• Journal of Fashion Business
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• v.20 no.1
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• pp.157-172
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• 2016

The purpose of this thesis was to investigate the transitional aspects of the power shoulders with a comparative analysis of the patterns observed from the late 20th century to the present. The method of study was through review of papers as well as phenomenological approaches. Books, domestic and international journals, and dissertations were studied as part of the paper review. Phenomenological study was performed by analyzing the pictures from late 20th to present; and categorized by 10 year time span i. e., 1980-1990, and 2002-2012. Hundred representative fashion photos were selected, respectively. As a result, the power shoulder found in late 20 centuries was largely limited to horizontal and diagonal shape, addressed mainly to the jackets; while they were straight, and wide shouldered, with emphasis on masculine style. On the other hand, in early 21 century, the power shoulder was applied in various forms of straight, diagonal, circular and ornamental with objects, not only to the jackets, but also to feminine styles such as one-piece dress, vest, and blouse. This finding may be attributed to the fact that the modern people desire newer trends and women tend to show off their ability in transcending those of men. The findings of analysis of the transitional aspects of power shoulder in this thesis might contribute as basic resources for anticipating the trends that might be revived in the future.

• English Language & Literature Teaching
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• v.12 no.4
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• pp.235-251
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• 2006

This study aims to analyze what Saul Bellow wants to define "Love" in his recent work, More Die of Heartbreak. As a humanist, Saul Bellow is concerned about materialism in Post-modern age through his works. Today there are so many people that are hurt by the failure of love or experience heartbreak. We need to sense invisible danger all around us. We can find Bellovian love in More Die of Heartbreak. Bellow suggests that there should be "true love" between people, especially between men and women. But Kenneth Trachtenberg and Benn Crader have selfish and materialistic love. Kenneth had only a sensual desire for Treckie who is his daughter's mother. He cannot persuade Treckie to marry him. Benn, a middle-aged widower, peremptorily marries Matilda Layamon who is much younger than he. Unfortunately, the marriage brings him neither peace nor love. Benn recognizes his wrong conception of love through the death of Mrs. Bedell and Villitzer, and breaking off a marriage with Matilda. He decides to go to Antarctica. This is not an escape. This is his determination to save himself. At the North Pole he sets out to recover his gift of vision and redeem his fall from grace. He will desert his materialistic and absurd self. After the expedition, he will experience rebirth as an authentic human being who has acceptable eyes. Kenneth and Benn learn to conceive of love as one of man's strongest inner energies, for it is through love that you can penetrate to the essence of human being. In this study I try to define Bellovian love. In More Die of Heartbreak, love is a spiritual power that may even transfigure man.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.1-10
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• 2010

The cultures and traditions of Asia has the roots so deep and it is the origin of inspiration. Therefore, it is easy to find a different inspiration when designing, expecially for Western designers who are seeking European tradition and its comparison. The most distinctive feature of the Asian look is non-structural and has no clear form close to the structure of the body or mathematical ratio, but is steric with 2-Dimensional planed textiles, and has a flexible, non-structural formative characteristic related to the movable body. This is base on the vision of the universe that regards the parts as the whole. From this research, generally studying about the Asian look and its non-structural formative characteristics. The study looked closely into the aesthetic value of non-structural formative characteristics formation, with basis on the large dress regulation system of the western reasoning and rationalism and mechanism. At first, my study pointed on the dressing functionalism or Neo-classism considering emotions, Anti-Western aspect observing surrealism dressing and expressionism dressing. Second, with men and women showing similar outer shape without the equivalent element such from wearing a corset, the sexism is abolished. Finally, the designers’ inner intention of art is being delivered, from the aspect that the expression of art, size and no waste of fabric shows effort of communicating with the world, giving value to the possibility of continuance.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.485-502
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• 2018

In this research, we conducted an empirical study using the theory of sociologist Jean Baudrillard to examine the phenomenon of contemporary people in Korea acquiring tattoos. The researcher classified the consumption behavior of modern society, as described by Baudrillard in The Consumer Society, into three keyword phrases: consumption by personal taste, coded consumption, and recyclage of consumption. Using this as the premise of the study, 18 men and women in their 20s and 30s completed questionnaires and interviews, and the results supported labeling tattoo consumption as consumption by personal taste, tattoos as coded consumption, and recyclage of tattoo consumption, similar to the consumption pattern that Baudrillard sees. First, the younger generations have consumed tattoos according to their personal preferences. They express themselves by tattooing for self-complacency, self-marking, pursuing individuality, overcoming the appearance complex, and seeking pleasure. Second, they have consumed socially coded tattoos. They say that tattoos domestically act as negative codes and symbolize individuals. Although tattoos are a symbol of artists who are relatively free from social norms, they are still a symbol of social misfits created as such by negative perceptions. Third, the pattern of tattoo consumption is like that of contemporary consumption. Tattoos already have become part of popular culture in Korea, and there has been a changing trend in tattoo culture. This study has significance in that tattoos were regarded as a consumption behavior that deviated, from the perspective of deviance. That phenomenon of today's tattoo culture of today was confirmed through the empirical study.

