• Journal of Fashion Business
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• v.6 no.1
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• pp.83-101
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• 2002

The purpose of this study is to observe the elements of Japanese popular culture portrayed in Korean new generation fashion at the current point of time, when Japanese popular culture is first being opened to Korea. And the another purpose is to look into the fashion consciousness of them, which is made up of these aspects. The new generation plays the leading role in further excelling the culture of our society. They are the generation of sense and sensibility, the generation of "me", the generation of information, and the generation of individuality. Even before Japanese popular culture was officially opened, the new generation was already accepting fashion, comics and animation, video games, music, broadcasting, food, etc. The Japanese cultural elements that show most in Korean fashion are street fashion and the fashion of celebrities. These are mostly brought in by fashion magazines, the internet, satellite TV, the new media of cable TV, and street shops. The aspects of Japanese popular culture in Korean new generation fashion are many and varied. Such examples in fashion are : vintage style, school-girl style, sexy causal style, black coordination, soft avant-garde style. It can be said that the fashion consciousness of Korean new generation could be placed in the following order. First, the variety of fashion. Next, the internationalism of fashion. Third, the information of fashion, and last, the play value of fashion. Interest has peaked in Japanese culture after the official opening, and this study has explored the very same aspects which can be seen in Korean new generation fashion. This study was meant to help make a responsible and sturdy new generation fashion culture which can help face the new millennium.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.732-740
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• 2009

The purpose of this study is to discuss Joseon dynastyis first perspective on the Western-style Court Costume which was newly introduced to Joseon through the problems receiving the credential that Japan had sent in new style. For this study, the records of Joseon and Japan at that period have been analyzed. The followings are the results of this research; First, a critical argument on the Western-style Court Costume occurred just before the Port Opening because whether wearing a western costume was the key factor in Joseon dynastyis receiving the credential that Japan had send in new style. Second, Japan received western costume as its domestic courtesy system by establishing the Court Costume of Civil servants in 1872 and consequently Japan established new ceremony procedure of western-style bow in 1875. Third, Joseon dynasty officially opposed to the Western-style Court Costume when Japan sent the credential, because the western costume selected by Japan had beenregarded as that of western barbarian at that time in Joseon. Accordingly, it seems reasonable that before the introduction of western costume into Joseon dynasty, an open-door policy for the West had been a prior settlement for Joseon dynasty regardless of the details of Western-style Court Costume. And also, the pride of civilization of Joseon dynasty, which has been used to express Joseon dynastyis identity as Joseon-centrism, had to be converted before the open-door policy. Ultimately, it could be inferred that the reception of the Western-style Court Costume had been raised as the political and diplomatic problems in the circumstances when the submissive relationship in the traditional Eastern- Asia had been forced to be converted to modern sovereign international relationship.

• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.212-225
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• 2021

With the recognition of YouTube as an information search tool, YouTube creators have subsequently become sources of information to consumers. Accordingly, this study aims to analyze the consumers' response of famous fashion YouTubers in Korea, and to identify differences in consumer response based on the gender and generation of YouTubers. During the period from the opening of fashion creators' YouTube channels, we collected postings on blogs and Internet cafes using textom. As a result of preliminary investigation, six fashion YouTubers were selected. First, all the selected fashion YouTubers were well recognized by consumers as fashion informants. However, Milanonna has been shown to act as a life advisor and as an informant for luxury brands at the same time. Second, female fashion YouTubers were perceived with themes related to daily life, beauty, emotions, and mood rather than fashion itself; whereas, male fashion YouTubers appeared to be more interested in fashion accessories, especially with respect to the basic style. Third, Generation Z fashion YouTubers used the most non-fashion keywords, and their Millennial counterparts used keywords related to fashion items and product purchase properties. However, consumer response to OPAL fashion YouTubers have emerged with items such as life experiences, wisdom, and advice. Moreover, OPAL fashion YouTubers showed a variety of consumer assessments and the YouTuber's personal background. This study's analysis of the differences in the consumer response to fashion YouTubers based on gender and age enables the establishment of an appropriate strategy to attract target consumers and identify their appeal points.

• Journal of Fashion Business
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• v.25 no.3
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• pp.1-16
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• 2021

In December 2019, when the novel coronavirus (nCoV) was identified in Wuhan, Hubei, China, the number of people belonging to post-90s generation among about 42,000 medical staffs personnel supporting Hubei was 12,000 or more, accounting for about 33.3% of the total number of personnel. The term "post-90s generation" generally indicates young people born from 1990 to 1999. The study scope is the 1990-2020 period between the birth of post-90s generation and present. Literature and empirical studies are performed. Generational characteristics and fashion trends shown only by post-90s generation through precedent studies and reports are as follows: First, generational characteristics of post-90s generation can be categorized into the following three characteristics: "sang wenhua", "collective loneliness", and "diversified identity". Second, fashion trends of the post-90s generation can be categorized into the following three characteristics: "new Chinese style fashion", "masstige fashion", and "de-labeling fashion". The above results show that the post-90s generation uses "culture" and "me" as keywords. Further, the above trend is consequently divided into the following two characteristics: "diversification" and "individualization". This is because the post-90s generation is directly affected by the reform and opening and the 9-year compulsory education policy of China compared to the previous generations; hence, these people are greatly influenced by Western culture and fashion as well as their own culture and fashion. It refers having a tendency to express one's individuality with a variety of tastes and styles.

