• 복식
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• 제56권6호
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• 복식
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• 제56권7호
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• pp.42-53
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• 2006

The purpose of this research is to study doll's symbolism representing our social culture and the characteristics of clothing design. The ball joint doll was selected, that are pretty much resembled to human body in terms of facial expression, body proportion, joint movement, etc. Results of research are summarized as follows: the ball joint doll is indicated a doll whose joints are free to move with a round shaped joint, which originated by Yochilya simon, who adopted German Hans Bellmer's method.'rho ball joint doll, first, there appeared state of human isolation due to the material civilization and industrial revolution, and trend of adhering to one's own world made human possess dolls. Second, according to the doll play became a representing play culture among Kidult culture, dolls, that are resembled with human being, were recognized as personalized objects. Third, along of expanding digital culture that makes easy to exchange information via Internet, so, ball joint doll market is growing fast, for which various levels of mania are being formed. Take a look at the doll fashion in modern society. In accordance to form of Look, it is largely categorized Young Casual look, Office look, Ethnic look and Military look. When take a look at design specialty, young casual look was presented as a comfortable silhouette and also made of elastic materials and expressed vivid bright tones. Office look image was expressed as a suit of jacket with skirt, and cotton wool polyester materials and acro-matic colors. Ethnic look was represented by Japanese traditional dress and Chinese traditional clothing. The Military look was generally emphasized army uniforms of straight silhouette and shoulder straps.

• Preventive Nutrition and Food Science
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• 제14권4호
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• pp.303-309
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• 2009

This study compares Korean and Japanese college women's self-evaluation on obesity and examines their attitude to weight control. The subjects of this study were 101 college women residing in Daegu-si of Korea and 123 Japanese college women living in Saga-ken of Japan. A survey was conducted by each of the participants and was analyzed. This self-evaluation on obesity revealed that 47.5% of Korean college women answered that they were obese while 31.7% of Japanese college women responded they were. The results of this study show that there are about 5% of college women in both Japan and Korea who thought they were obese, even though they were actually normal or underweight. Both Korean and Japanese women who considered themselves obese selected wrong eating habits as the cause of their obesity. In terms of their recognition on ashamedness, Japanese college women showed rather stronger recognition than Korean ones. In addition, more Korean college women responded that they had been suggested to lose weight than Japanese ones. In terms of the factors that motivate weight control, few women in either Korea or Japan controlled their weight for health reasons. Most of the Korean and Japanese college women chose the size of their clothes, their undesirable look reflected on the mirror, or having no boyfriend as the chief motivating factors for weight control. In terms of their attitude towards weight control, Japanese college women checked their weight more frequently than Korean ones. Moreover, both Korean and Japanese college women were directly motivated to lose weight while they were talking with their friends.

• 복식문화연구
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• 제8권6호
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• 음성과학
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• 제10권3호
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• pp.175-185
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• 2003

Japanese and Turkish are syntactically similar to each other, and there are syntactic structures that become ambiguous in terms of NP's and VP's modified by adjectives and adverbs, respectively. The prosody can play a crucial role in differentiating ambiguous sentences to correctly reflect their intended syntactic structures. In what way do the speakers of Sendai dialect of Japanese and Turkish use prosodic elements to differentiate syntactic ambiguities? Acoustic measurements were made of utterances of ambiguous sentences in Japanese and Turkish to observe prosodic strategies for disambiguation. Materials were sentences of the type ADV-VP1-NP-VP2, ADV-NP1-NP2-VP2, where the ambiguity lies in locative adverbial modification, ADV modifying either VP1 or VP2. For this construction the Japanese and Turkish creates the same ambiguities. In this paper, I look at duration, F0, and pause as observed in their speech and see how each language uses three prosodic elements in disambiguation. The results show that both speakers of Sendai dialect in Japan and those of Ankara dialect in Turky use lengthening of the syllable and/or pause before the boundary.

• 패션비즈니스
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• 제18권2호
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• pp.113-131
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• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• 패션비즈니스
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• 제13권3호
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• pp.1-11
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• 2009

This study was intended to look into the actual status of using their own traditional clothes, by Korean and Japanese female college students, and to compare the differences of their perceptions about the traditional clothes of their own and the other countries, and thus to present the ways beneficial for Korean female college students to establish their positive recognition toward traditional clothes. For the study, the questionnaire method was used, by which a total of 375 sheets was collected; Frequency analysis and t-test were conducted with a SPSS 12.0 statistic program. The findings were as follows; Korean female college students, in comparison with their Japanese counterparts, owned less traditional clothes suitable and wearable for their body, and so they had a less number of wearing and renting experiences. In addition, they indicated a low level of realization about the suitability of traditional clothes to the wearers in their 10's, 20's and 30's. While they thought highly of their traditional clothes in the item of 'pride,' they had a low level of recognition in the item of 'knowledge,' and they considered the traditional clothes to be inconvenient. Korean college students revealed a lower level of favorable interest in the other country, but they had a higher level of evaluation for the items of 'design applicability' and 'popularity' than the Japanese college students did.

