• 한국패션뷰티학회지
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• 제3권1호
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• pp.1-12
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• 2005

The purpose of this thesis is to study the formative characteristics and symbolism shown in Rock stars' hairstyles through rock music to have influenced youth culture. There were a D.A style and a mop top style which included the youth characteristic to seek a new desire and value as the hairstyles of Rock & Roll stars, along with the characteristics of Rock & Roll music to represent the feeling of teenagers in 1950's at that time unlike the previous music due to high beats mixed with Rhythm & Blues (R & B) and Country music, and use of electronic guitars. We can see the desire for challenge and freedom against the then present regime, shouting love and peace, and resistance in the Psychedelic Rock music stars' hairstyle, which are untrimmed and disheveled, that is, natural. We can find explosiveness in Mohican and Spike style of Punk Rock stars playing fierce and aggressive music, along with words including indignation and assertion against the society's regime. The Artistic characteristic is implied in the following hairstyles: Glam Rock stars' hairstyle, a man's long-haired but a little long crew-cut style to reduce the bulky feeling and to give a bisexual, visible shock with hair dyed in orange to emphasize magnificence, and Punk Rock stars' hairstyle showing beauty in their own way with expression of anti-beauty to intentionally look ugly. Like this, the 20th Century's Rock music and youth culture are closely associated each other, and showed a new style, and played a leading role in street fashion, which became a momentum to much influence high fashion as a look of the 20th century modern fashion.

• 복식
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• 제62권6호
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• 고전문학과교육
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• 제37호
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• pp.111-149
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• 2018

이 연구는 <하생기우전>의 서사구조를 갈등양상을 중심으로 이해하고, 이를 작가의 삶이나 사유방식과 대응시켜 그 관련성을 규명하기 위해 마련되었다. 구성의 앞부분 갈등 양상은 기존 견해와 다른 방향에서 이해가 가능하다. 입신공명과 애정추구라는 두 가지 다른 지향의 이면에는 주인공의 자기실현 방식이 일관된 문제의식으로 자리하고 있다. 표면적으로는 사회 문제로 부터 남녀애정으로 전환되고 있지만 자아의 내면적 지향이 갈등의 동기가 되고, 동시에 그것이 갈등을 극복하는 요인이 되는 방식으로 의미구조가 설정되어 있다. 혼인 허용 여부를 둘러싼 갈등의 이면에는 부모가 누린 삶의 방식에 대한 여인의 저항과 반대가 그 중심을 이룬다. 의미를 확장하면 부모의 개심(改心)은 곧 왜곡되고 편향된 사회의 변화를 상정한다고 할 수 있다. 나아가 그 사회의 변화는 도덕적이고 윤리적인 차원에서 개인의 실천 행위를 통해 구현된다는 점을 나타낸다. 이 작품은 주인공의 '완결된 삶'을 보여주기 위한 과정이 전체 구성을 이루고 있다. 그것은 표면적으로 여인과의 혼인을 통하여 달성되는 것으로 되어 있다. 그러나 근본적으로 사대부 지식인의 삶의 방식과 사회 환경이 어떤 방향으로 변해야 하는가 하는 문제를 의미구조의 핵심에 두고 있다. 자아와 세계의 갈등이 내면의 성찰, 도덕적 실천 윤리로 귀결되는 지점에서 해소되는 구조가 이를 반영한다. 의미구조가 이처럼 중의적으로 설정되어있는 것은 이 작품의 뚜렷한 특징이다. 사회 변화로 읽힐 수 있는 여인 부모의 도덕적 윤리적 반성은 결국 훈구세력에 의해 왜곡된 사회 현실이 사림의 이념으로 개선되어 간다는 뜻을 지닌다. 하생과 여인의 혼인, 그 후의 성취로 표현되는 상황은 결국 사림의 실천적 윤리의식이 개인으로부터 사회로 확산해 감으로써 사림 주도의 이상사회를 실현하고자 하는 기재의 의지가 낭만적으로 표현된 것이라 할 수 있다.

