• Fashion, Industry and Education
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• v.14 no.2
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• pp.47-59
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• 2016

This research is concerned with comparing fluctuation in the Korean and the US economies in order to ascertain the degree to which the former is influenced by changes in the latter. The aim of this research is to explore business cycles, to examine consumer expenditure in Korea and the US, and to discover the relationships between business fluctuation indexes and overall expenditure. Statistical data from the national statistics of Korea and the US during period from 1990 to 2015 were used. The instrument included a measure of GDP, unemployment rates, GDP deflator rate (inflation rates), and household income and expenditure. For the average annual household expenditures, food, apparel and transportation expenditure data were compared across the two countries. Data were collected separately from different (though comparable) sources and were analyzed using relatively straight forward statistical techniques. It was found that Korean and the US consumers' income and expenditure were greatly affected by economic fluctuations. Total expenditure and the expenditures for food and transportation were much influenced by business fluctuation in the US, whereas, the expenditures for apparel were much influenced by business fluctuation in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.3
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• pp.368-386
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• 1994

The primary purpose of this study was to identify the diversity and embellishment of American Indian clothing and relationship between culture and clothing in American Indian Culture Areas. After the introduction of European material culture, change in American Indian clothing was conducted. The result of the Study as follows: 1. The most influential factors affecting the diversity of American Indian clothing were environmental factors. Climates and geographical features, Raw material were reflected in clothing style and clothing material in each culture Area. 2. Economic situation and life style were shown to be influential to clothing development. The best known instance of this was greatly elaborated clothing and personal adornment of the Plains who had higher stand of life and nomadic life style. 3. Religious concepts were important factors influencing American Indian clothing. Indian tribes had different ritual performance they used particular motifs in clothing. Clothing, such as "ghost shirt", Apache medicine shirt and Pueblo ceremonial clothing, served hidden pur- poses. 4. Techenology was another factor identified in this study as influencing American Indian clothing. Especially, weaving skills of Southwest played a great role in textile development. Pueblo "manta" and Navaho "bil" were famous for Indian costume. 5. European material culture allowed great change of traditional native Indian clothing. American Indian had new material, new styles, new concept of clothing. 6. American Indian, although Indian applicated European trade goods, was actually quite conservative in retaining traditional designs and modes of decoration. Asthetics and traction of American Indian were reflected in American Indian clothing.d in American Indian clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.58-73
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• 2018

This study examines the socio-cultural background of a Nerd-chic look, establishes a conceptual foundation for Nerd-chic look and examines its aesthetic characteristics in order to understand the latest modern fashion phenomenon. Nerd-chic look is a combination of 'nerd' as a popular collective style and 'chic', which refers to the aesthetic value of a costume style. It is a look that is expressed in fashion that reflects the contemporary aesthetic desires based on a nerd's external features and inner values. The aesthetic characteristics of the Nerd-chic look are as follows. First, the Nerd-chic look express the aesthetic characteristic of bricolage that transforms the familiar meaning of an outdated nerd style to 'chic' image by the rearrangement of the typical nerd style and retro fashion elements. Second, the Nerd-chic look express the aesthetic characteristic of supernormal, as a plain, restrained beauty based on the Normcore fashion mood, disassembly and recombination of ordinary items, fit-free styling, and asexual styling. Third, the Nerd-chic look expresses the aesthetic characteristics of deluxe poor, which rejects stereotypical and expensive luxury and presents a more contemporary and futuristic spirituality. It is expressed in oversized shapes that are not intended to fit the body and show incompatibility between fashion items or way of dressing.

• Journal of the Korean Home Economics Association
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• v.37 no.12 s.142
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• pp.1-11
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• 1999

The purpose of this study is to investigate the color preference of women living in Seoul, to provide materials which is useful for setting up the color plan for a better costume, and to suggest new information in the apparel study. This study is done on the basis of color preference only by age and the range of this study restricted on womens' clothes. The subjects of this research are 1,100 young adult women and 1,244 elderly women photographed in the street. The data are analyzed by frequency and percentage. The results of this study are as follows ; The preference of chromatic color and achromatic color, tint and tone, pattern of textiles are different mainly by age. 1. Elderly women prefer achromatic colors to chromatic colors. The most preferred achromatic color is black, especially elderly women prefer black. 2. Analysis of tint shows that blue, red and yellow red are commonly preferred by women. Especially blue is preferred by young women : red and yellow red are preferred by elderly women. 3. Analysis of tone shows that vivid, pale, dark tones are commonly preferred by women. Especially vivid tone is preferred by elderly women, while pale tone is preferred by young women 4. Analysis of pattern of textiles shows at, pattern textiles are preferred by elderly women rather than by young women. The most preferred pattern for elderly women is a flower pattern, and for young women a stripe pattern.

