• 한국의류학회지
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• 제26권5호
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.

• 한국농촌건축학회논문집
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• 제20권1호
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• pp.61-68
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• 2018

This study aims to investigate the changes in area ratios by space through floor plans of national leasing houses constructed by the LH in Jangseong-gun, particularly focusing on the floor plans of public leasing housing complexes built during the 1970s-80s and those during the 2010s. The results are as follows: First, according to the composition ratio of floor plans by period, the type of Bedroom> Livingroom> Common Area> Kitchen+Dining> Multi-purpose room> Bathroom> or the type of Bedroom> Livingroom> Kitchen/Dining> Common Area> Bathroom> Multi-purpose room were found to be high during the 1970s. Whereas, the type of Common Area>Living room(Kitchen/Dining included)>Bedroom>Bathroom>Front Entrance was found to be high during the 2010. It can be concluded that the ratio of Bedroom and Living room was found to be high during the 1970s, but after 2010s, the spacial composition ratio of Common Space, Living room, and Bedroom is getting higher in the order. Second, in terms of the composition ratio of floor plans by the area of unit household, among the floor plan of C-1, B-2, B-3, C-2 which were used since 2010s, the spatial ratio of Bedroom was maintained in the range of 20%; while during the 1970s, the Bedroom space of A-1(46%), A-2(46%), and A-3(41%) was found to be higher than 40%. It can be concluded that the size of bedroom space has doubled over time. In terms of the changes in the spatial ratio of Living room, A-1(15%), A-2(22%), and A-3(23%) were found during the 1970s. Compared to the recent floor plans of C-1(28%), B-2(25%), B-3(33%), and C-2(34%) which are applied in Jangseong-gun, Jeollanam-do province, no big changes have been found, particularly in the small floor plans (20% range).

• 복식
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• 제44권
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• pp.37-56
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• 1999

In clothing, a tendency of Bisexuality is in case of wearing clothing of the opposite sex, the mixing of modeling principle and characteristic of man and woman, the exclusion characteristic of sexuality that present sexlessness-the third sex. They-Designer Gabrielle Chanel, YSL, Giorgio Armani-give characteristic of man's fashion to women's fashion. However, the consciousness in design is different. Chanel apply principle of man's suit to woman's wear to express authority and power about gender image, hereby she express women liberation and equality of man and woman based on social ideology through fashion especially, she express women's sexual independency and self assurance to her clothing. YSL express liberal and bold women that pursuit reasonal and liberal life in 1970. As he apply tailoed suit's rigidity to women's wear, he made 'pants look' universal in women's wear through“Dress for success”in modern life. Armani apply successful modern image to women's wear, so he express women's image of confident intellegent as well as feminine image. He focus women's new image as man living liberal and indivisual life excluding social category rather than will of equality of man and women. Gernreich break sexual prejudice and release women freely, furthermore, as he express concern of sexuality pursuit liberty of mankind surpassing sex distinction with women liberty. Gianni Versace pursuit mix and extinguishment of sexual image many-sided, and break fixed idea of sex, and reprovide feminine and masculine image. So his design tend homosexuality because he regard women's glamor and ostensible sexuality as standard of beauty, he apply this to man's wear as well as women's wear. With this, he expresses sensitive and liberal man's that break characteristic of Gender that symbolize power and authority in man's wear through 'Without ties'.

• 한국의류학회지
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• 제23권3호
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• pp.391-401
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• 1999

For proper communication among manufactures in various countries and for consumers' convenience in purchasing garments imported from foreign countries the ISO revised the size designation system in 1969. Since 1970's various countries have revised their standard sizing system by adapting the ISO system . The purpose of this study is (1) to satisfy domestic consumer's needs by developing a sizing system based on that of ISO for Korean women in their early twenties and (2) to contribute to entering the international fashion market by manufacturing high quality apparel products The results were as follows: (1) By measuring and analyzing of 464 female between the ages for 18 and 24 the data indicated that body height could be divided into following three groups. S(Short) : 152cm (19.2%) R(Regular) : 160cm (57.8%) L(Long) : 165cm(22.6%) (2) According to the results to analyzing body type of this study the medium hip(drop 6) is 47.4% the large hip(over drop 12) is 42.7% the 2 types covers 90.3% (3) Comparing Korean women's size with foreign women's size DOB size code is 17 JIS size code is 9AR, FNOR size codes are 36n. 38n. and Italian size cods are 40, 42

• 패션비즈니스
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• 제24권6호
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

• 한국의류학회지
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• 제30권12호
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• pp.1649-1660
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• 2006

