• Journal of the Korea Furniture Society
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• v.10 no.2
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• pp.37-53
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• 1999

On the turning paradigm in the early part of the 20th century, the change of behavior patterns naturally had influence on arts based it. Also the furniture designs was formed new style by interaction between paintings and sculptures and architectures. In this study, it was focused on Art-Deco movement that was started in 1920's France and was widely developed. Besides it was found out principles and characters of this style, and was made analysis and sense of the characteristic about formative language of Art-Deco on the relation with contemporary fine art and architecture. As the result, the origin of Art-Deco is characterized by three categories : abstraction, mystery and symbolism. The Art-Deco furniture design symbolized by the desire to pursue both splendor and elegance is French style pragmatism in progress toward Modern design.

• The International Journal of Costume Culture
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• v.9 no.2
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• pp.83-93
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• 2006

This study aims to analyze the hair styles featured in the collections from S/S season of 1995 to F/W season of 2004 both qualitatively and quantitatively by using content-analytical methods. This study was able to form a classifying system that divides hair styles into those artificial and those natural through systematic and scientific research. The resulting system, in turn, broadened the basis for understanding modern fashion and hair style expressions. In addition, by analyzing design-related characteristics, certain expressive techniques employed, and trends in detail, this study contributed to establishing the hair styles, which form part of socio-cultural phenomena, as an academic subject.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.8
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• pp.1100-1111
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• 2004

The purpose of this study is to investigate the hair in aspects of gender and cultural/political ideology, and to confirm the meanings of hair style in modem fashion. There are three zones of social significance such as head hair, facial hair, and body hair, and each of theses zones has both gender and ideological significance. In aspects of gender, opposite sexes have opposite hair norms. And, in sociocultural standpoint, hair is a political symbol of the main protest movements in culture. The contemporary hair styles in fashion design mean that the ＇paying＇ with gender identity, the reflection of changing sexuality, the non-politicism, the fragmentation of style, and the naturalness.

• International conference on construction engineering and project management
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• 2009.05a
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• pp.970-977
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• 2009

Organizational personnel must have well-developed interpersonal skills to deal with the different stakeholders and departments, to work at different levels in the hierarchy, and to meet varying performance requirements. Many leadership development and mentoring programs are designed to expose students as well as construction professionals to contemporary leadership techniques and skills. Leadership skills generally separate into three decision-making styles with varying degrees: 1) Autocratic, 2) Participate, and 3) Free-rein. This paper describes the study of leadership styles among 174 construction professionals and addresses the most appropriate leadership style for a project executive and a project manager in relation to compare with the characteristic leadership style and job functions. The study supports the growing importance of leadership skills as a component of managerial functions and provides a benchmark to identify a dominant leadership skill for a specific managerial position.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.142-154
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• 2014

The purpose of this study is to classify fashion images of senior women who have emerged as influential customers in the fashion industry. Characteristics of fashion images of senior women are identified by fashion style, preference color, and self-image. With the collected data, the Q group, consisting of Korean women who are in their 50s, was targeted using the Q methodology. The following factors were evaluated through in-depth interviews: fashion style, preference color and self-image. The fashion images of senior women were classified into the following 4 types: Characteristic modern, Reasonable basic, Comfortable contemporary, and Conservative elegance. Those classified fashion image types were influenced by the factors of nobleness, usefulness, personality, fashionableness, and youthfulness in accordance with fashion style, preference color, and self-image. The results of this study may provide basic information for fashion image planning for senior women and meaningful data for redefining and diversifying the concept of senior fashion brand which reflects the generation's changed taste and lifestyle.

• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.79-92
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• 2013

This article explores 1940's fashion. Much has been documented about the huge influence Dior's 1947 New Look had on fashionable clothing, as the industry conspired to reinvent itself as an economic and cultural power after World War II. The introduction of highly feminised and luxurious styles reinstated fashion as a viable concern globally and has arguably been recognised as the defining style of the 1940's. During World War II the fashion system of design, manufacture and export within the western world, virtually ceased. Many dress historians (Arnold, 2008; Breward, 1997; Guenther, 2004; McDowell, 1997; Robinson, 1976; Taylor, 1992; Steele, 1998; Veillon, 2002; Walford, 2008; Wilson & Taylor; 1989) have suggested that fashion ideas froze from 1939 to 1947. Deeper research identifies that during this period of style and trend starvation, many diverse and interesting design ideas arose from the restrictions imposed and Veillon (2002, p.145), has suggested that this period instigated what we now identify as Street Style (Polhemus, 2010). This research investigates the diversity of design ideas produced between 1939-1947 in order to establish whether pre or post 1947 can be upheld as the definitive 1940's look, one that influences contemporary fashion designers and one that we identify with as a conclusive style today.

• Journal of Fashion Business
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• v.6 no.2
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.1-18
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• 2021

The purpose of this study is to analyze and understand the approach of critical fashion by comprehending the appropriation of art as a sociocultural phenomenon that influences contemporary fashion. This study inquired into the relevant literature to explain the theoretical background behind critical fashion, and conducted a case study using exhibition catalogues, exhibition works, articles, fashion magazines, and fashion-related websites in order to examine cases of appropriation strategies. As a subversion of meaning by using an existing transposable object image to deliver an experience unlike the actual image, subversive appropriation in critical fashion takes existing things as they are and rearranges them with the purpose of subverting social values while having its subversive style of appropriation. Referring to a style that focuses on labelling the distance between the subject, that refers and that which is referred to, referential appropriation has been reprogramming existing things with an internal and introspective attitudes. In other words, from an exploitative style of appropriation aimed at expanding the meaning with found in objects by avant-garde fashion designers, to a subversive style of appropriation aimed at subverting meanings with transposable objects by conceptual fashion designers, there has been a change toward the referential style of appropriation aimed at expanding artistic forms with created objects critical fashion designers.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.701-712
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• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.