• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.168-183
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• 2013

Contemporary era has witnessed a diversity of emotion and emotions being expressed through consumption. This paper examines the relationship between social paradigms and emotional design by means of literature study. In sections 2 and 3, I examine the prevalent social paradigms and the concept/development of emotional design. In section 4, I show the correspondence between social paradigms and specific types of emotional design. More specifically it is shown that "pluralism and decentrality" has led to fun design, individual design and participative design; "emotional revolution" has given rise to multi-sensory design, design with positive feelings, design with negative feelings and aesthetic design; "non-materialistic values" have their correspondence in design as performance and story-telling in design; and "organic worldview" finds its expression in ecological design with a wellness emphasis, and in interactive emotional design.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.187-196
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• 1997

A Study on the Characteristics of the Modern Chair Design The features of the modern chair design results from the diverse life style unfolded as per the 20th century social structure and the change of the residential space, and new design has been being developed by the scientists and the artists in various fields through their cooperated work in a way. The field of the scientific or technical study and creation of arts can be developed where they can evoke the sympathy in the circumstances under which the various styles of both arts and science meet across, complement crash together, and grow up. The operation which can control in the network of such pluralistic sphere has been needed for a long period and it has been facing the needs from a time and society. The engineering furniture as the counterplan of the above has brought the value of materials into relief to the forms of human life by making the properties of matter the maximum value or changing it. It can be summarized as following characteristics in its materials and forms along as well as the 3 types (handycrafty, mechanical, and ecological expression) in process through the 20th century. 1. Characteristics in Materials elasticity of the chair as per the changes of the flexibility in the steel pipe development of systematic chair using the plasticity of the plywood, plastic, and wire lightweight due to the materials such as aluminum. 2. Formative characteristics formative simplicity for the increase of the function and the quality improvement such as sociality, productivity, environmental and aesthetic nature emphasis on the structure as per the architectural environment and tecniques pursuit of the forms as a container of the human body seeking for the formative values as the cultural symbols coping with the needs from thepluralistic social structure Furniture is not the makeup for convenience sake but most importantexpression as necessaries of our environments. It should identify itself always as per these kind of needs and also it should be able to used to keep the relation of such mutual division, otherwise the purchase of new furniture should be necessary according to every change of the existing situatiov. Our residence doesn't need the specific style but expresses only the properties of the dwellers.

• Journal of Chest Surgery
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• v.49 no.2
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• pp.92-98
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• 2016

Background: We used an Abramson technique for minimally invasive repair of pectus carinatum in patients who preferred surgery to brace therapy, had been unsuccessfully treated via brace therapy, or were unsuitable for brace therapy because of a rigid chest wall. Methods: Between July 2011 and May 2015, 16 patients with pectus carinatum underwent minimally invasive surgery. Results: The mean age of the patients was $24.35{\pm}13.20years$ (range, 14-57 years), and all patients were male. The percentage of excellent aesthetic results, as rated by the patients, was 37.5%, and the percentage of good results was 56.25%. The preoperative and postoperative Haller Index values were $2.01{\pm}0.19$ (range, 1.60-2.31), and $2.22{\pm}0.19$ (range, 1.87-2.50), respectively (p-value=0.01), and the median hospital stay was $7.09{\pm}2.91days$ (range, 5-15 days). Only one patient experienced postoperative complications. Conclusion: Minimally invasive repair is effective for the treatment of pectus carinatum, even in adult patients.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.210-215
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• 2008

The area of design is the key which can create the generation's core values consistently influenced by the various media, throughout the rapid growth of technology and globalization. In the past, the design used to be defined as 'aesthetic', 'decorative', and 'satisfaction of the sensibility'. However, we believe it is time for a different value followed by the issue of user's different backgrounds and cultures. As the need arises, cross culture study has requested that we analyze how we understand the user's backgrounds and cultures. By doing so, it defines the user's needs like focus group interviews and methodology on process of product development or evaluation. Therefore the subject of this study is how the communication between two groups are affected by the difference between two cultures that centers on focus group interviews which has different consequence by diverse cultural backgrounds and personalities. Because personalities cannot be separated from cultural context, we have the compared group as a result of MBTI and establish practical methodology for proving the cultural factor which influenced to the difference of communication ways.

• Journal of the Korean Society of Costume
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• v.29
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• pp.23-38
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• 1996

The purpose of this study was to analyze the characteristics of the Minimal Art represented in the second half 20th century fashion. All the mode of dress worn this century have developed from the stimulus of a chang-ing society fired by new discoveries and a zest for the new and different. It would appear that even more dramatic changes will soon occur in our clothing styles the effects of which will be farreaching. Many of today's styles intended to dress our psyche rather than our bodies and this if fully understood by the new designers whose influ-ence will become increasingly more potent as we approach the new century. The highly developed material civilization resulted in human alienations environmental distruption, l By this fact human being of the 20th century was to overcome social com-plexity. Accordingly their search for simplicity was interested in the 60's style. Especially the formativeness of the 60s style was repre-sented in the second half 20th century fashion. In this paper it was focused that how the characteristics of the Minimal Art was expressed in the second half 20th century fashion. minimalism was a quest for basic elements repesenting the fundamental esthetic values of art. without regard to issues of content. At its most extreme it reduced art not ot an eter-nal essence but to an arid simplicity. "Primary Structure" the most suitable name suggested for this type conveys its two salient characteristics : extreme simplicity of shapes and a kinship with architecture. minimalist works are charcterized by huge dimensions coldness and absolute aesthetic neutrality. minimalist artists ambition is to de-fine through the most rudimentary materials such as plywood galvanized iron aluminum plastic and wood a new order of the space. The environment is just as important as the object itself. Similary the use of new tough materials. such as vinyl metal and plastic at late half of the 20th century fashion related to the formativeness of the Minimal Art. And the style of 20th fashion was holded the internal meanings in common the formativeness of the Minimal Aet thorough the various texture pat-tern silhouette etc.uette etc.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.130-143
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• 2010

