• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.77-95
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• 1997

The purpose of this is to investigate the relation between Graffiti techniques and the contemporary dress. Graffiti is the internal expression of human potential desires which is composed of informative signs. As Graffiti have become the cross-cultural condition under the Hiphop culture, it makes the meaningless space into the characteristic space, and proposes the identities of graffiti ‘writes’. In the contemporary dress, Graffiti look has become means of communication and playfulness. Through the external forms like icon, index, and symbol, graffiti look expresses individual, social, and political identities, and aesthetic values of satirement and playfulness. It would be define graffiti look as postmodern characteristics, as it wee, which has collapsed between the mainstream, and anti-mainstream, and it contributes to spread streetstyle to catwalk.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.49-59
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• 2013

This research study investigates the cultural significance and meaning of Thai Mudmee, their historical content, and the variety of the Thai Mudmee techniques, including patterns, symbol and colours. The aim has been to develop the traditional pattern and designs of the Thai Mudmee and produce contemporary textile pieces more appropriate for modern lifestyle tastes both in Thailand and Internationally. By reviving the Thai weaving tradition it is also hoped to encourage and maintain the continuous survival of tradition Mudmee, providing new sales opportunities and markets both in Thailand and abroad. Studying various attempts to redevelop traditional crafts in different countries brought to me the idea of how to develop folk crafts, the problems that occur in this area have encouraged me to express how folk crafts could be benefit from the design process. In this thesis I also express my recommendations for other researchers and the Thai government, as well as other people who interested in Mudmee design. The thesis concludes with the possibilities of how to improve the design of the Mudmee fabric and further areas of research.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.37-44
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• 1998

Chair is one of objects which are closely connected with human body and is a symbol which represents human essence and culture. Symbolism embodies the meaning of expression through transfering the immaterial structure to tangible form. Therefore chair embodies the essential internal desires of human by means of its symbolic representation. In order to understand the essential human desires included in the symbolism of chair it is necessary to consider these desires with respect to cultural and historical context. in this study four essential internal desires of human are investigated through the symbolic representation of chair that is the desires on human psychological comfort authority freedom and eroticism. The purpose of this study is to emphasize the necessity of the design approach based on the understanding of essential internal desires of human which is pursued from the object by user.

• Journal of the Korean Society of Costume
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• v.26
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• pp.265-278
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• 1995

The purpose of this study was that the real clothes is based on the cultural characteristic of the nation and is influenced by the consumers' psychology and desire in their daily lives. At this point, I investigated what was the most desirable clothes for the women in their home and at their office and found out how this aspect was expressed by Donna Karan design. Donna Karan noticed that executive women didn't want to wear such a masculine clothes, so she designed sensual and womanly clothes. She choosed active and comfortable fabric and made silhouette to cover woman's imperfect body. The colors of clothes and accessories were made to coordinate easily. Especially in advertisement she presented a executive New Yorker woman in trust as a symbol of American culture. Now, Donna Karan is one of the most successful fe-male designers and her influence is all over the world.

• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.562-576
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• 2000

The purpose of this study is to semiotically reinterpret the Korean beauty and symbol inhering in the modern clothing of Korean designers as the context of traditional culture through regarding the clothing including hegemony that is controlling the Korean society and culture as a sign. The theoretical framework for analysis was derived from the semiotically analytic methods of F. Saussure and R. Barthes. The results of the study are as follows ; Korean images reflected in the modern clothing designed by Korean designers are humanistic image, environmental-friendly image, totemic and mythlogical image, equal and peaceful image, and metaphorical and metonymical image. Conclusively, developing a creative design based upon the interpretation of our unique and traditional culture, the clothing could be newly made of historical and cultural resources in the modern lives. If so, I think that the clothing will be not only the visual and decorative art, but also an information which contains implication of our culture, and finally can be established.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.672-678
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• 2006

This study examines the implications of fashion in self-expression or image management among college students in Korea. Socio-demographic factors are considered in addressing following research questions: why Korean college students seek luxury goods; how they recognize the effects of using luxury goods on their image management; whether or not they have purchased counterfeit luxury goods; and why they buy counterfeit goods. In order to explain the relationship between fashion and social class, the study examines various sociological theories including Erving Goffman's dramaturgical approach. The data were drawn from 1419 students from 10 universities nationwide in 2005. Chi-square analyses yields outcomes as follows: Using luxury goods works as a class symbol that gives the users the image of higher socio-economic background; use of counterfeit luxury goods and its symbolic effects in image management do not have significant relationship with socio-economic background.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.127-130
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• 2001

Suzhou historic gardens include classical gardens, places of interest and palaces built by hills and waters. They are geographically distributed in the ancient city and the suburbs. Considered as both chinese and world class historic cultural heritage, these precious tourist resources have been included in the systematic urban planning of Suzhou and they are an integral part of the urban green plan and symbol and characteristic of the urban view. These gardens are also important for tourist industry-one of the pillar industries Suzhou. Therefore, historic gardens play an especially important role in the city's continuous development and it becomes an important task to make good protection, planning, construction and management of these historic gardens.

