• 한국의상디자인학회지
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• 제18권1호
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• pp.121-133
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• 2016

The purpose of this study is to recognize the differences of visual evaluation by variations in pattern and silhouette of the block dresses. The stimuli are 9 samples: 3 variations of the silhouette and 3 variations of the size of pattern. The data has been obtained from 55 fashion students and has been analyzed by using Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of this study are as follows; 1) The visual evaluation by pattern and silhouette of block dresses are composed of 4 factors: lovable personality, physical characteristics, boldness, and simplicity. 2) Block dresses were evaluated to display the figure more efficiently, such as looking slimmer or taller, in the order of 2nd stage, 1st stage, and 3rd stage in every silhouette. As the patterns became bigger, straight silhouette dresses were judged to have bolder, more dignified images. 3) Block dresses were evaluated to have cute and lively images in order of hourglass silhouette, straight silhouette, and fitted silhouette in every pattern. They were evaluated to appear slimmer and taller in order of hourglass silhouette, fitted silhouette, and straight silhouette in every pattern. 1st stage and 2nd stage dresses were evaluated to have a bolder, more dignified image in order of fitted silhouette, hourglass silhouette, and straight silhouette. 4) The pattern and the silhouette of the block dresses interacted with boldness. These were the boldest, most dignified image in the fitted silhouette and 1st stage, while they were not judged so in the case of the straight silhouette and 1st stage. 5) According to the MCA regarding lovable personality and physical characteristics, the silhouette affected the visual image of the block dresses more than the pattern did. According to the MCA on simplicity, the pattern affected the visual image of the block dresses more than the silhouette.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식
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• 제63권3호
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• 한국의류학회지
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• 제27권8호
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• pp.924-934
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• 2003

The aim of the present study was to measure intra-individual consistency in clothing style evaluation and to examine its relation to the ratings. For this study, a pilot test was conducted to 50 clothing majored university students to explore the stimulus of‘cute’,‘casual’,‘sexy’,‘elegant’,‘intelligent’,‘formal’,‘romantic’,‘individual’,‘refined’for the 9 each image styles from the 32 spring wears in fashion magazine$\boxDr$FARBE$\boxUl$(March, 2000). On the basis of the preliminary survey, the question items explored the 15 pairs of bipolar adjectives as seven-point Likert type. The main survey was preceded 94 female and 111 men of university students from March 13 to 24 in 2000, twice for 7-days interval. As a result of analyzing of correlation coefficients between the two ratings for each subjects, intra-individual consistency in the evaluation, ranged from -.11 to .87 and mean coefficient was .64 of female and .20 to .76 and mean coefficient was .57 of male. Female had higher intra-individual consistency in the evaluation than male. Based on the coefficients, the subjects were classified into three groups: high, medium, and low intra-individual consistency. Analysis of variance of mean ratings by the three groups revealed that significant difference existed in 42% of female and 25% of male in 135 combinations of 9 clothing and 15 semantic differential scales. There was an apparent tendency that subjects of female with high intra-individual consistency were mostly definitely to evaluate clothing, whereas the ones with low were least. But male shows opposit trend compare to each groups of female. The result of this study, it was found that female rated higher intra-individual consistency and definition in the two times evaluations than male and among the semantic differential scales'consistency differ depending on style and gender. It is believed that the result of this study is helpful clothing image evaluation, and clothing image selection tendency.

• 재활간호학회지
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• 제5권1호
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• pp.27-37
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• 2002

During acute stages of hospitalized stroke patients, family caregivers face many challenges. They often experience emotional distress, social isolation, and financial constraints. However, the burden of caregiving of stroke patients in acute stages has never been studied properly. The purpose of this study was to investigate the factors related to the caregivers' burden with acute stroke. The subjects were 123 acute stroke patients and their caregivers who were admitted to neurology and neurosurgery units at Dan Kook University Hospital in Chung-Nam area. An interview was performed with the use of standardized questionnaire which included data pertaining to the patients/caregivers characteristics, caregiver burden (Modified Zarit's Burden Scale), and social support (Personal Resource Questionnaire). Our results showed that the mean burden score was 3.11, indicating high level of burden. Among the sub-domain scores, financial burden was the highest. In univariate analysis, the factors related to caregiver burdens were: inability to communicate between patients and caregiver(p<.001); low cognitive function of the patients(p<.001); low level of ADL(p<.001); the gender of caregiver(p<.001); the current employment status of caregivers(p<.01); the presence of social support for caregiver(p<.001); and the availability of alternative caregivers(p<.001). In multiple regression analysis, social support for family caregivers (87%), low level of patient's cognition (2%), availability of 2nd caregiver (1%), and gender of caregiver (female, 0.4%) were significant explanatory factors of overall burden. The caregivers' burden in acute stages during hospitalization following stroke was high. Recognition of high levels of caregivers' burden and those relating factors affecting caregiver burden may allow us to develop different nursing strategies to unload the level of burden for caregivers in acute stages of stroke.