Hanbok industry is not based on a consumer-oriented market system, which is related to poor competitiveness in various areas, such as product planning, marketing, and flow of raw materials. The purpose of this paper is to design and conduct an empirical study on important aspects of consumers. experiences and perspectives about Hanbok, and thereby aims to provide much-needed guidance about ways to promote the Hanbok market. Out of 1065 questionnaires distributed, a total of 1039 was returned with responses and used for analyses. The respondent sample included consumers of various background characteristics in their residential areas, age, gender, education levels, and income levels. Cronbach's alpha and a factor analysis were employed for the reliability and the construct validation of the survey instrument. One-way ANOVA associated with post-hoc comparison tests was used to investigate differences across different demographic subgroups of consumers. The results show that consumers generally view Hanbok as one of the formal dresses, worn one or two times per year for traditional events or ceremonies. Consumers tend to show negative opinions about the pricing, and the inconvenience in cleaning and wearing Hanbok. However, consumers think very highly of the aesthetic values, the gracious styles, and the iconic identity of nationalism of Hanbok. This study suggests that Hanbok for modern consumers should be considered as clothing for a ritual, rather than clothing to reconstruct to be fitted to modern daily lives. Hanbok should be promoted as part of up-scaled and differentiated traditional cultures, as clothing that represents and enhances the traditional elegance and beauty unique to the Korean people.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.55-67
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• 2013

The root of cultural and artistic diversity of modern society goes hand in hand with the appearance of new art concepts that started during the social and cultural turmoil. These concepts crossed the boundaries of traditional and universal aesthetic concepts and value criteria. Since there is a close relationship between the fashion industry and the cultural flow of its times, the purpose of this study is to investigate the influences and applications of conceptual art, which became one of the big frameworks of contemporary art on fashion. The study thus sets out to develop and analyze the collections of Hussein Chalayan and Martin Margiela, who were fashion designers that pursued conceptual and ideal values, from the perspective of conceptual art. The goal was to examine the conceptual thoughts they sought after, and to understand their expressive determinations that they pursued conceptually as well as the superficial formativeness of their works. The characteristics according to the expressive methods and conceptual intentions of conceptual art that specified concepts and ideas were as follows: readymade symbolized objects, expanded intervention, data form from process of changing and implementation, and language as visual metaphors. Then those characteristics of conceptual art were used in this study to analyze the collections of Chalayan and Margiela. As a result, both designers applied and mixed many characteristics of the expressive methods of conceptual art. In modern society, art and fashion share a cultural identity and it can be said that it is an accurate reflection of the time. They are not separate genres. Just like the unique flow of modern society that creates new concepts through mixture and infusion of different disciplines, fashion is included in the domain of art. In addition, understanding and studying other disciplines can make a huge contribution to the growth and development of fashion.

• Journal of Technologic Dentistry
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• v.27 no.1
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• pp.89-95
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• 2005

In the manufacture of ceramo-metal crown, difference of fracture strength according to the metal depth has been known to be an important influence on enough intensity and internal stress to endure an occlusion-pressure as well as aesthetics of rehabilitating similar colour such as natural teeth. Depth of ceramic material could be determined by that of metal in three groups: first case of thin depth, second case of thick depth, and third case of constant depth. For the enhancement of the fracture strength between metal and ceramic materials and aesthetic satisfaction, a study on the bonding force, fracture strength, and aesthetics have been required more. In this study, therefore metal coping were made in three groups of A, B and C by using both ceramic powder of Norithe and metal of Columbium, which have been used primarily in the market. A group was made in $0.2mm\times10mm\times10mm$, B group was made in $0.4mm\times10mm\times10mm$, and, C group was made in $0.8mm\times10mm\times10mm$, respectively. The number of metal coping in each group was 10, and total sample numbers used in this study were 30 metal copings. After these metal coping tissue were in the process of build-up in 1.5mm constant depth of porcelain, firing, and glazing, the fracture strength about each metal coping tissue was investigated using oil press. It was found that the average values of durable occlusion pressure for separation of ceramic material in the porcelain fused to metal crown (PFM) in the each group showed the increasing order of A group (30 bar), B group (42 bar), and C group (44 bar), respectively. Proper depth of metal coping in the PFM was considered to be 0.4mm in the B group because this metal size showed higher durable property to the occlusion pressure and better coupling strength in the ceramo-metal crown.