• Journal of the Korean Society of Costume
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• v.42
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• pp.137-162
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• 1999

The purpose of this thesis was twofold. First it explains the emergence of street styles and their inner meanings from its origin subculture group practices. Recent developments in cultural studies which approach cultural practices in a holistic way by incorporating socio-economic background offers us the concept of 'hegemonic relation' it explains why subcultural practices and street style in particular has weakened from 19080s as well as why in the post-subculture period we observe the 'superma-rketization' of styles and plethora of eclecticism instead of original ones. Street styles as a magical expression or resolution of socio-economic frustrations are anticipated to weaken significantly if not totally disappear in the post-modern era although it has become the original texts of high fashion.

• Journal of the Korean housing association
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• v.21 no.4
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• pp.139-148
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• 2010

This study aims to classify and find the characteristics of the housing floor plan by their spatial organization, the condition of use, the process of changes in Jeonju Hanok Village. To carry out this study, first the 534 in 779 housings in this village are investigated, and finally 55 of them are investigated and analyzed. They are surveyed and investigated from November in 2008 to January in 2010. The followings are as conclusions; The prototype of housing floor plan in this village is consisted of the main room in the middle part with the toimaru (wooden veranda), kitchen and meoribang (the room that is located back or the side of the main room) and kennen-bang (the room that is located the side of main room) in it's house. They are generated and changed on the basis of this type. The floor plans of the housings in Jeonju Hanok Villages are classified and characterized as the type of original floor plan house (original type), that of semi foreign house with the Korean style by the Japanese style or modern style, that of the house for rent a room or two rooms or one family, that of the house which mixed with commercial function and that of etc. They are generated by the social and economic condition of that period. And they will be studied with the life style of residents.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.873-889
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• 2014

The goals of this study are to analyze how fashion professionals' attitudes toward Grunge style have changed since the 1990s and to compare aesthetic features of 1990s Grunge style and the style since 2000. By searching Vogue and Women's Wear Daily articles from 1992 to 2014 according to the keyword "Grunge", three collections from the 1990s and 59 collections since 2000 were selected for analysis. Although Grunge collections of the 1990s were harshly criticized by critics and retailers as ugly, the more recent collections have been highly praised for both design and profitability. The common aesthetic features of Grunge style in the 1990s and beyond include loose silhouettes, mix-and-match layerings, plaid patterns, floral prints, and striped patterns. However, Grunge style since 2000 has new features such as ornate fabrics, handcrafted details, a formal and dressy look, and faux plaid flannel shirts in chiffon or organza. These features give the style a more luxurious, feminine, and refined appearance. The results of this study indicate that Grunge style of the 1990s changed high fashion beauty standards and today's designers and consumers prefer to mix various styles to create new ones. They typically do not consider the original spirit or identities of the varied styles.

• Journal of the Korean Society of Costume
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• v.45
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• pp.29-40
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• 1999

The purpose of this study is to classify of the Heart shaped Earring in old tombs of Three Kingdom States. First Heart shaped Earring is 7 part in according to heart styles. I-A type was original style and that was influenced by scythe style. I-A II-A type was general style that was found in most of the old tombs in Kokuryo Pacijae ancient Silla Gaya. I-B II-2-A type was also found in most of the old tombs except Kokuryo. Then II-2-A type was transmitted to Japanese Heart shaped Earring. I-A, I-B, II-1, II-2-A type was general style in ancient Silla gaya. Ii-1-B, II-2-B. II-3-A type was excavated from the only Pacjae tombs and II-3-B type was excavated from Kokuryo tombs. II-3-A, II-3-B type was unique style that was found in old tombs in Kokuryo, Pacjae.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.53-64
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• 2004

North Korea's traditional dress(chosun-ot) has developed as follows: right after the liberation(l945). North Korea tried to get rid of Japanese style and empty formalities and vanity, so chosun-ot became simple and practical. And from the Korean war to 1950's North Korea had tried to establish through a restoration of the war and chosun-ot is more easy and simple. For 1960's People became to be interested in their clothes owing to a stable socialistic economy and politics, and tried new style due to the influence of the Korea-Japanese. Since 1972 North Korea has claimed a dictational socialist organization, and constructed its own culture. Therefore North Korea emphasized its own clothing habit. and its garment style developed differently from South Korea. Since 1984 North Korea tried to change its policy dramatically. and chosun-ot has changed to a modern and various style. But on the other hand, traditional style of chosun-ot was more emphasized. North Korea especially tried to succeed its traditional style. it pursued only partial changes by sticking to its original style. And its color to bright and magnificent one with additional ornaments. Because it tried to change the style within the limits of its tradition, traditional dress has a quite fragmentary and flat appearance.