• 한국패션뷰티학회지
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• 제6권2호
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• pp.80-86
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• 2008

This study is to understand how fluidity and natural features of Art Nouveau style are reflected in hair style of Art Nouveau age and Modem age and be a help to the trend analysis of hair style in the future. The study is conducted with the research on Art Nouveau expression in hair style and analysis of hair-show, trend presentation, documents related with hair style, TV drama, theses, journals and internet etc through advance research for Art Nouveau and Hair. The result of the analysis on Art Nouveau pattern in hair design is presented as below. First, it shows rounded, winding, flowing and thick-waved style of Art Nouveau pattern in modem long and short hair style. It also shows the beauty of long, bending and flexible lines, waving liveness and thin and slim lines and this is the Art Nouveau pattern that is also applied to other fields. In terms of decoration, it does not use tree vines, leaves and petals that are expressed in paintings of Art Nouveau age. Second, it shows natural up-style by lifting hair up with waved long hair that is one pattern of Art Nouveau and expresses hair style with feathers of birds, tree vines, leaves and petals etc for more decoration in animal pattern to make cute, romantic and elegant style in hair style.

• 한국의상디자인학회지
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• 제13권4호
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• pp.29-39
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• 2011

The purpose of this study provides a high consumer-oriented wedding dress on the consumer and offering the consumer-oriented product and provide a basis data to develop a wedding shops so it can stable and manage of effective marketing. Wedding shop for a survey of consumer preference, and based on this wedding dress designed and made. The results are summarized as follows. First, when wearing wedding dresses and "graceful and feminine" image that seek to pursue an image that showed the highest response, "simple and stylish", "cute and vivid" image was in order. In the survey of wedding dress preference, lace is preferred, in tone of color white is preferred by and large. In silhouette, A-line is preferred most, in neckline, exposure of the shoulder, in sleeve length, sleeveless, in decoration, beads. Second, on the basis of these results, depending on the image to pursue the design, wedding was made of 3 creations. The work I is a target of the early 20s, the concept "simple and stylish", and A-line is adopted in silhouette focusing on modern simplicity, soft satin material used of high class. The work II is a target of the late 20s, the concept "cut and vivid", and fit-and-flare made of many folded tulle mesh material. The work ill is a target of the 30s overall, the concept "graceful and feminine", and high-waist- empire-line is adopted in silhouette, splendid lace material used, is of the gorgeous and mature beauty.

• 한국생활과학회지
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• 제12권4호
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• pp.539-552
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• 2003

The purpose of this study was to find out the proper evaluative words and colors according to various fashion images and to classify the fashion images according to certain criteria. 13 books which included the content of the fashion images were selected to draw evaluative words and colors. Evaluative words and colors were found out as follows: classic image-traditional, classical, conservative and brown, wine, dark yellow, modem image-intelligent, rational, westernized and achromatic color, cool colors, elegance image-dignified, graceful, chic and greyish tone, pale tone, romantic image-cute, lovely, girlish, natural image-natural, comfortable, gently and brown, ivory beige, khaki, casual image-energetic, comfortable, active and red, yellow, blue family. The classification of fashion images according to various criteria were as follows. According to sex: feminine-elegance, romantic, pretty and masculine-mannish, dandy, military. According to time: past-conservative, traditional, classical, and present-modern, contemporary, sophisticate. According to formality: formal-formal wear of classic, elegance, mannish, dandy style and informal-natural, casual. According to intelligence, the elite style-modern, elegance, classic, sophisticate and the public style-casual, natural.

• 한국의류산업학회지
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• 제19권3호
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• pp.267-279
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• 2017

The necessity on children dresses for cultural events and emotional aspects in designs have become important according to the development of kids industry and revitalization of party culture, and so grasping emotional requirements of consumers (image perception) is necessary actually. For the purpose of this research, the study used 27 color pictures on the whole bodies of preschool children who wore children dresses that mixed clothing design factors differently (sleeve, skirt length, waist line, materials, color, decoration type and location) through a survey. Regarding the survey objects, this study objected preschool children of 5~6 years old girl's mothers who lived in Gwangju Metropolitan City, and its results were same as follows. First, the mothers evaluated children dresses like 'beautiful,' smart,' 'cute,' 'tidy' images. Second, sleeve, waist line, skirt length, materials, color, decoration type and location appeared to clothing cues affecting influences to overall image perception of children dresses, and decorations were implicated as salient cues that affected greater influences to image perception of children dress wearers than other clothing design factors especially. Based on the research, this study expects that various forthcoming researches have been made continuously, and it could become a guideline for the development of children dress industry afterwards.

• 패션비즈니스
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• 제12권4호
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• pp.99-113
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• 2008

The purpose of this study is to compare the social image and the external image of a Korean woman in 1970s and find out that the make-up can provide an important clue to examine the image of a woman in a given period. The research scope covered 10 top news of the daily newspapers and articles of women's magazines. A focus was made to an analysis on words and photos from them. The relationship of each image scale was examined by comparing the linguistic image scale and the visual image scale. The results were as follows : First, a frugal and tidy image. It was the look of our tidy, simple, traditional and classic woman. Second, an image of a cute and pure lady of refined manners. In 1970s, women were supposed to be 'a loving wife', a cultured female image with a faithful role of a 'wise mother' and a lady of refined manners as the best value. Third, a frivolous and decadent image. Double-faced image of a woman which included the women, who had to live as the lady of refined manners during the daytime and seductive woman during the night. Fourth, an image of a contemporary working woman. It was the image as a chic, confident and dignified working woman requested by the society of the times. Namely, it can be understood that women had a make-up of a soft and gorgeous tone as an expression of a will to keep a confident and female aspect in the course of working in the society by the women experiencing 1970s, the turbulent period. Consequently, it is possible to understand that the make-up was utilized as a means to express an ideal beauty of the time pursuant to the historical background or feature.