• The Research Journal of the Costume Culture
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• v.20 no.6
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• pp.826-837
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• 2012

Recently, hats have been used more frequently as an accessory, contributing to the general image of clothes in men's collections. This study compared and analyzed the frequency and styles of hat usage in men's brand collections according to the collections' images. Types of hats and their frequency of usage in men's clothes were analyzed among 857 collections from 74 brands between S/S 2006 and F/W 2012. This study also examined the relationship between clothes image and type of hats used. Hats were used in 622 out of 857 collections, and 24 different types of hats were used. In 67 collections, hats were used in at least 71% of clothes. The most frequently used hat was the fedora, followed in frequency by the beanie, cap, bowler, and high hat. The styles of hats in collections varied depending on seasons. In S/S season collections, fedoras were often used, while beanies were more common during the F/W season. This study analyzed styles of hats used in formal, casual, uniformed, and deformed images. Beanies and fedoras were frequently used for the formal image; fedoras, beanies, and plat caps were often used for the casual image; more than 3 types of hats were used together for the uniformed image; and design hats and hats in various styles were used for the deformed image. The results show that hats of various styles were used in collections to express the image of clothes.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.163-174
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• 2009

The first Chinese film maker from Korean ethnicity, Jang Ryul is also the first Korean director from Chinese background. As a diaspora himself, he crosses over two countries, trying to look through diaspora viewpoint at diaspora phenomena widely scattered in Northeast Asia. This paper is written in an effort to closely consider his story and style through 3 films, , , and . The main character in is a Korean Chinese woman, Choi Sun Hee, who sells Kimchi in outskirt of a city. is the story about the relationship between Hangai, a Mongolian man who plants trees in deserted prairie and North Korean mother and son in defection from North Korea. treats a group of characters floating around in Iri, the city that was vanished by the explosion 30 years ago. The first thing of the style of Jang Ryul building the diaspora viewpoint is time, crossing the floating space. The second one is the inversion of on-screen space and off-screen space or center and periphery. The third one is the absence of language. Given the fact that discourses about the identity of East Asia flourish these days, his movies, as the fruit of consistent attempt to search for East Asian identity within the filmmaking process, deserve more attentions.