• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.123-127
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• 2008

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.27-35
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• 1986

The purposes of this study were: 1) to investigate four aspects of high school students' clothing attitudes as compared with their needs and family value orientations. 2) to ascertain whether differences existed between toys and girls on four aspects of clothing attitudes. Needs were measured through The Need Diagnosis Scale (Jaung-Ku Whang: 1965). Family value orientations were measured through The Home Environment Inventory(Won-Sik Jung : 1970). Four aspects of clothing attitudes were assessed by means of Lee; Kahng; Lee; Yang's questionnaires. The questionnaires were administered to a sample of 576 senior high school students(285 boys and 291 girls) in Won-Ju. The data was analyzed by correlations, multiple regression, t-test. The results were as follows : 1) Need for exhibition was positively related to clothing exhibition and fashion interest for both boys and girls, and clothing conformity for boys only. Need for exhibition was negatively related to clothing modesty for boys only. Need for affiliation was positively related to clothing exhibition for both boys and girls, fashion for girls only, and clothing conformity for boys only. 2) Social climber family value orientation was positively related to clothing conformity and clothing modesty for boys only. Materialistic family value orientation was positively related to clothing exhibition. Traditional family value orientation was positively related to clothing modesty for both boys and girls, and negatively related to clothing exhibition. 3) Girls scored significantly higher than boys on attitudes toward fashion and clothing modesty, whereas boys scored significantly higher than girls on attitudes toward clothing conformity.

• Journal of Fashion Business
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• v.22 no.4
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.265-272
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• 2006

Traditionally exhibition design as been restricted to architectural, interior, and lighting design, but recently it has begun to overlap into environmental, performance, and installation art. Exhibition design also increasingly involves the application of film, fashion, and the new media. In the past, exhibits were arranged and displayed for the visitor to view directly, but with the development of more effective exhibit media a connection has been created between the exhibit and the visitor. However exhibition design has reached the limits of continuous growth without background theory, when now it must take Into consideration the museum's activation and the importance of the exhibition's design. Exhibition design has developed and grown rapidly since the Taejeon Expo in 1993, but it is a difficult development without a theoretical structure. The flow of exhibition design must be systemized, as the systemization of the transition process of exhibition design has not yet been achieved. This study aims to present an arrangement of exhibition design flow, and to investigate the variation factors in the transition process of exhibition design and exhibit medium development, based on the 18 year history of the Independence Hall that introduced the first systematic planning of an exhibition in 1987.

• Journal of Fashion Business
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• v.10 no.1
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.156-170
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• 2012

These days, fashion museums that were established during the 60~70s in advanced countries are spiritedly planning opportune exhibitions as well as opening collections and accumulated research materials to the public. They are also publishing innovative visual references and offering various educational programs. They play a crucial role in speeding up the development of creativity of fashion designers by accumulating archives through analytic researches. Since Korea has applied western fashion for over a century, now is the time to make a fundamental long-term plan for establishing the identity of Korean fashion by gathering and classifying the history of a century. Thus, the aim of this study is to reach a conclusion to construct fashion museum in Korea to discover as well as develop fashion talents and eventually enhancing national competitiveness. First, the theoretical study on the history and the functions of fashion museum were analysed. 'The collection & exhibition' in the common thread is one function of the fashion museum. Another function is 'the research', which includes accumulations, classification and record of materials in a particular point of view. It also includes publishing catalogues with temporary exhibitions and open management to the scholars and the designers. 'The communication', which is enacted through various educational programs and events for inflow of new visitors, is the other function of fashion museum. The current state of fashion museums in advanced countries and Korea were also analysed. Korean public museums only owned traditional collections while public fashion museums in other advanced countries usually owned collection of the past and the present together. The only contemporary fashion museum in Korea is run private which leads to many problems. Finally, The study went further to suggest the advanced model of fashion museum in Korea based on the research.

• Journal of the Korean Society of Clothing and Textiles
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• v.2 no.2
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• pp.287-294
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• 1978

The purpose of this study was to investigate the relationship between clothing interests in the status symbol and the exhibition need and status inconsistency. The exhibition need was measured by Murray's statements on need and some items selected from The Need Diagnosis Scale of Jaung-Kyu Whang. Status inconsistency was measured by the same criteria of Lenski. Three aspects of clothing interests-the status symbol, the fashion and the exhibitionism-were assessed. The questionnaires were distributed to the housewives in Seoul. Data from 511 respondents were analyzed by correlations and $x^2$-tests. The results were: 1) The exhibition need was positively related to interests in the status symbol and exhibitionism of clothing. 2) Status inconsistency was positively related to clothing interests in the status symbol and fashion. 3) The degree of clothing interests in the status symbol and fashion were also positively related to the clothing expenditure and the socioeconomic status of the sample.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• The Journal of Natural Sciences
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• v.15 no.1
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• pp.149-158
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• 2005

These Study for meaning of Skirt Exhibition of Prada who has originality about minimalism, anti design. Her special characteristics of modern design world is very trendy. The latest trend which is deconstruction, nonos tribe, techno-functional of Prada style showed her exhibition. It was very meaningful about Prada fashion and modern design and culture. The various fused fashion items and genres are normally observed in the skirt exhibition. Besides interpretation of light and movement, novelty of modern design would be guided to the exit of modern culture and art, which haver to answer to th e continuous questions.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.36-51
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• 2017

Taekwondo has been known as one of the most symbolic korean sports to publicize Taekwondo various groups have performed exhibitions. These exhibition performances have gained popularity domestically and globally due to the exhibitions' display of artistry and technical mastery. Performance wear has also received wide exposure and thus needs artistic symbolism and functional considerations. This study was done to develop Taekwondo exhibition performance wear for K-Tigers, one of the most active Taekwondo exhibition performing groups. Investigation of current Taekwondo exhibition performance wear and interviewing with K-Tigers members and staff were conducted before designing the uniforms. Interviews demonstrated 3 guidelines: First, the uniforms should not be too different from the traditional wear, but still look unique. Second, it should symbolize the Korean spirit and culture. Third, it should be casual and trendy enough to appeal to young people. Based on these guidelines, 3 styles were made: Dobok style, Hanbok style and Casual style. 5 final designs were selected among 75 sketches with the consensus of the K-Tigers members. This was followed by the 3-step correction process: wearing, check fitting, and correcting design and pattern to provide satisfaction to wearers, and give more detailed information to Taekwondo performance wear design.