• Korean Educational Research Journal
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• v.38 no.2
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• pp.143-164
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• 2017

The purpose of this study is to know how to utilize foreigners such as Weltevree and Hamel who visited Korea in the pre-modern period, during history class. Both Weltevree and Hamel were Dutch men, and the first person who visited the Joseon Dynasty was Weltevree. He was a sailor of the Dutch East India Company, landed on Jeju Island in 1627, and since then, he did not return to his country. He played a major role in the execution of weapons. Hammel, the merchant catcher of the Dutch East India Company, traveled to Joseon in 1653 and contacted several kinds of people in various parts of the country for 13 years, and was able to survey the scenery and customs of Joseon. It can be difficult for students to understand the overall trends of the world history and the views of the East and the West because students learn from Western history, East Asian history, and Korean history, separately. Learning characteristics associated with East-West exchanges will enable students to understand the Western and Eastern history of the West, and understand the history of the world.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.19-30
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• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• Asian Pacific Journal of Cancer Prevention
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• v.13 no.10
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• pp.5189-5193
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• 2012

Kemerovo is an industrial region of the Russian Federation characterized by highly developed mining, chemical, metallurgical and power industries. Many of the factories were closed down due to the socioeconomical crisis in the early 90's, and economic potential of the survivors has also decreased significantly. Paradoxically, this has led to the improvement of the ecological situation in the region and elimination of exposure to many chemical carcinogens. This factor, in combination with the improvement of oncological care, might be expected to have lead to a decline of cancer incidence and mortality in the region. To assess trends of cancer incidence and mortality in Kemerovo Region, we therefore carried out an analysis of relevant epidemiological data during 1991-2010. In fact, a significant increase of cancer incidence overall was revealed during 2001-2010. Male cancer incidence was significantly higher than female cancer incidence. Regarding gastric cancer incidence, statistically significant differences during 2001-2010 were found only for men, and male incidence exceeded female incidence. Concerning colorectal cancer incidence, it was lower during 2001-2005 and 2006-2010 as compared to the period of 1991-1996. Lung cancer incidence was significantly higher during 1991-2000 compared to 2001-2010. Among urban populations, cancer incidence was higher in comparison with rural population, but a gradual steady convergence of trends of cancer incidence among urban and rural populations was noted. Lung cancer, breast cancer, colorectal cancer, non-melanoma skin cancer, and gastric cancer are the most prevalent cancer forms in Kemerovo Region. There were no differences in cancer mortality between 2001-2005 and 2006-2010; however, male cancer mortality exceeded female cancer mortality. A similar situation was observed for gastric cancer, colorectal cancer, and lung cancer. Cancer mortality among urban populations exceeded mortality among rural population, for both genders. We suggest that these data can be used for development of modern programs of cancer prevention and early diagnostics in industrial regions of Siberia.

• Journal of the Korean Society of Costume
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• v.33
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• pp.189-199
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• 1997

The following contents are the results from the examination of unisex fetishism minimal and active which are Mods look. Unisex-becasue of the changing in musician and the role of sex Mods girl adopted much from men's clothing. The unisex mods look expressed in the 1990s is not the expression confronting the estab-lished value and the confusion of sex as it did in the '60s but possibly the appearance of a fashion trend. Fetishism-in the '60s the Mods look changed mens clothing into more wonman-like clothing which expressed their internal and external values of thinking. this fetishism phenomenon is also strongly expressed among the in the 1990s. This gives a future-orientid feeling by expressing with a modern sense the 60's fetish dress which used woman-like silhouettes bright and stretch fabric colorful and vivid tone. Minimal-The 60's Mods put on mini skirts called the revolution of length as a mode of re-sistance and mininmal dress as a way of ex-pressing the liberation of body and the con-sciousness of beauty. Minimal is reflected well on slim and fit jackets and pants and short and fit pants etc. mods look in the '90s also consists of the general trend of slim and fit silhouette. Active-Mods that reject the value of estab-lished generation in the 60s showed a sporty and casual trend on fashion. Mods works around clubs wore polo shirts and cadigan and Mods enjoys scooter often wore anorak parkas This active style of Mods approched to the young' casual with freshness expressing newly in the '90s polo shirts took a seat as an item of street fashion especially in the beginning of 1996. Mods in the 1960s shows well a fashion flow of the age as a street fashion which expresses the mental world reflected in politics econo-mics society and culture within the people of the age. These Mods looks revived in the early 1990's awaken an importance of the culture of the young as the cultural qualities included in Mods of the past life and this fashion trend expected to take a part as a symbol of fashion culture.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.131-145
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• 2011

The purpose of this study is to provide preliminary data on strategies to create a domestic prestige brand based on Korean traditional designs. This study also deals with how to promote this brand around the world. The two points mentioned above will be accomplished by examining the characteristics of the brand '3.1 Phillip Lim' which succeeded in both design and marketing during a short period of time. The method of the study will be followed. Firstly, the basic design and philosophical background of Phillip Lim was investigated, after reviewing the global luxury market and current status of overseas expansion of Korean designers through paper study and antecedent workups. Secondly, for the practical stage, design characteristics and marketing strategies were reviewed with the collections of '3.1 Phillip Lim'. Three factors found in '3.1 Phillip Lim's design success are as follows: First, practical and simple designs using fabrics of high quality. Second, handcraft elements and interesting details that differentiates his design identity. Third, femininity expressed in the feminine silhouette and color. The marketing elements that made '3.1 Phillip Lim' as a successful brand are: First, differentiated positioning as a luxurious contemporary brand. Second, brand promotion through various collaborations. Third, the gradual expansion of women's, men's, kids' apparel to accessory, lingerie and the stable flagship stores. Thus, '3.1 Phillip Lim' has combined modern and classic styles using high quality fabrics and practical designs with unique details. Through it's differentiated marketing strategy targeting New York's market, which prefers popular 'luxury contemporary brand's rather than high-end luxury brands, this brand's creativity and commercial aspects contributed to make '3.1 Phillip Lim' into a luxury brand that represents New York fashion. Korean designers who seek to enter the global fashion industry should consider applying Korean traditional designs on global designs to make favorable products and localize these products according to regional characteristics.

• Journal of Fashion Business
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• v.1 no.3
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• pp.1-18
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• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.