• 한국의류산업학회지
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• 제7권3호
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• pp.291-300
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• 2005

The purpose of this study is to investigate, analyze the purchasing behavior of fashion goods according to life style and role model of preteen generation, and provide manager or marketing planner for the reference data so that they can understand preteen generation and make proper strategy efficiently. So called, preteen market focusing on 1014 generation (from ten to fourteen years old) is highlighted. This generation created between the year 1989 to 1993 after Seoul Olympic monopolize parent's love in abundant economic environment and rise to the core of consumption subject. Products aiming at this preteen generation continuously though consumption mind was shrunk greatly due to recession. Only 2~3 years before preteen market was regarded as grey zone which doesn't belong to not only children (between six and nine years old) but also teenagers (between fifteen to eighteen years old). But in recent day their purchasing powers have increased rapidly and age group is divided on details, so that preteen market has become a niche market. Subjects were 333 persons consisting of students in the 4th~6th grade of primary school and the 1st~2nd grade of middle school in Daegu city. Measuring instruments are as follows: 5questions to differentiate preteen generation, 22 questions to measure life style, 17questions (which have six sub-factors such as purchase motive, factor of product selection, utilization of informant, purchase time, purchase place, and purchase method) to measure the purchase behavior of fashion goods measurement, and 16 questions (which have four sub-factors such as parent, entertainer & sports stars, brothers and sisters, friends) to measure model of role. Statistical data were processed by SPSS 10.0 programs. Frequencies, Factor analysis, Cluster analysis, ANOVA, Cross analysis, Multiplex regression analysis, and Duncan's multiple range test were carried out.

• 패션비즈니스
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• 제19권3호
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.185-192
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• 2005

The Tabernacle was Personally designed by God and was ordered from God to Moses to build it as the first Piece of church architecture that accurately showed God's love and will of salvation towards humankind. Tabernacles, through the architecture of tabernacles teaches the Lord being among us. His Holiness and man's sins, and also reflects the path of eternity as well as the good news and salvation through Jesus Christ. And the Tabernacle is talking of the Glory of New Jerusalem that is provided Kingdom of Heaven for us at the same time being a completion of a final and ultimate church constructed long predicted through the Bible being already designed by God. The external expression of modern architecture may follow the uniqueness of that age but the special quality of the interior and exterior symbolism of church architecture will have to consist the standards of God for He is the first, sincere designer.

• 한국가구학회지
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• 제12권1호
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• pp.81-89
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• 2001

Scandinavian countries have hold tradition shared historically and culturally in common, brought the weighty traditional thoughts enabled to develop their unique culture. Since 1940s, Scandinavian design could pervade with affectionate forms and practical effectiveness with worldwide popularity. It was brought by creation of new and useful forms for the convenience in life, functionalism but not bounded by fashion of it. This study tried into the meaning of their history of modern furnishings design based on the development background of furnishings design, its trends, designers and their work focused around Sweden, Finland, and Denmark. Scandinavian furnishings is a functional furnishings reconciled to natural material and human life exactly correspond to the taste of the generation unrestricted from the tradition of contemporary and compact design preference or classic favored preference. The practicality and exquisite techniques of Scandinavian furnishings lies within the realm of possibility for studiously love of the world.

• 아동학회지
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• 제25권6호
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• pp.53-68
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• 2004

The purpose of this study was to develop an instrument for adolescent's image about their father. The preliminary survey was performed for 318 adolescents in Seoul. It was a free-writing style survey for adolescent's image, feeling, and thoughts about their father. The main survey which included 121 contents were performed for 400 students in Seoul and finally 75 contents were selected by the results of factor analysis and contents validation. The contents were categorized into 10 sub-variables based on previous studies. 10 sub-variables are Father of mature character, Father who do love me, Father who is devoted to his parents, Father as a friend, Father as a counsellor, Father who is very domestic, Father who is exhausted with work, Father who is hard to be familiar for me, Father with financial competence, Father responsible for supporting the family. This study showed construct validity and concurrent evidence because the correlation among the sub-variables and total score were high.

• International Journal of Advanced Culture Technology
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• 제10권1호
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• pp.10-16
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• 2022

This paper focuses on the aesthetic ideology and aesthetic style embodied in the work of 'Blue is the Warmest Color' to dissect it and examine the identity and construction of identity as a minority group in a postmodern context. Blue is the Warmest Color is a film that focuses on homosexual emotions in adolescent development, showing the budding love and emotional orientation of a 15-year-old girl's adolescence, and the ecstsy and torment that comes with an awakened consciousness. The evolutionary process of the characters' emotional orientations is dissected, pointing out that the central theme of the film is the concern for fluid identity and self-identity. Through the narrative and the setting of the characters' emotional patterns and the "Body Writing" of women, this paper further examine the typical variability and fragmentation of postmodern identity, and interpret in detail the content, messages and effects of the characters' dialogues in the film to illustrate the way in which the work expresses class and identity differences. The research method is based on textual analysis and theoretical research.

• 패션비즈니스
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• 제13권1호
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.