• KLA journal
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• v.11 no.12
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• pp.30-36
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• 1970

• Journal of the Korean Society of Costume
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• v.32
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• pp.117-130
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• 1997

The purpose of this study were to identify the design elements and the changing flow of advertisement from 1970's to 1990's by using content analysis of men's magazines. Finding were as followed; First through the analysis of men's wear advertisement in magazine it was found that the closer to 1990's the more various men's wear styles and backgrounds were advertized. These were more image oriented than product oriented. Since 1980 the advertisement about the licenced and the imported brands have been increased and the serial advertisement has shown more fre-quently than the 1-page advertisement since 1990's ; Second two piece suit was dominated in men's wear during 1970's and 1980's From 1990's this style was decresed in stead combi suit was increased. In 1970's the X silhouette was infashion and the y and the X silhouette was in fashion and the y and X sillhouette were increased during 1980's . The H silhouette was dominated in 1990's The brighter and the more various colors appeared in 1990's than in 1970's. The brighter and the more various colors appeared in 1990's than in 1970's The solid pattern was the main flow in men's wear however the stripes and the the check patterns were added in 1990's Third single breasted jacket style with two buttons and tailored collar was in fashion during 1970's . The length of the v-zone was shorter than half at this time however it was lengthened in 1980's . Also the the length of the jacket was lengthened. In 1990's the double breasted jacket style and two buttons were increased. The length of the v-zone and jacket were also lengthened.

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• KOREAN POULTRY JOURNAL
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• s.3
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• pp.16-19
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• 1970

'하루의 설계는 아침에, 일주일의 설계는 월요일에, 일년의 설계는 일월에'라는 말이 있다. 금년의 양계를 보다 경제적이고 효율적으로 설계하기 위하여는 일월에 모든 준비가 끝나야 할 것이다. 그러나 양계는 막연히 구상만 가지고는 정확한 설계가 어려울 것이다. 정확한 통계에 기반을 둔 청사진만이 당신의 가금 사업을 성공적으로 이끌어 나갈 수 있으리라. 여기 일년의 양계를 점처보는 특집을 마련하였다.

• 전기의세계
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• v.19 no.6
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• pp.61-72
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• 1970

1970년 9월 2,3,4일(3일간) 한국과학기술연구소에서 대한전기학회, 대한전자공학회, 한국과학기술연구소, 미국전기전자학회 공동주최로 열린 서울국제전기전자학술회의에 있어 분과별로 발표된 논문에 대한 해설과 의견을 소개한 것이다.

• Journal of the Korean Geographical Society
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• v.36
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• pp.58-76
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• 1987

우리나라 도시의 거주지역구조는 어떠한 특성을 내포하고 있으며, 공간적으로는 어떠한 양상을 나타내고 있는가? 이러한 연구문제를 파악하기 위하여 본 연구에서는 1970, 1975 및 1980년의 인천시를 사례지역으로 하여 도시의 거주지역구조를 '거주지역의 분화'와 '등질거주지역의 형성'이라는 두가지 관점에서 분석하고자 시도하였다. 또한, 본 연구에서는 분석과정에서 거주지역구조형성의 과정을 파악하고자 하였다.

• Journal of the Korean housing association
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• v.21 no.6
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.105-116
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• 2003

The purposes of this study were to examine the fashion adopted by young women in the United States in the 1970s and to explore how the dynamic shifts toward feminist values influenced those fashion trends. Fifteen American women who were college students in the 1970s were interviewed for the study. Throughout the decade, casual and comfortable styles became more prevalent; for example, pants became widely accepted for formal occasions as well as informal occasions due to an overall emphasis on practicality. The feminist and civil rights movements along with more liberal attitudes toward religion were among the more dominant cultural values that influenced the respondents' choices in clothing styles. Feminist presentation was diverse extreme or eclectic - and constantly renegotiating itself. This study helped us better understand the dynamics involved between fashion and value changes as well as the influence of feminism on the 1970s fashion in the United States.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.143-157
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• 2003

본 연구의 목적은 (1) 1970년대 서양복식에 존재하는 오리엔탈리즘의 반향에 대해 정의하고, (2) 서양 복식을 통해 표출된 오리엔탈리즘의 의미를 당시 정치, 사회, 문화적인 측면과 연결하여 탐구하는데 있다. 이론적 틀로는 문화인류학 이론에서 유래된 Hamilton의 Unifying Metatheory of Clothing and Textile(1987)이 적용되었다. 연구 방법으로는 1970년부터 1979년까지 미국에서 발행된 총 142권의 VOGUE 잡지 중 80권을 분석하여, 오리엔탈리즘이 보여지는 45장의 패션사진을 자료로 추출한 후, 연도, 디자이너의 소속 지역. metatheory에 따라 분석하였다. 각 연도별로 오리엔탈리즘이 표현되는 정도와 방법은 다양하였다. 서양디자이너들은 동양의 전통의상을 거의 그대로 모방하거나 하나 이상의 국가들의 전통의상 디자인 요소들을 하나의 복식에 혼합, 표현하는 방법을 주로 보여주는 반면, 동양 디자이너는 전통의상을 포함한 자국의 다양한 문화적 요소들을 서양복식에 도입하여 표현하였다. 또한, 본 연구에서는 복식에서 보여지는 시각적인 면의 분석과 더불어, 1970년대 당시 미국의 정치. 사회, 문화전반의 상황과 복식에 있어서 오리엔탈리즘의 도입과의 영향관계가 파악되었다. 따라서, 복식을 연구함에 있어서 문화인류학적 이론과 같은 다른 분야의 이론의 적용은 복식을 새로운 측면에서 이해하는 넓은 안목과 통합적인 틀을 제공한다는 측면에서 가치가 있다고 사료된다.

• Journal of Fashion Business
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• v.17 no.6
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.