• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.536-547
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• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• Journal of the Korean Society of Food Culture
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• v.12 no.3
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• pp.341-352
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• 1997

A study was carried out to compare the food cultures among Korea (Chosun dynasty), China (Ming, thing dynasty) and Japan (Muromachi, Edo era) from 14 century to 19 century. For this study, geographical environments, historical background with the times were researched and also bibliographies related on food cultures were compared among these three countries. There were special geographical environments in three countries upon their territories and geographical features. Historically, in those era, the livelyhoods of the common people in three countries were difficult considerably because of the disturbances of war in the inside and outside of the countries. But the food cultures of three countries were changed owe to introduce the new western culture and institutions. And also there were numerous bibliographies related on food culture which were published from 14C to 19C in Chosun dynasty, Ming and Ching dynasty, and Muromachi, Edo era. They were shown to be the most in Japan, and order of China and Korea followed them. The bibliographies of Ming and thing dynasty showed less than those of Edo era for considering their population and territory, comparatively. In Japan, the biliographies related on food culture of Edo era was given the term of the age of cookery books. It was thought to be resulted from that the peoples of Japan were concerned about cooking and had more chances to contact foreign culture earlier than other country.

• Journal of the Korean Society of Costume
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• v.15
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• pp.217-231
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• 1990

The purposes of this study were to research 1) the background of origination, 2) the process of development and 3) the influences to modern clothing culture of American sportswear. The most Influential sportswear designers in America from beginning period to present : such as Claire McCardell, Calvin Klein, Ralph Lauren and Donna Karan were selected to study their life and achievements in the world sportswear market. The Results were as follows : 1) World War I & II have caused the greatest changes to modern history America became the center of world economy, society and culture. Politically, they have influenced democracy world-wide and raised the social status of women. The free American women enjoyed sports, Jazz drinking and car-driving. The advanced technology have accelerated mechanization and mass-production to the fashion industrv. 2) The above historical backgrounds have caused to change women's clothing to casual, practical and simple form. Dorothy Shaver at Lord & Taylor began promoting American designers who created the original American spirit. Claire McCardell created the seperated American sportswear to become world-wide fashion. Calvin Klein and Ralph Lauren, the sportswear designers who have the unique American feeling have come to have riches and fames equal to the top designers in Paris. 3) The American sportswear and fashion industry influenced Paris Mode, the traditional Haute Couture to open Pret-a-porter-a-porter. The concept of seperated coordination in American sportswear have promoted the advanced marketing techniques and merchandising systems to modern ready-to-wear industry. Fashion in 1980s have increased the mutual interdepedence between the American sportswear industry and the creative Paris Mode. And then, the fashion world in 1990s and 21C will be changed and developed on the basis of American sportswear mechanism.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• The Research Journal of the Costume Culture
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• v.24 no.1
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.69-84
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• 2008

Considering that star reflects the image of current society, analyzing fashion of celebrity is to read ideal type and demands of beauty of the era. Especially the rock music-represents youth culture that last on present day-born in 1960's, and it is considered to a significant decade in pop music history. Thus this research will analysis rock star's fashions in iconological view of E. Panofsky. The aim of this document is Clarifying how the fashion of pop stars appeared and what formed its worth. As a result of analyzing fashions of rock star in 1960's, it is available to find these sameness and difference. The Mods borrowed images of the past, and introduce the elite modernism and shows very urban style. The Folky and the Psychedelic showed post-structuralism propensity against industrial society, in the case of the Folky it induced styles that symbolize labor class to realize social worth. And as an aftereffect of war and repulsion of commercial worth, they embody nature-returning peasant look so that it shows pastoral mood in total. The Psychedelic express somewhat struggling escapism and it generated illusionary images with quests to superego and glorification to psychedelic status. The Folky and the Psychedelic are same in the side of introducing existentialism, this occurred by using ethnic factor. But the Folky showed plain outlook by pop propensity, on the other hand, the Psychedelic showed magnificent outlook such as optical art, pop art, and futurism ought to express merrymaking culture. And common feature of these is introduction of unisex mod which is came after the change of gender role. Thus each star or group has professed special ideology into their culture and it is reflected to acts which is including music and dress style. This affair is analyzed like these two things. The mass of people schemes their identity with inducing special ideology to their culture at the first. And the purpose to archive cultural hegemony in inter-social class at the next.

• Journal of Technology Innovation
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• v.19 no.2
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• pp.129-152
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• 2011

This paper investigates the identity of technology management by taking a look at the evolution of the field in the United States. The discipline was established since the World War II when the big research organization was firstly formed in the country. Its focus has varied according to the role of technology in a corporation and the relation of technology and society in general. We identify three distinct stages of the field: R&D management, or project management, theoretical understanding of innovation in the 70s and 80s, and the diffusion of technology management and its education. The recent discussion on a standard curriculum of technology management illustrates the lack of a coherent identity of the field, however this phenomenon should not be considered as pathological and it demonstrates the widened interfaces between technology and society. Furthermore, it implies the possibility and need of diverse approaches in technology management.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.1
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• pp.87-100
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• 2004

The purpose of this study is to analyze the style and the subject of the teaching kits published by the National Archives in the Australia, the USA. and the UK. The teaching kits-the educational document packets-made in printed format or PDF, HTML style are useful tools and better medium with which the national archives support classroom study and publicize the holdings of archives to students and teachers. Although subjects covered in the teaching kits vary slightly according to national circumstances, primary topics are history of nation and government, civil rights, immigration, war, events, culture, and records, etc. It is important to select the theme, find the related original records, and edit packets for students take much interest in.

• Korean Journal of Agricultural Science
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• v.40 no.1
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• pp.19-26
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• 2013

Official Delvelopment Assistance(ODA) in forestry sector has been implemented for about 60 years after the second world war. Forestry aid is getting important due to its role to play as a practical methodology of Millenium Development Goals(MDGs). Korea has conducted ODA in forestry in 22 developing countries since 2005. However its contents are mostly focused on environment conservation by plantation. In the other hands, the other donor countries try to eradicate poverty of people who are dependent on forestry, environment conservation and etc in MDGs by means of ODA in forestry. Swiss, Germany, Japan, UK, and the other donor counties found out without taking account of forest dependent people who are supposed to manage 22% of developing countries's forest, forestry aid could not be successful. The direction of Korean ODA in forestry need to change in order to meet the current movement of International ODA. For this, Korea should develop various contents of forestry aids like CF (Community Forestry) project which the donor countries with long history of forestry aids have implemented in many ways.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.68-87
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• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.