• Journal of the Korean Home Economics Association
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• v.48 no.5
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• pp.17-24
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• 2010

Although design, color, and material are important elements in stage costumes, stage lightning also plays significant role in the presentation of stage costumes. Costumes color, material and perception can be significantly influenced by visual effects. Stage illumination can be arranged or managed so that colors are closely related to or enhanced or change the effects of costume colors on the runway or display at specific times. The results of this thesis are as follow; 1) Fabric tone, name, brightness, and chroma of colors were changed by the colors of stage lighting. 2) An achromatic color was changed to a chromatic color after being combined with colors of stage lighting. 3) Stage illuminations can make fabric, colors look similar to stage colors. 4) Plain satin silk fabric which reflects light shows high brightness and chroma after being influenced by stage lighting its shining effects and color changes were clear and apparent. 5) Velvet pile fabric which absorbs light shows low brightness and chroma after being influenced by stage lightning its shining effects and changes of colors were not clear and apparent. In conclusion, natural lights did not significantly influence fabric colors and perception, while artificial lights had wide range of effects on fabric colors and perception.

• Korean Journal of Rural Living Science
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• v.8 no.2
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• pp.93-110
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• 1997

The customs of women s riding horse was prevalent in thriving period. The face toilet was mainly used by Gau Chang pattern. Wha Jun (chinen; Hwa-Qun(화전), make-up on forehead), was influenced nearly by Gua Chang and distantly by India. Penciling eyebrows with blue was transmitted from persia. Chinese cosmetics was most influenced during Tang Dynasty for it's colorful make-up and facial decorations such as Aek-Whang(액황), Wha-Jung(화전), Jang-Yob(장엽), Swa-Hong(사홍) and those made many Dynasty, since those kinds of styles were the result of mixture between traditional chinese and western styles, it became so unique and diverse. The Declining period of the Tang Dynasty has begun from the turning point, resulting from Rebellion of An Ru Sha'. Rebellion of An Ru Sha' made the chinese people have a sense of precaution, and an antipathy against babarian. Furthermore, the power of Tang Dynasty onto the countries bordering on western china unfortunately was declining due to the defeat at 99 the Talas war in 751. As the fashion of ‘Ho’ disappeared the costume pattern was restored to the traditional Chinese style of large sleeve and broad width. However, the Tibetan mode was appeared in women's hair style and face toilet since Yuan Ha (801-812). In Song Dynasty, women's make-up and adorment were originated from Dang Dynasty, but those were more simple than in Dang Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• Korean Journal of Human Ecology
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• v.3 no.2
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• pp.135-153
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• 2000

Shoes originated from the practical purposes : to protect feet from heat, cold. etc., and developed into various shapes. representing ornamentation and hierarchy. It was revealed that the aesthetic value was differently manifested from the practical one by different natural environments and socio-cultural Phenomena of the times in the East and the West. Comparing shoes in the East with those in the West, this study finds out the origin of shoes in the East and the West, and shapes and characteristics of shoes through the changes of times. Investigating various kinds of shoes in the East and the West, it also finds out the differences in status representations. Shoes are classified into the following styles : in the West. (i) sandal in which the instep was almost exposed, tied with strips and fixed with band, (ii) closed shoes covering the instep, (iii) boots that arose above the ankle: in the East, (i) shoes without shoe neck (리) boots with shoe neck (화) and wooden shoes (극). Status was also represented in shoes. In the West. the status difference was manifested mainly by jewelry or embroidery ornamentation. In particular, it was realized by the way they tied the shoes in Rome and by the length of the pointed front of the shoes in Romanesque and Gothic period. In the East, China, Korea and Japan, on the other hand, the use of shoes was regulated in detail by the official costume system, where material and color played an important role in marking the status.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.4 s.152
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• pp.554-566
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• 2006

The purpose of this paper is to understand the ethnic characteristics of official uniforms of Qing(淸)) by comparing the rank systems of official uniforms of Ming(명(明)) and Qing(淸)) dynasties. As research documents, Dai-Ming-Huidian(大明會典)) and Qing-Huidian-Tu(淸明會圖)) have been used. This research shows that there are many traditional characteristics of Manchurians (滿族)) in the official uniforms of Qing(淸)) dynasty. The characteristics are as follows: First, Qing dynasty made their own official uniform based on the traditional Manchurians(滿族)) costume, and added rank system on it. Second, Qing dynasty used the animal's leather as the material of official uniforms and distinguished the level of the uniforms according to the rerity value of rareness, color, and warmth of the leather. Third, Qing dynasty used pearls produced in Manchuria as the highest level, as opposed to jades and rhinoceros horns of Ming. Fourth, Qing dynasty eliminated the animal's rank system of twelve patterns which had been used for whole history of China, but the Emperor is the only man who is able to use twelve patterns. Qing dynasty made her own pattern system of standstill/moving dragons and standstill/moving pythons. Fifth, Qing dynasty used the rank system by colors in the order of yellow, red, and blue consistently over various official uniforms, while Ming used different color orders for different uniforms.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.