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.94-115
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• 2017

'Arirang folk song in the Democratic People's Republic of Korea' was inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2014 and 'Tradition of kimchi-making in the Democratic People's Republic of Korea' followed in 2015. It is presumed that North Korea was influenced by the Republic of Korea inscribing 'Arirang, lyrical folk song in the Republic of Korea' to the list in 2012 as well as 'Kimjang, making and sharing kimchi in the Republic of Korea' in 2013. These cases show the necessity (or possibility) of cultural exchanges between the two Koreas through UNESCO ICH lists. The purpose of this article is to explore the possibility of inter-Korean cultural integration. Therefore, I would like to review UNESCO's ICH policy and examine the ways of cooperation and joint nominations to the Representative List of Intangible Cultural Heritage of Humanity between the two Koreas. First, I reviewed the amendments to the laws and regulations of the two Koreas and how the two countries applied the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. Although the cultural exchange is a non-political field, given the situation between South and North Korea, it is influenced by politics. Therefore, we devised a stepwise development plan, divided into four phases: infrastructure development, cooperation and promotion, diversification, and policymaking and alternative development. First a target group will be needed. In this regard, joint nominations to the Representative List of the UNESCO Intangible Cultural Heritage of Humanity will be suitable for cooperation. Both countries have already started separate nominations on shared ICH elements to the UNESCO lists. Therefore, I have selected a few elements as examples that can be considered for joint nominations. The selected items are makgeolli (traditional liquor), jang (traditional soybean sauce), gayangju (homebrewed liquor), gudeul (Korean floor heating system), and jasu (traditional embroidery). Cooperation should start with sharing information on ICH elements. A pilot project for joint nomination can be implemented and then a mid-term plan can be established for future implementation. When shared ICH elements are inscribed on UNESCO ICH lists, various activities can be considered as follow-ups, such as institution visits, performances, exhibitions, and joint monitoring of the intangible cultural heritage. Mutual cooperation of the two Koreas' intangible cultural heritage will be a unique example between the divided countries, so its value will be recognized as a symbol of cultural cooperation. In addition, it will be a foundation for cultural integration of the two Koreas, and it will show the value of their unique ICH to the world. At the same time, it will become a good example for joint nominations to the Representative List recommended by UNESCO.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.430-448
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• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• The Research Journal of the Costume Culture
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• v.7 no.3
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• pp.1-16
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• 1999

This study in concerned with the costume accessories appeared in Sam Kuk Sa ki. The accessories of both sexes were analized. Results of this research can be summarized as follows : It was appeared that names of accessories of men were fewer in number than those of women. Men\`s accessories such as a hat, bok-du, a belt,boots, shoes, and sock were mentioned in Sam Kuk Sa Ki. Women\`s accessories appeared such as a hat, a comb, a hair pin, a belt, shoes, and sock. A bok-du, boots, and a hared belt were used exclusively by men, while a hat, kwan(冠), a comb, a hair pin, a scarf, pyo( ) were worn exclusively by women. All men from different classes including true bone class as well as the common class wore bok-du, a hat, a hard belt, boots, sock ; however, class distinctions were made from materials used for those items. Also women\`s accessories were used as means of differentiating social status of the wearer by means of materials employed for each item. Especially, woman\`s hat and scarf were a symbol of the noble class. Only two classes of women from the true-bone class and women from the sixth du-pum class entited to wear hats. Wearing a scarf was not allowed to women from the common class. Class dirrernetiations were made by the materials used for hats and scarves. Materials for a scarf such as gold and silver leaf, pecock tail, and king fisher fly feather were restricted to women from true-bone class. Such as man\`s hat bok-du( 頭), use of women\`s comb and hair pin, scarf, leggings were items drived from Tang China. It clearly showed that costume accessories of Silla were heavily influenced by the Chinese. At the same time the costume accessories were sued to make sex difference among the people of Silla. Woman wore a soft belt made of cloth while man wore a hard belt. Woman\`s hat, a scarf, a comb, a hair pin, a belt or sash for a shirt, and leggings were woman\`s sex symbol. Thus, costume accessories of Silla appeared in Sam Kum Sa Ki functioned as means of differentiating social status of the wearer such as sex,class and rank in the society. Also, they showed that Silla kingdom had close cultural relationship with Tang China.