• 비교문화연구
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• 제35권
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• pp.215-235
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• 2014

The purpose of this paper look at the basis of the cultural differences of Korean and Japan by comparing the craftsmanship. Korean craftsmanship and master craftsman making traditional handcrafts and artwork would die out at a critical moment. The craftsmanship and system could not be established because of discrimination in the traditional four classes of society( scholars, farmers, artisans and tradesmen), invasions of other countries and discontinuity of tradition from modernization. On the contrast, in Japan, it was possible to establish traditional handcrafts and artworks, technique and craftsmanship with apprentice system and various social privilege and treatment even in the same traditional four classes of society ( scholars, farmers, artisans and tradesmen). It was common to pass down the family business for a hundreds of years with self respect between Japanese master craftsmen and lots of people succeed the family business will now. Japanese craftsmanship is originated from 'worship to god' Medieval Japanese believed that the thing changes human mind, artistic talent, masterpieces and faith were connected to sacred power. Therefore, master craftsmen and their works were also made by the power of god. In this context, craftsmen were protected and treated in socially and nationally. It is that the social treatments and supports in national level and their own pride and continuous training of techniques and abilities as the main driving force to maintain the craftsmanship in Japan. Korea has the sale level of competitive tradition and technique in comparison any other countries. Japanese craftsmanship study will be a critical data in the protection and maintenance of Korean traditional and technique.

• 한국중재학회지:중재연구
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• 제16권1호
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• pp.253-275
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• 2006

Ever since the open and reform policy in 1987, China has adopted the socialistic market economy system and has been moving forward in economic reform. This gradually expanded their market economy. The open and reform policy achieved the highest average annual GDP growth rate of 9% and helped the country maintain high growth. China's economic growth in recent years has a lot to do with the international trading and direct investment by foreign corporations. China's entry into the WTO dramatically increased their amount of capital and investments due to their aggressive investments with foreign corporations. It is quite amazing that investments in China has been constantly increasing while the direct investments worldwide is decreasing. Moreover, increase in such investments is contributing to China's job creation, as well as, the expansion of international trading. When international economic exchange started between Japan and China in the 1970s, it was in the form of aid for developing countries, hence the collection of the investment was out of the question. It was in the 1990s that Japan started the full-scale investments with China and it was mostly centered in transfer of the production base. Japanese corporations aim was to mass produce goods less expensively using abundant and cheap labor and to sell them to Japan and other countries. The amount of Japan's exports and imports compared with China is increasing every year but the trade deficit has gone into the red. The dollar amount has been decreased from $ 27 billion in 2001 to $ 18 billion in 2003. The problems and damages in the system of justice and administrative confrontation that Japanese corporations are facing are continuously at a stand-still even after China's entry into the WTO. It has been 20 years since Japan's advance in China and during that period, the Japanese corporations brought many changes ranging from exports/imports to direct investment. Although Japan's new corporations tend to be located in the mid-western part of China, rather than the coastal areas, the region itself is not the cause for the confrontation. The problem stems from the Japanese treating the Chinese as if they were Japanese because they look similar due to their Asian ancestry. In reality the Chinese have completely different ways of doing business. Here we will take a look at the international trading and direct investment of Japanese corporations in China and study the conflicts that occurred in business transactions with China through real examples.

• 패션비즈니스
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• 제6권1호
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• pp.83-101
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• 2002

The purpose of this study is to observe the elements of Japanese popular culture portrayed in Korean new generation fashion at the current point of time, when Japanese popular culture is first being opened to Korea. And the another purpose is to look into the fashion consciousness of them, which is made up of these aspects. The new generation plays the leading role in further excelling the culture of our society. They are the generation of sense and sensibility, the generation of "me", the generation of information, and the generation of individuality. Even before Japanese popular culture was officially opened, the new generation was already accepting fashion, comics and animation, video games, music, broadcasting, food, etc. The Japanese cultural elements that show most in Korean fashion are street fashion and the fashion of celebrities. These are mostly brought in by fashion magazines, the internet, satellite TV, the new media of cable TV, and street shops. The aspects of Japanese popular culture in Korean new generation fashion are many and varied. Such examples in fashion are : vintage style, school-girl style, sexy causal style, black coordination, soft avant-garde style. It can be said that the fashion consciousness of Korean new generation could be placed in the following order. First, the variety of fashion. Next, the internationalism of fashion. Third, the information of fashion, and last, the play value of fashion. Interest has peaked in Japanese culture after the official opening, and this study has explored the very same aspects which can be seen in Korean new generation fashion. This study was meant to help make a responsible and sturdy new generation fashion culture which can help face the new millennium.