• 한국의상디자인학회지
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• 제10권2호
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• pp.39-56
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• 2008

It is a remarkable phenomenon that tattoos has been rapidly spreading among women of modern years. The extremism of feminine ornaments, and pricking and piercing of the skin seem to have deep connection with women's consciousness changing to being independent, active and aggressive. The objective of this study is to analyze the potential quality of today's women, who appears emblematically through tattoo, and to search out the whole aspect and keynote of female tattoos. The methods of research are by examining the general characteristics including concept and history, considering the type and significance of ethnic female tattoos, and then comparing with the symbolism of today's female tattoos. The sphere is limited to women's tattoos from ancient times to today's modern lift, examined from large portions of Africa, Asia, Australasia, the Americas, and Arctic regions. As a result, the following had been reflected in female tattoos in the past. First, incantation, tribe, adult age, adornment, marital status, domestic ability and sex distinction, where among others, the incantatory, ornamental symbol, and domestic sign were representatives. Second, the most popular body parts for having a tattoo were around the lips, hands and abdominal region. Third, the more harsh the environment becomes such as tropical forests, isolated islands, and polar regions, the more number of females have tatoos. Fourth, women's tattoos were much less glamorous and smaller compared to those of men, distinguishing one's sex. On the other hand, today's female tattoos can be classified as five symbols: masculinity, independence, voluptuousness, affection, and purity. These symbols contain women's mentality to pass the limit, and to overcome social inferiority. In modern society, where women must compete with met it has become necessary for women to educe their potential masculine qualities. Being violent accessories for them, tattoos became a mark of such potential. Therefore, in the future, women's interest and demand for tattoos are expected to rise in proportion to the social demand of women's force.

• 복식
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• 제61권3호
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• pp.63-70
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• 2011

The purpose of this study was to investigate trend of articles on men's fashion in Korea as seen through clothing-related academic journals from 1990 to 2009. For a total of 478 research papers on men's fashion published in 18 clothing-specialized learned society journals, which are KCI-cited journals or candidates thereof The results were as follows: First, With respect to the number of papers on men's fashion from 1990 to 2009, that of the 2000s rapidly increased to 5.2 times that of the 1990s. Second, The number of each area research was ranked aw follows: social psychology marketing 34.1%(163), clothing construction 32.2%(154), design aesthetics 19.7%(94), beauty 7.7%(37), history of clothing 4.8%(23), textile science 1.5%(7.7). Third, Studies on the aesthetics in men's fashion showed a steady increase from 1995, resulting in the number of papers in the 2000s being 12 times that of the 1990s. And, in the 2000s, the subjects explored in the 1990s, such as feminization of men's clothes, gender images, men's suit, etc. were deepened and expanded.

• 아태비즈니스연구
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• 제11권2호
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• pp.207-233
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• 2020

Purpose - The purpose of this paper analyzes the relationship between the Corporate Social Responsibility(CSR) and Corporate Value to estimate whether the characteristics of Firm can change this relationship. Design/methodology/approach - This paper utilizes the total 776 firms' data over the period 2014-2018, and develops a new ESG index which was estimated by PCA. Findings - First, the estimated ESG index implies that Large company has the highest value of CSR, while Medium sized and Small company have the relatively low one. And comparing to the case of 2014, the trend of ESG index in Large company does not decrease in 2018. Second, there is a clear and significant non linear relationship between CSR and corporate value, it implies that the U-shaped exists in the Korean Firms. Such a tendency is mush stronger in the Large company. Third, the new ESG index indicates that it takes more time to increase Firm value in the Medium sized and Small company while there is a high possibility of increasing value in Large company from the little gab between the threshold points and mean value of ESG. Research implications or Originality - The non linear tendency between the Corporate Social Responsibility and Corporate Value is strongly affected by Firm size and the relative high quintile of ESG, but it is less affected by Firm history.

• 대한가정학회지
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• 제43권8호
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• pp.161-174
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• 2005

The purpose of this study was to examine the history and significance of t-shirts used in school that have a dress code to examine the meaning of the various messages that appears on t-shirts and also to examine how these t-shirts are used as form of communication. Many people that have strong social or political views or opinions use t-shirts with message as a means of communicating their opinion and views. Due to the low cost and ease in manufacturing these types of t-shirts, it is possible to express various slogans, messages and drawings. Based on our observations, there were various messages on t-shirts such as, 'no war', 'peace', 'no drugs', 'anti-smocking', 'protect the environment' and 'race or sex discrimination' among others. In this study, t-shirts were grouped based on their messages. T-shirts were put in to the following groups anti- war t-shirts, political t-shirts, t-shirts with messages about social issues and t-shirts with messages about fashion. Both international and domestic t-shirts were examined.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• 디자인학연구
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• 제14권4호
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• pp.147-155
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• 2001

