• Archives of design research
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• no.16
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• pp.53-63
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• 1996

With the high level economic growth and plentiful stabl izing our I iving, our car has become indispensable necessi ties of life which was the symbol of our riches. And yet, on this changes of the times, we welcomed MY CAR epoch with an explosive increase of its demand. However, compared wi th this trend, we feel actually that our level of car development technique is beyond our capaci ty to satisfying our personal fancy I ike advanced nations for buying car in quantity and quality side. On this study, I made car body color as my studing topic which was few concerning to research. I analyzed and investigated[surveyed] the state of envi ronmental facts and recent Korean passenger- car body color trend. After this work, I found out enough to solve the problem on developing car body color. And I suggest the problem solving materials as a reference to meet with the modern's fancy in the development processing of passenger car with systematicaly and effectively.

• Journal of Korean Home Economics Education Association
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• v.12 no.1
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• pp.75-87
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• 2000

The purpose of this study is to find out how middle and high school girls show their clothing attitudes and their life-style. clothing behavior. use their ornaments according to demographic variables. The subject of this study consists o 345 middle and high school girls living in Chung-Nam Province and Taejon Metropolitan City. SPSS/PC+ program was utilized to calculate frequency(N) mean value(M) and standard deviation (SD) for statistical analysis. Differences among the populations are examined through t-test. F-test and X2-test. The results of this study are as follow : 1. Correlation between the life style and demographic variables. Especially. life-style has significant difference(p<. 05) according to type of school. middle school girls have high tendency in the type of modern and fashion. Life-style has significant difference(p< .01) according to level of achievement studying, high level girls has high tendency in the type of practical and secure. 2. Correlation between the clothing behavior and demographic variables. According to type of school. middle school girls showed higher than high school girls in clothing conformity and clothing aesthetics. According to level of achievement studying, high level girls have high tendency in clothing conformity and clothing modesty. 3. Correlation between the use their ornaments and demographic variables. Buying the ornaments, higher-level achievement studying girl’s get information in show window. but lower-level achievement studying girl’s get information in TV or radio. The use of ornaments according to the site of school, most of school girls who live in small city or town use the ornaments as usual school life but school girls who live in big city use the ornaments to look good on their clothes. Following suggestions can be made based on the discussions above: It is necessary for us to have correct understanding about the correlation between the ornaments and clothing of school girls in order to lead them to have appropriate clothing behavior. Furthermore. it is required to construct a bridge linking a course of study to rational habits guidance which will provide us more appropriate tools for clothing behavior guidance.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.494-510
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• 2013

The purpose of this study was to develop unique men's pullovers using the patterns of Baekje tile, brick, and gilt-bronze shoes. As the method of the study, it was reviewed of the literature about Baekje traditional patterns and the knitting techniques. The development of pullover design was used TexPro design CAD program. The manufacture of pullover were knitted by Shima Seiki computerized knitting machines and Brother manual knitting machines. The results of study were as follows. First, the patterns of Baekje tile, brick and gilt-bronze shoes were suited to develop as motif for men's pullover. Second, men's pullover using Baekje traditional patterns were able to maintain the identity of Korean traditional culture and express the originality of design. Third, pullover was chosen three styles and was developed four design. Each pullover design was applied four colorway. Forth, pullover products were made by wool 100% yarn or cotton 47%/acrylic 53% mixed yarn. The patterns were expressed by knitting techniques of floating jacquard and birds-eye jacquard. Luxurious knit fashions were produced. Consequently, through the men's pullover development utilizing Baekje traditional patterns was showed the superiority of the local traditional culture, which is further emphasized by the current globalization. It also confirmed the possibility of the development of high value-added knitted fashion products to meet the needs of modern people to pursue individuality.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2013.10a
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• pp.566-568
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• 2013

Recently, the government as part of the creation of science for science education policies promoting the activation of the Science Museum. However the lack of infrastructure, budget and human resources are a reality that a lot of difficulties. In past, A field trip of Science Museum was a place of curiosity of youth. However, modern Science Museum has to competition with the online games and theme park in order to achieve the two goals of scientific experience and education, which it needs change display device is required. Looking at the cases of advanced foreign Science Museum is not merely a head of science education experience as a cultural space, provide relaxation and entertainment, and life science area in addition to a variety of genres such as art and fashion exhibits are planning to combine. In this study, the current uniform description panel of exhibition device described in the written text replaced with the digilog book with the age and grade of the visitors by providing a tailored service for scientific knowledge and intellectual curiosity induced measures can claim the satisfaction of visitors is proposed.

• Journal of the Korea Convergence Society
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• v.10 no.1
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• pp.123-132
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• 2019

As the rapid pace of modern society, people's daily life is becoming tenser and busier. We need a place to relax and to release our pressure. Coffee shops therefor become one of our best choice. With the strengthening of the expansion of the localized Starbucks coffee shop, it becomes extremely urgent for other coffee shops to enhance the space environment design to become outstanding in the coffee shop market. This paper researches and compares the indoor environment design of Starbucks coffee shops in four cities in China, namely Shanghai, Suzhou, Shenzhen and Beijing and four cities in Korea, namely Busan, Seoul, Seoul and Jeju. By comparing the design characteristics and the style of the interior environment of Korea-China coffee shops, we analyze the various elements of space design and summarize the differences in the environmental design of Korea-China Starbucks coffee shops. Moreover, we propose the strategic direction for the future design and the future development of coffee shops. The survey results show that the indoor environment design of Starbucks coffee brand mainly highlights the regional cultural characteristics. Starbucks shops utilize the fashion culture elements based on the local economic and cultural characteristics, aiming at creating a characteristic coffee brand culture and promoting the vigorous development of the coffee market.

