• Korean Journal of Human Ecology
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• v.10 no.1
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• pp.113-126
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• 2001

The purpose of this study was to investigate clothing behavior and ornaments wear of university students. The subject of this study consists of 241 college students who were attended in Kongju National University. SPSSWIN Program was utilized to calculated frequency(N), mean value(M) and standard deviation(SD) for statistical analysis. Differences among the populations were examined through T-test, F-test, $x^2$-test. The results of this study were as follow : 1. Clothing behavior of university students had significant difference according to sex, grade. In general, female students showed higher score than did male students in clothing interest, clothing conformity, self-estimation about clothing, clothing dependence, clothing aesthetic, clothing modesty, A first-year students had high tendency in clothing interest. 2. The wear of ornaments had significant difference according to variables. Buying the ornaments, most of students sot information in show window and emphasized on design. Male students wanted to have the ornaments of shoes, watch, hat & necklet, but female students wanted to have the ornaments of shoes, earring, necklet & hairpin. 3. Clothing behavior has Influenced university students' ornaments wear. The university students who appeared to be interested in clothes were apparently influenced by peers when selecting ornaments. Ornaments were usually bought in the department store, while belts were among the most popular choices. Students who stressed color when purchasing ornaments showed a high level of interest in and dependence on clothes. On the basic of these results, we can conclude that university students' taste in clothing behavior and use of ornaments wear depend on several different factors. Therefore, it is possible to outline the shift in clothing attitudes during adolescence. In order to understand university students' behaviour concerning clothes, much guidance and various studies on the subject are much recommended.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1111-1121
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• 1998

The objectives of this study were to identify the dimensional structure of female impression formation based on ornaments and color of jacket, and to analyze the effect of ornaments, color of jacket, and perceiver's gender on impression formation. The experimental design was 3$\times$4$\times$2(ornaments$\times$color of jacket$\times$gender) factorial design by 3 independent variables. The stimuli of color photographs of female model and the semantic differential scale were used. Samples were 288 college males and females. The data were analyzed by factor analysis, ANOVA, duncan's multiple range test, and t-test. Four factors derived to account for the dimensions of impression formation. These were potency, elegance, evaluation, youthfulness, and feminine. Wearing of large ornaments(a necklace and earrings) had a negative effect on impression of elegance and positive on potency. Red jackets increased the impression of positive evaluation, potency, feminity, and youthfulness. On the jackets of achromatic color such as white and black, wearing of large ornaments increased the effect of potency, and large ornaments increased matured impression on black jacket. The results of this study mean that perceiverss used large ornaments and red jackets as a salient cue.

• Korean Journal of Human Ecology
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• v.9 no.1
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• pp.137-152
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• 2000

The purpose of this study was to investigate the disposition of adolescents in their ornament wearing pattern associate with their life style and clothing behavior. The subject of this study consists of 345 middle and high school girls living in Chung-Nam Province and Taejon Metropolitan City. SPSS/PC+ program was utilized to calculated frequency(N), mean value(M) and standard deviation(SD) for statistical analysis. Differences among the populations were examined through f test, ANOVA. The results of this study reveals that the ornaments wearing patterns are significantly different according to their life style and clothing behavior as follows: 1. Correlation between the wear of ornaments and the life style: School girls who pursue the modernistic life style prefer the fashionable ornaments (e.g. sunglasses) and they are always in contact with the latest information. On the contrary, school girls who pursue the practical life style emphasize on the practical use when they purchase the ornaments, e.g. umbrella. School girls having romantic or passive nature have a preference for the brand name and brand image of the ornaments and they in general would like to buy ornaments such as the bracelets. 2. Correlation between the wear of ornaments and the clothing behavior: School girls having sympathetic nature and being deeply interested in clothing put a stress on the latest fashion of the ornaments. They usually want to buy fashionable ornaments such as the cellular phone, beeper and sunglasses. Subjects who estimate themselves by their garments are sensitive to the price of the ornaments while aesthetes emphasize the brand image of the ornaments. Chaste school girls put their emphasis on the quality of the ornaments and they most want to have functional hair bands. Following suggestions can be made based on the discussions above: It is necessary for us to have correct understanding about the correlation between the ornaments and clothing of school girls in order to lead them to have appropriate clothing behavior. Furthermore, it is required to construct a bridge linking a course of study to rational habits guidance which will provide us more appropriate tools for clothing behavior guidance.