본 연구의 목적은 20세기 미국 그래픽 디자인에 대한 역사적인 고찰을 통해 미국이 유럽의 디자인 전통을 발전적으로 계승하는 한편, 자신들만의 독자적인 자기 정체성을 확립해 가는 과정을 살펴보고 그 현재적 의미를 파악하는 것이다. 제1장에서는 20세기 미국 그래픽 디자인의 발전과정을 초반·중반·후반으로 나누어 각 시기별 특징을 살펴보았고, 제2장에서는 정체성 문제를 고민한 미국 그래픽 디자이너들의 사례를 통해 그들의 문제의식과 해결방식들을 살펴보았다. 20세기 미국 그래픽 디자인은 자국의 사회, 문화적 특수성을 반영한 독자적인 디자인 전통을 만들어가려는 노력을 통해 발전해왔다. 이 과정에서 주목할 만한 것은 미국의 디자이너들이 디자인 문제를 단지 예술이나 조형, 혹은 미학적인 차원에서만 접근하지 않고 마케팅과 테크놀러지의 중요성을 일찍이 간파한 점이다. 이를 바탕으로 미국 디자이너들은 디자인 비즈니스를 활성화하고 새로운 디자인 매체를 적극 개발함으로써 그래픽 디자인의 개념을 확장시키는데 큰 역할을 했다

• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• 여성건강간호학회지
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• 제17권5호
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• pp.439-446
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• 2011

Purpose: Early diagnosis is the primary method aimed at controlling breast cancer. The purpose of this study was to analyze some factors affecting the performance of mammography screening among women with a family history of breast cancer in Korea. Methods: This study applied a descriptive design method through structured self-report questionnaires. The Care Seeking Behavior Theory provided a theoretical framework for the study. Factors measured in this study represent demographic, clinical, and psychosocial variables including anxiety, barriers, utility, habits, perception, and facilitators. A total of 212 participants, of at least 20 years old, were sampled from April 8, 2010 to March 31, 2011. The data was analyzed by logistic regression method using the Statistical Package for the Social Science 18.0 software. Results: Of the 212 participants, 122 women (57.5%) went through mammography screening. The results of the analysis showed that (a) age (Odds Ratio [OR] =1.10, p<.001), (b) facilitating influences (OR=1.83, p=.008), (c) perception of mammography importance (OR=1.92, p=.011), (d) barriers to mammography (OR=0.60, p=.031), and (e) utility of mammography (OR=2.01, p=.050) significantly affect mammography screening. Conclusion: The results underscore the impact that psychosocial variables in obtaining mammography have on adherence to screening. Women with a family history of breast cancer should be given accurate information and recommendation about mammography by healthcare provider and a regular source of healthcare.

• 대한가정학회지
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• 제24권1호
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• pp.28-41
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• 1986

In the history of costume, coat can be traced up to ancient Persia but it was generalized as today's style around 14th an d15th century in Euro[pe. World wars, revolutions and rapid social changes of the last 80 years have produced more changes in the way people dress than any comparable period in history. Thewse changes enabled emergence of more modernized woman's garments and through it, dress and coat ensemble became public's main fashion. In 1920's after world war I, boyish style in woman's garment was in vogue. Woman's coat was also in the same style with length sortened up to the knee level and silhoutte was straighter and semi-fitted than previous period. Length of the coat was longer in late 1930's but shortened again in 1940's. And the most popular silhouette of both 30's and 40's was shape of the hourglass which was commonly called the "X-shape". Also double=breasted coat with fitted waistline, belt and flare skirt was in vogue. In 1950's and 60's, with the variety of lines in woman's garments, silhouette of the coat also appeared in many different forms. Along with the various shapes, color of the coat changed throughout the decades : dark colors in 20's, bright colors in 30's, mixed colors of 20's and 30's in 40's and in 50's, color had changed to archromatic. In fabric, wool was most popular in all periods. However, such gabrics as tweed, cotton, gaberdine, linen were added to give variety. It is very interesting to see collars trimmed with expensive furs were very popular in 20's and 30's but it almost disappeared in 40's and fur trimming reappeared in late 50's. In addtion to silhouette changes in design, details such as buttons, epaulettes, pockets and fur trimming of hemline were emphasizing points of varieties in design. This study has set time limits world war I which was the period coat became major fashion of woman's clothing, to 1960's.