• Journal of the Korean Society of Costume
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• v.33
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• pp.117-142
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• 1997

This study is on perfume case that is one of a great number of ornaments which was designed by out ancestors. We had developed the tradition and the history of perfume case bag fan-weight etc. These have the same function as the present perfume. case. There were basket-shaped perfume cases which were the smellest one among the personal girdle ornaments in the silla era. The various patterned perfume case were made of gold metal coral platinum or green jadeite etc. In the single-crop trinkets a embroidered perfume bag with the gold and silver thread whose forms perfectly match their functions appeared during the Yi Dynasty. There was also a perfume bag which was one of the daily necessities. A precious "jul perfume" was carried by noble women. A fan-weight perfume bag was attached to the fan to emphasize the intrinsic beauty of utility and function. It is necessary to know the function of prefume case. As perfume case is weared on the clothes it was given more decorative effects as well as the function of medicinal amulet with a sweet smell. Therefore it is very important for us to study perfume case that has various function as an ornament. So The purpose of this study is to investigate the practical and decorative side of perfume case with the general examines of perfume finding how to practice use through our life. The results were as follows; 1. The first use of perfume is perfume through smoke which is for ceremony of religion It removes human body odor by degrees and spreads a sweet odor. Also the materials for making perfume of early age is aromatic plants which will be used flour-made flowers stems. As the materials for making perfume use is increasing today we can invent alcohol perfume today 2. Our country the custom of perfume-used is wide. Among them men's perfume-used was very special phenomenon. For example men were wearing perfume bag in the Silla era. Because perfume represented wealth and noble in those days. They shew off social position personality through perfume-used. 3. One of early religion ceremony article there was the perfume. And perfume case was means for containing perfume. Gradually the perfume case was used widly as increasing needs of perfume in human life. 4. In the middle period of 'Koryo' Dynasty perfume cases had a close relationship with clothes but after Mongolian has been attacked 'Koryo' there were changes in wearing clothes therefore the position of perfume cases were transfered to coat string that was the origin of decoration style that they began. That is to say the perfume case has been influenced the position of perfume case shapes with changing of fashion. 5. The perfume case has been made manifest various function as an ornament. In the practical side First medical-perfume in perfume case has been played an important role in first-aid medicine in critical condition. Second it was amulet for self protection. That is the shape pattern color materials perfume of the perfume case was represented the amuletive nature. Third it was used as substitute article of perfume. Modern women use liquid-perfume as our ancestors used perfume case bag or jul perfume As started above. Also In the decorative side the perfume case has a beautiful formative arts by itself as well as a close relationship with clothes. That well as a close relationship with clothes. That is when the perfume case is worn on the clothes costume is showed aesthetices. That is the materials shapes color pattern of the perfume case we can see the visual beauty also the materials colors embroidered pattern knots tassel that are used the perfume case are increased the decorative beauty of costume. Sixth the symbol in pattern of the pattern case is shown ancetor's wealth and rank health longevity immortality many-born-boy in those days. Today the perfume case is not used with changing of costume by degrees, Accordingly I hope that the result of this study is an influened in devlopment of the perfume case design with matching the modern fashion.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• Journal of the Korean Society of Costume
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• v.4
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• Journal of Family Relations
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• v.21 no.1
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• pp.77-98
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• 2016

Objectives: The aim of this study was to explore perceived meanings of dating and marriage among well-educated Korean couples who were in optimal marriageable ages. Particularly, an emphasis was placed on finding out where the traditional gender norms and post-modern contexts intersect on the couples' course of dating and marriage. Method: We undertook a qualitative analysis of 8 couples (age: 26-34) dating. Participants were limited to university graduates of upper-middle rank universities in Seoul, South Korea. The rationale for choosing such sample was based on the idea that characteristics of class is inherent in the act of dating and marriage, and that such characteristics lead to different contextual experiences in dating and marriage. This study was based on interviews conducted over a three-month time span. The interviews were first transcribed into research text and then subjects and key categories were drawn from the transcripts for analysis. Results: Participants sought meanings of joy, learning, and self-improvement in dating, and they were free from traditional gender norms in their romantic relationships. They viewed marriage as having a permanent companionship with their partner, becoming independent from their parents, and/or a social norm to be followed. Participants reported mixed perceptions about marriage in such fashion that they described their parents' relationship in terms of a gendered leader-supporter relationship, while viewing their own relationship as being genderless partners. In transition to parenthood, however, they regressed to traditional gender norms dichotomized as women being a homemaker and men being a breadwinner. In sum, participants displayed expectations that were inconsistent with regard to dating and marriage over the study period. That is, during the course of dating and early marriage, they did not hold separated gender norms; however, when transitioning from being a newly married couple to giving their first childbirth, expectations shifted to traditional gender norms and values. Conclusion: This suggests that it is not marriage, but the experience of childbirth and motherhood, which strengthen traditional gendered norms, engendering regeneration of the gender norms in families. The results indicate that there is a need to promote co-parenting behavior among the newly-married couples and to educate gender equality about parent roles or for parents in South Korea so that they can overcome traditional gendered norms in family.