• Journal of the Korean Home Economics Association
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• v.25 no.1
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• pp.19-34
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• 1987

This thesis is for the study of hair style and consciousness concerning Korean awris hairs. Our nation had been originally considered to be a people without decorating their hairs. The adults however used a bundle of hair which was twirled, and the bachelors wore original hair befor wiman chosun in B.C. 194. Since then this twirled bundle of hair had been consistently used until the end of the chosun period from the Three-Kingdom period, except Mongolian hair style which was used for one hund-red years during the Won's oppression period at the time of Koryo. The bachelor's hair style not being adorned was developed into that of twirled bundle of hair which was used for on the Three-Kingdom period to the Koryo period, but this was also transformed into the current hair style ？ mainly to the decree of short-cut hair style in 1895 and the prevolent western clothes. The origin of meins hair style in Korea was a hair without decoration which was same as that of Ski-tie people in Western country, but our style was different from that of Manju and Mongolian people who have same kinship relationshup. And our nation was greatly influenced by the Chinese culture in view of the Twin-Knats style of the unmarried. Our people's consciousness uwderlying in hairs shows resped for seniors, standard between dults and adolescents, magics, and desine for ornaments.

• Journal of Korea Society of Digital Industry and Information Management
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• v.8 no.1
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• pp.221-229
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• 2012

A model for expressing meta data syntax in the eXtensible Markup Language(XML) was developed to increase the portability of the Arden Syntax in medical treatment. In this model that is Arden syntax uses two syntax checking mechanisms, first an XML validation process, and second, a syntax check using an XSL style sheet. Two hundred seventy-seven examples of MLMs were transformed into MLMs in ArdenML and validated against the schema and style sheet. Both the original MLMs and reverse-parsed MLMs in ArdenML were checked using a Arden Syntax checker. The textual versions of MLMs were successfully transformed into XML documents using the model, and the reverse-parse yielded the original text version of MLMs.

• Journal of architectural history
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• v.29 no.2
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• pp.31-38
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• 2020

This paper aims at the examination on the fallacy of the name of 'Dadaepo-gaeksa'. The results are as follow: The so called 'Dadaepo-gaeksa' was one of the official buildings of Dadaejin, the naval forces in the late period of J osun dynasty. The building was moved to Molundae near the original site in 1970. And two years later, it was designated as a cultural asset. However it's real name is 'Dadaejin-dongheon', because Dadae-jin gaeksa was demolished about the time of the foundation of Dadaepo-elementary school. Otherwise, Dadae-jin donheon was used as a school building from 1904 to 1970. Futhermore, the architectural style of the existing building is different from the general gaeksa's in the period of J osun dynasty. Therefore, the name of Dadaepo-gaeksa needs to change into Dadaejin-gaeksa and to restore as its original style.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of Families and Better Life
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• v.24 no.2 s.80
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• pp.137-148
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• 2006

The current study proposesto examine the external appearance types of urban-style hanok in the Bukchon Hanok Preservation District according to their use. For this purpose, we conducted a field survey from the 12th of September to 10th of October 2005, which investigated the location, condition md use of urban-style hanok that were being used for non-residential purposes. The external elevation of the houses were observed and photographed. The results are as follows. First, there were 158 urban-style hanok used for non-residential purposes and200 cases of non-residential use. There were 69 cases of food and beverage spaces, 58 cases of small retail businesses, 38 cases of cultural facilities and 7 cases of convenience facilities. Second, among residential urban-style hanok used for non-residential purposes, 131 cases changed the external appearance of existing urban-style hanok and only 69 cases maintained the original appearance of urban-style hanok or renovated the appearance fittingly to non-residential use. Among the renovated cases, 59 involved the construction of a firewall and 10 cases involved remodeling in a contemporary style. Among the transformed cases, 40 cases exhibited a full opening to the roadside, n involved the change of external appearance components, 14 involved the extension of the courtyard and 12 involved overall improvements to a contemporary style. Third, in the case of cultural facilities and offices, many instances reproduced an urban-style hanok in the traditional style, but small retail shops and food/beverage spaces showed serious deformation. Particularly small retail shops opened the side to the road or extended the courtyard regardless of the location of the houses in order to increase the store space and, as a result, severely damaged the urban-style hanok. In addition, many food/beverage spaces remodeled their external components using tiles, bricks or metals, which were easy to maintain.