본 연구는 미국에서 1980년대 후반기 부터 시작되어, 1990년대를 지나오면서 활성화되었던 비즈니스 캐쥬얼과, 2000년대를 시작하면서 재활성화 되기 시작한 전통적이고 보수적인 직장복 스타일을 배경으로, 미국 직장여성들의 비지니스 쟈켓 착용정도를 그들의 개인적, 인구통계적, 사회경제적, 사회심미적, 신체적 특성과 관련하여 비교 연구하였다 직장의 근무 환경과 직장에 대한 만족도 또한 비지니스 쟈켓 착용정도와 관련하여 비교 검토하였다. 연구대상자는 미국에 거주하는 25세 이상의 직장여성들이였으며, 자료는 1999년도에 Database회사인 National Demographics & Lifestyles(NDL) 에서 무작위로 추출한 1500명의 직장여성들에게 우편을 통한 설문지 조사로 수집되었다. 자료분석에는 빈도, 백분율, 편차, 표준편차를 비롯한, Canonical Correlation이 사용되었다. 분석결과에 의하면, 자료수집에 참여한 미국 직장 여성들의 평균 연령은 44세 였으며, 대부분이 기혼 여성들이였으며(77.4%),전문직에 종사하고 있었으며 (75.9%), 적어도 1명 이상의 자녀가 있었다(78.9%). 가설검증결과에 의하면, 미국 직장여성들의 비즈니스 쟈켓 착용정도에 관련된 요소들은 직장여성들의 (1) 연령, (2) 자녀수, (3) 첫째 자녀의 연령, (4) 가족 사이즈, (5) 의복 착용에 대한 자신감, (6) 직장만족도, (7) 의복의 중요성, (8) 체격 사이즈, (9) 의복 사이즈, (10) 직장상사와 대중과의 교류 정도들 이였다. 그 중에서도, 직장 여성들의 첫째아이의 연령, 가족 사이즈, 직장만족도, 의복 사이즈들은 비지니스 쟈켓 착용 정도와 부정적인 상관관계를 보여 주었다.

• 한국식생활문화학회지
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• 제7권1호
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• pp.73-79
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• 1992

본 연구는 한국과 일본에서 매년 실시하고 있는 국민영양조사 결과를(일본은 1950년-1988년, 한국은 1969-1988년) 바탕으로 양국의 식생활 변화 양상을 비교하여 미래의 한국 식생활의 지침이 되고자 하였으며 그 결과는 다음과 같다. 식품군별 섭취량에서 섭취총량은 일본은 1973년을 기점으로 감소하였으며 한국은 증가와 감소를 되풀이하며 전반적으로 증가 경향을 나타내었다. 한·일 모두 식물성 식품의 섭취는 감소하고 있고 동물성 식품의 섭취는 증가하고 있는데 1988년에는 동물성 식품 섭취 비율이 5% 정도 일본이 한국에 비해 많았다. 식물성 식품은 곡류의 경우 양국 모두 감소 경향을 보였고 1988년의 경우 한국이 일본에 비해 70g 정도 많이 섭취하였다. 한국은 감자류, 두류, 과실류는 1980년 이후 증가 경향이나 군별 섭취총량은 일본에 비해 낮은 수준이었다. 일본은 과일, 야채류의 섭취가 감소 경향이고 두류, 감자류는 변화가 거의 없으며 안정된 추세를 보였다. 동물성식품의 경우 일본은 우유 및 유제품, 육류는 증가 경향을 나타내었고 어패류, 난류는 1975년 이후 거의 평형 상태를 유지하였으며 한국은 육류, 어패류의 섭취 증가가 뚜렷하였다. 1970년 이후 양국의 신장, 체중의 연차추이를 보면, 1970년에서 1980년까지 한국인의 신장 증가가 현저하였으며(1970년 ; 150.3cm, 1980년 ; 160.2cm), 체중도 이와 유사한 경향을 나타냈다.

• 복식문화연구
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• 제17권3호
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• 복식문화연구
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• 제4권2호
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• pp.113-124
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• 1996

This research was designed to find out what is a distictive feature of the design elements of Korean women's costume and its influence by analizing the trend of Korean women's constume during the period of 1890 and 1995. The research was analized by a total of 854 random samples of clothing styles collected from materials in the museums and from articles of three leading newspapers and one of the best women's magazines in Korea. The changing trend of Korean women's costume was found out to be as follows: 1. In around 1910s, the trend of Korean women's costume has been changed into two-tier structure of both Korean and Western styles, and the typical and traditional Korean women's street wears such as 'Chang-ot' and 'Tsdechima' have been gradually diminished. 2. From 1920s, length of the Korean skirt, which was unnecessarily long and inconvenient, has been getting shorter for the convenience of walking. In addition, Korean women's underwear has become simplified, and sports wear could be seen for the first time in Korea. 3. During 1960s, the Western clothing styles have been increased rather than Korean styles as the street wear of the Korean women. 4. In 1970s, blue jeans, mini-skirts and casual wears have become a trend or fashion for women in Korea. 5. In 1980s, a fashion of unisex mode has arrived in this country, and from the year of 1987, wearing of panties among the Korean women has been increased rather than skirts wearing for the street wear. 6. During 1990s, various forma of complex styles came into being in such styles as so-called 'orange class style,' 'protruding navel T-shirts' and 'runner wear speedy.' From mid-1990s, Korean women have turned out to prefer the cute and light costumes by placing emphasis on the image of intellectual, professional and functional wears. The changing special feature of the Korean women's clothing designs could be distinctively observed during 1960s as the modernization policies in Korea have been processed during the period. The clothing trend before 1960 was to change and to solve problems of inconvenient and impractical wears, but the trend after 1960 was seen as a change to confirm a trend of the world fashion. From mid-1990s, however, preference of Korean women's self-conceited conception socially and an unquestionable changing pattern of Korean women's life.

• 대한핵의학회:학술대회논문집
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• 대한핵의학회 1970년도 제9차 학술대회
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• pp.85.2-86
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• 1970