• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.207-219
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• 2016

This study was performed to investigate shopping behavior of Chinese, Japanese, and US tourists in Korea. For this purpose, travel activities and shopping items were identified first. And thereafter the shopping satisfaction, travel satisfaction, intention to word-of-mouth, and intention to re-visit were compared by country, gender and age. Finally, the effect of shopping satisfaction on travel evaluations as well as the effect of demographics on shopping satisfaction were examined. Secondary data were used for this survey, while ${\chi}^2$ test, t-test, ANOVA, Duncan test and regression analysis were applied to analyze data. The results were listed below. First, main travel activities were shopping, followed by enjoying natural scenery and visiting historic sites. Apparel, cosmetics, leather goods, and shoes were major shopping products. Chinese and Japanese tourists preferred cosmetics and apparel most, while US travellers bought lots of apparel and shoes. Men and older tourists tended to buy food products more than women and younger people did. Second, degree of shopping satisfaction significantly differed by country and age. The US tourists showed highest satisfaction, followed by Japanese and Chinese ones. Younger people tended to be satisfied more than older people significantly. In terms of travel satisfaction and intention for word-of-mouth, the US tourists, women, and younger people revealed higher scores than the other counterparts. Intention to re-visit Korea were significantly different, based on country and gender, showing higher for the US people and women. Third, shopping satisfaction was found to affect travel satisfaction, intention for word-of- mouth, and intention to revisit Korea significantly. In turn, travel satisfaction was also shown significantly to affect on intention for word-of-mouth, and intention to re-visit Korea.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.1-14
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• 2015

The purpose of this study is to identify cross-cultural features among Korea, China, and Japan by comparing differences in facial awareness, attractiveness preferences, and consideration of facial parts in a group of Korean, Chinese, and Japanese men and women as they evaluated the faces of Korean women in their 20s. A survey was conducted targeting male and female Korean, Chinese, and Japanese college students in their 20s. Frequency analysis, ANOVA, Duncan test, factorial analysis, and reliability analysis, MANOVA were carried out using SPSS 18.0. The results of this study are as follows: Faces of Korean women in their 20s were evaluated by Korean, Chinese, and Japanese men and women in their 20s and were classified into four categories as 'Youthfulness', 'Classiness', 'Friendliness' and 'Activeness'. Differences in facial image awareness were observed depending on nationality and gender. Korean participants were found to place importance on overall morphological factors; The Japanese focused on the eyes; and the Chinese on the skin color. Women of all nationalities showed, on average, a higher awareness of facial parts than men. No significant differences in facial attractiveness preferences were found based on nationality or gender, but there were differences in how the participants evaluated faces for attractiveness, showing that reasons for preferences may vary even if the preferences are the same.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.50-61
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• 2014

Fashion has been compared to art since Japanese avant-garde fashion designers expanded the thoughts about conceptual fashion in late 1970s. The fashion designers focused on the materiality of fashion textiles by placing more importance on it than the shapes. This bears a striking resemblance to contemporary art of 1960s and 1970s as many artists used soft materials like felt, fabric, rubber to emphasize themselves. This study establishes the materiality of fabric, which can be found in both contemporary art and fashion. The classification of materiality consists of flexibility, humanizing and temporality. In this work, there is a significant disparity between contemporary art and fashion.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.595-603
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• 2015

The influence of Japonism, which is the post-mid-$19^{th}$ century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early $20^{th}$ century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in $20^{th}$-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.835-851
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• 2003

This study analyses patent information of apparel design using computer technology and researches the trend of patent application focused on International Patent Classification. In terms of trend by filling data, Patent application started first in 1974 and increased sharply in 1993 with 14 cases and increased to 25 cases in 2000. In case of Korea, they began somewhat late in 1996, but reached a similar level with the leading country in 2000. In terms of trend by applicant, Gerber Garment Technology, Inc. filed 7 cases TORAY IND INC, filed 6 cases Levi Strauss & Co. filed 4 cases, NEC HOME ELECTRONICS LTD filed 3 cases, TOYOBO CO LTD filed 3 cases. Japanese companies occupied 52% and United States's companies occupied 48%. In terms of trend by country, foreigner occupied 47% of the patents filed by United State. Japanese take up 10% of total patent of United States. Korean occupied 84% of total patent of Korea and foreigner, american occupied 16% of the patents filed by Korea. In regared to International Patent Classification, in the section level G filed 92 cases(53%). In class level, G06 marked the first place in United States, Japan, and Korea. In subclass level, G06F marksed the first place with 74 cases. G06T and A61B were regarded as the new technologies. The new technologies are representing the dimensions of garment or computer-rendered model, providing the virtual reality through the texture mapping, digital dressing room or virtual dressing, and performing or retriving display on a screen for the result of changing pattern ao dress design, The technologies of core patent are designing or producing custom manufactured item, providing or prealtering the data for pattern making and visually displaying, interactively generating or previewing of various articles.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.20-35
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• 2011

The purpose of this study is to investigate war helmets that were worn by high navy officers during the period of Japanese Invasion of Korea(1592~1598). War helmets worn during the War are classified into three types depending on whether they have a visor or 'cheom' and tongues or 'drim'. The war helmets of circumferential type has neither cheom nor drim. Those of cheom type has cheom, but not drim. And those of drim type has both drim and cheom or jeonbi. The war helmets of cheom type consist of a gamtu which is made of steel and looks like a reversed bowl and cheom that surrounds the entire circumference of gamtu. The war helmets of drim type are reclassified into two types in accordance with the shape of the gamtu and whether they have ganju. Of the two types, one type looks like a reversed bowl and has decorations on the top without ganju. The other type looks like a bottle neck and has ganju on the top, decorations above ganju. War helmets were in transition during the period of Japanese Invasion of Korea. Both the war helmets of cheom and drim types were worn during the War. At that time, the officers also wore war helmets having no ganju and looking like a reversed bowl and those having ganju and looking like a bottle neck. During the period, most war helmets were made of steel, but in the 18th and 19th centuries, most of them were made of leather.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.1-13
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• 2013

This study examines the processes and characteristics of modern Korean embroidery art from the beginning of Korean modern times to 1945 which was the year of independence from Japan. An objective basis is presented by the analysis of articles and illustrations from the press and publications of the corresponding times. The significance of this study is to research the modern Korean embroidery art, which connected traditional times with modern Korean culture in order to investigate its identity. Due to Korea's modern embroidery art being started in the Japanese colonial times, there are some limits in it because of it being influenced by Western modern embroidery art and Japanese embroidery design. However, modern Korean embroidery art expanded from the private space to public space such as schools, open lectures and exhibitions. It has also accepted diverse foreign embroidery forms, which have been commercialized and accepted as art. The embroidery craft as commerce and art has given women the chance to achieve economic independence and to improve their social status. Modern Korean embroidery was art for the modern woman who had been educated in academic art, as well as a liberal art for wealthy housewives. It was the foundation of economic independence for poor rural women. It can be concluded that Modern Korean embroidery art has been accepted and developed by women in modern times.