but the remaining factor presented unique characteristics. The 4 common factors were "motive to pursue success", "motive to avoid failure", "motive to meet challenges" and "goal-oriented motive". The factor discovered in this study was "relationship-oriented motive", which is characterized by the tendency to place importance in relationships with superiors, colleagues and customers based on the working characteristics of beauty industry professionals. Based on the results of this study, beauty industry professionals can learn about goals that must be met in various stages in order to establish a system for accomplishing those goals, implement an emotional education program for mental balance, introduce a competitive team system, and carry out a relationship improvement program to increase work efficiency.

• Biomolecules & Therapeutics
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• v.26 no.2
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• pp.182-190
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• 2018

The objective of this work is to evaluate the effect of polyamidoamine (PAMAM) dendrimers on electroosmotic flow (EOF) through skin. The effect of size and concentration of dendrimer was studied, using generation 1, 4 and 7 dendrimer (G1, G4 and G7, respectively). As a marker molecule for the direction and magnitude of EOF, a neutral molecule, acetoaminophen (AAP) was used. The visualization of dendrimer permeation into the current conducting pore (CCP) of skin was made using G4-fluorescein isothiocyanate (FITC) conjugate and confocal microscopy. Without dendrimer, anodal flux of AAP was much higher than cathodal or passive flux. When G1 dendrimer was added, anodal flux decreased, presumably due to the decrease in EOF by the association of G1 dendrimer with net negative charge in CCP. As the generation increased, larger decrease in anodal flux was observed, and the direction of EOF was reversed. Small amount of methanol used for the preparation of dendrimer solution also contributed to the decrease in anodal flux of AAP. Cross-sectional view perpendicular to the skin surface by confocal laser scanning microscope (CLSM) study showed that G4 dendrimer-FITC conjugate (G4-FITC) can penetrate into the viable epidermis and dermis under anodal current. The permeation route seemed to be localized on hair follicle region. These results suggest that PAMAM dendrimers can permeate into CCP and change the magnitude and direction of EOF. Overall, we obtained a better understanding on the mechanistic insights into the electroosmosis phenomena and its role on flux during iontophoresis.

• Journal of the Korean Society of Costume
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• v.38
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.