• Fashion & Textile Research Journal
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• v.25 no.2
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• pp.185-198
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• 2023

The purpose of this study is to obtain information necessary for the development of patient clothes that can reduce physical fatigue of caregivers by quantitatively measuring the muscle load and fatigue. The patient clothes used in this study can be broken down into three types: A type (back center zipper open suit), B type (top-to bottom separated patient clothes), and C type (front zipper open suit). The EMG measurement sites are as follows: hand muscle (brachioradialis), upper arm (biceps, triceps), shoulder (anterior deltoid, medial deltoid, posterior deltoid, upper trapezius), and waist (erector spinae); additionally, the EMG signals were measured. Through this experiment, muscle load, muscle energy consumption, and muscle fatigue generation tendency were analyzed. The results of the study revealed that the C type patient clothes required the most strength in the muscles of the shoulders, upper arms, hands, and back when being put on and taken off compared to other patient clothes. The A type clothes required a relatively large force in opening the zipper. In terms of muscle energy consumption, B type generally called for more strength when it came to the zip-up and putarmsup motions. With regard to the cover the body and put legs/hips up motions, C type used the highest amount of muscle energy, whereas A type used relatively little energy. In terms of the occurrence of muscle fatigue during the putting on and taking off of the patient's clothing, there was a difference in the area and degree of muscle fatigue in the A, B, and C types, and there was also a tendency for muscle fatigue to occur when performing repetitive movements.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korean housing association
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• v.19 no.4
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• pp.97-105
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• 2008

The purposes of this study were to determine the actual state of the indoor thermal environment in apartment units and to analyze the relationship between the living factors and indoor thermal elements. The field surveys consisted of measurements of physical elements and observations of living factors. In addition, the residents of 20 apartment units were interviewed to survey their subjective response. Field surveys were carried out from January to March 2007. Measuring elements were air temperature, globe temperature, and relative humidity. The results showed that the average of indoor temperature for the houses was $21.2{\sim}27.2^{\circ}C$, while 4 houses exceeded the comfort zone. The average of globe temperature for the houses was $21.3{\sim}27.5^{\circ}C$, while 6 houses exceeded the comfort zone. The mean relative humidity was $19.5{\sim}58.8%$, which is a relatively dry condition. The residents' average clothing value was $0.39{\sim}0.89$ clo(average 0.68 clo). The average thermal sensation vote on each room was $4.2{\sim}4.8$, which is 'neutral' to 'slightly warm'. Living factors had significant effect on indoor temperature in regression analysis were ventilation time(outdoor air exchange), opening time of door through balcony, and gas cooker use time.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.2
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• pp.89-100
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• 2018

This study investigated students' perception of a starting up business in the fashion design related departments of two year colleges to present the basic data for designing a start up business education and examined the opening status of the start up business subjects. Only 4.4% of respondents answered that they had an experience in a start up. And 76.2% of respondents answered that they would like to start up a business after graduation. The initial start up types were "online shopping mall" and "blog market" in that order. Nearly 86.7% of respondents answered that they needed "start up" education in college. To the question of whether they would participate if there is a start up extracurricular program, and the subject they would choose, 40.9% answered "I want to get a start up related certification", showing the highest rate of interest in the course. The status of introducing start up business subjects in the regular courses in fashion design related departments in 25 two year colleges related that there were 11 start up related courses begun in the last semester, that is, the 2nd semester of the 2nd year. Since the proportion of clothing in online shopping malls is high, start up education based on the demands of students in fashion design majors can be used as another employment exit strategy.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.99-112
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• 2008

The aim of the study was to look into the construction methods of historical corsetry and compare them with the construction methods of corsetry today. Through a comparative study, it was concluded that the design, material, sewing and functions of corsetry of a certain period are sum of the clothing techniques and fashion of the time. Corset was first appeared at the end of the 16th century. It has been through many changes in terms of items, materials, patterns, sewing methods in order to make right silhouettes of the time. Now corsetry has been developed into various items such as waist nipper, all-in-one, nipper bra, and girdle. All these items have a common purpose, that is to improve the body shape. The corsetry of the past was made of non stretchable materials, so they used to restrict body movements, and required individual fitting several times. Due to the development of thin durable stretchable fabrics, functional bones, and advanced sewing machines, construction methods of seam, hem and opening are simplified compare to their predecessors. Consequently corsetry became less weighted, easy to wear, easy to wash and easy to mass produce. Yet they have consistency in sewing techniques such as using bones or wires to support bodice shape, using durable twill fabrics over plain for attractive body shapes.