• Fashion & Textile Research Journal
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• v.15 no.4
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• pp.493-503
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• 2013

This study analyzes expression methodology and aesthetic meanings in modern hair ornaments that adopt maximalism. Maximalism has appeared in various hair ornaments throughout history. Hair dresses are used for many reasons related to class, social position, religious beliefs, and occupation throughout the Eastern and Western hemispheres. A higher class and social position was often denoted by a fancier and bigger hairdress. In modern society maximalism is expressed in literature, expressionism, maxi-marketing, exaggerative advertisements, and symbolic architecture. Formative expression methodologies in modern hair ornaments that adopt maximalism are transform, overlapping & exaggeration, and mixing & edition. The aesthetic meanings of maximalism in hair ornaments are the reinterpretation of retro ornaments, the exaggeration of internal self-expression, humorous symbolic objects, and the conveyance of a social critical message. The advantages of maximalism help people communicate and co-provide an abundant life. These are expected to create significant and numerous positive impacts in society. In addition, the continued efforts on the investment in hair ornaments that express Maximalism well as a fashion trend shows that further study on the persistence, practicality and recognized design inconvenience in the aesthetic value are needed.

• Journal of the Korean Home Economics Association
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• v.50 no.3
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• pp.83-93
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• 2012

In Tongyeong Ogwangdae, the characters use many ornaments and these ornaments represent different meanings. The following results were observed from the analysis that was carried out, to find the symbolic meanings of ornaments and props, and they- were used in Tongyeong Ogwangdae. The ornaments and props used in the traditional mask play are used to effectively represent the roles, characters, situations, and certain parts of body. They put each character in a psychological mood that enables him or her to perform his or her role more realistically. This in turn moves the audience. The ornaments and the props that were used in Tongyeong Ogwangdae help the audience to understand the characters and the hidden meaning of the play. These ornaments and props can be classified into three categories namely, one representing the character's social status, one representing the role of the character, and one indicating the flow of the play.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• Journal of the Korean Society of Costume
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• v.38
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• pp.31-49
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• 1998

This study is the primary basic study about the spatial feature of modeling of Fashion Design. Then, this researcher lays significance in establishing the basic system about the character of dress and its ornaments as modeling in spatial-formal, dimension, examining the feature of modeling closely through perception principle and offering the basic principle to plan and organize the modeling space for dress and its ornaments on the basis of it. To generalize the findings is as follows : First, the spatial system of modeling for dress and its ornaments is made with 3 elements such as space, human beings and dress and its ornaments. Second, the form of dress and its ornaments and the spatial organization start from the structural basis which is human body, and the sensible system of body is made through inter-action, but the aesthetic expression is complet-ed by the moment of body. Third, the characteristic principle of model-ing for dress and its ornaments which was suggested in Chapter IV is based on the visuo-per-ceptional modeling experience, and these thinking contents are inputted in cognition course as the invisible in formation in the new space plan and organization and activate the apperception course and aim at the action about aesthetic judgement.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.451-462
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• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.5
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• pp.640-651
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• 2000

In this Paper we examined the clothing & ornaments of Egyptian gods greatly related to religion in a mode of every living through illustrated data of relics and investigated their differences and similarities by comparing the clothing & ornaments of gods with one of royal families. First of all, the crown of gods shows various forms in accordance with is roles and symbols. Second, the clothing & ornaments of male gods is significantly different from one of king in that for the most part they wore loin-cloth and girdle on sheath-skirt. Third, goddess was wearing the same sheath-skirt as queen. Fourth, kalasiris which king and queen wore is not almost founded in costume of gods. Fifth, the typical accessories in Egypt, that is, passiums, bracelets and rings are founded in the clothing and ornaments of all gods. Sixth, gods seems not to be dressed in sandals. Seventh, a mustache of king is appeared in a form of large and straight line, but one of god is appeared in a form of small and bended line. Eighth, lion tale ornament and fail are founded in the clothing & ornaments of male god mainly and a stick is founded in one of goddess. Finally, ankh which is representative of eternal life is an ornament only gods are wearing.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.391-396
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• 2013

As recently highlighted the importance of relationships between people and products, and is a pure functional sensibility in pursuit of the trend. Sensibility factor is an important part in the process of looking to purchase consumer products that suit your sensibilities. The purpose of this study is to look at the possibility of seeing the role and future of the industry to diversify the culture of the ceramic ornaments design sensibility that purpose. Variety of emotional design ceramic ornaments and cultural industries to identify market design induced by craft as cultural products that can stand up to the global process development. Ceramic ornaments of historical, cultural, design, value can be utilized in a variety of cultural industries to offer emotional design ceramic ornaments, ceramic ornaments product design to contribute to the development plan for the purpose.