• 한국식생활문화학회지
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• 제38권1호
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• pp.15-25
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• 2023

This study researches the restaurant industry in Seoul during the late 1940s. The research was based on the four major newspapers in Korea. The data included a total of 227 businesses with 164 non-fusion restaurants that served single-nation type food consisting of 101 Korean, 31 Western, 20 Japanese, and 12 Chinese. Some examples of South Korean dishes are Masan, Daegu, and Jeolla-do-style local foods. As for North Korean food, Pyongyang-style bulgogi, Naengmyeon, Hamheung-style janggukbap, and Gaejangguk were introduced frequently. Chinese restaurants that appeared were high-end places with Beijing-style cuisine. In the case of Japanese restaurants, they mostly had Sukiyaki with Joseon food served as well. Moreover, Western restaurants were fusioned with Japanese as in pork cutlet and curry rice. Others are comprised of "French Cuisine", "Indian curry rice", "Steak", and "Russian soup". This analysis indicates that foreign cuisines had actively entered the market.

• 복식
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• 제26권
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• pp.289-310
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• 1995

The present study aims at investigating the style change of the Korean women's traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the tranditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drastic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960's Korean women usually wore traditional costumes as ceremonial dresses be-cause the western style dresses replaced the tra-ditional costume in everyday life. After 1970's, however, the A-line silhouette, combined with ornaments, adapted to the traditional costume in order to emphasize women's beauty, thereby resulting in remarkable modification in the tra-ditional costume. In those days, the large pro-duction of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages ; (1) "the period of settlement" (1965 1975), (2) "the period of maturity" (1976 1985), and (3) "the period of stabilization" (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tra-dition and modern sense.h tra-dition and modern sense.

• 복식
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• 제60권3호
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• 복식
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• 제60권5호
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• 복식문화연구
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• 제19권4호
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• pp.723-739
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• 2011

This research seeks to analyze western men's costume in the Baroque era in relation to men's physical beauty from its most detailed and interesting perspective to fomulate a plausible reasoning related to the aesthetic sense of body as expressed in men's costume. This research used national and international books, theses and internet data upon which to base a literature review for a correct understanding of Baroque style and at the same time empirical research to analyze the body image expressed in men's costume. The Baroque style expressed in the 17th century costume offered a dynamic feeling through wavy curves, and its brilliant and colorful decorations created a passionate and charming mood resembling a flame. Accordingly, this research studied the body image as it appeared in the form of 17th century western men's costume by dividing it into the contact beauty of the human body and the manner of hiding the architectural beauty of the human body. First, the exposed silhouette by clothing coming into contact with the human body could be found mainly in upper-class men's costume in the first half of the 17th century. The shorter and tighter doublets and knee breeches could be analyzed in terms of erotic imagery that emphasized masculinity, aristocratic imagery that stressed a distinctive status, and geometric imagery that expressed a triangular pattern. Second, the constructive expression by hiding the human body could be found in upper-class men's costume starting in the mid-17 century. The wearing of the justaucorps could be studied in terms of how it came into contact with the beauty of the human body but also how this clothing style the hid the architectural beauty of human body.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.275-277
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• 2004

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.3-12
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• 2008

Most of these cultural spaces are Western architecture which is completely unrelated to our traditional style. In Japan's colonial rule of Korea these Western formation flowed in and passed on by them. Therefore before the understanding of modem cultural space built in Japan's colonial rule of Korea, it's essential to study about the background of the western period in that time, architecture and trend of interior. Due to Great Depression and other reasons the economical modernism of architecture raised in this period. In this thesis, based on such background of period, cultural space has been divided into assembly, theatre and exhibition spaces. Those spaces were studied according to its expressional characteristics and brought to following conclusion from the analysis. The cultural spaces were created around 1930 due to an increase of demand when the modernism started to establish. Like other buildings cultural space expressed modernized elevation and space formation with ferroconcrete building. However until Japan's colonial period the cultural areas were not used for public but for Japanese authority class's social gatherings only. Consequently, unlike other buildings the classical elements that could express these characters were more used in cultural spaces especially in theater and exhibition areas. This distinctiveness didn't appear separately but according to type of rooms in one space. Once more, place like assembly space was expressed with modernism, special or recreation rooms where people pursue a comfort were expressed with decorative style. Also a special theater which was used for only one person was generally expressed with western style to represent the stem character such as power.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.64-64
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• 2003

In these days western costume became everyday clothing in most of countries and is expected to be remained in that way. Therefore, it is needed to analyze how the past western costume has expressed human body stereoscopically up to the present time in order to predict future style of costume and develope various costume designs. Additionally, the pattern making and needlework techniques that were achieved through investigating history of costume in aspect of Clothing Construction, will provide significant information and inspiration to not only amateur designers but also costume researchers.

• 한국식생활문화학회지
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• 제30권6호
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• pp.714-725
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• 2015

This research investigated changes in Joseon food culture mainly focusing on acceptance of Western food in the enlightenment period. Joseon intended to learn the advanced technology of the West. Through an exchange with various Western countries, the royal family and upper class of Joseon rapidly accepted foreign food and food culture. As hotels were built in Incheon and Seoul, foreign food became more widely provided, which spread to the public, accordingly, and Western style restaurants were built and spread to the Busan area besides Seoul. As Western food rapidly spread, concerns arose. Particularly, after an attempt to assassinate Gojong by inserting poison into his coffee in 1898, appeals were made concerning Western food "that should not be consumed, because it is not proper for Korean people's intestines and stomach".

• 복식문화연구
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• 제4권3호
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• pp.383-394
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• 1996

Even it's not easy to in the cycle of the change without the qualification of the data, but we can try to figure out a cycle of change in fashion as Kroeber used content analysis. As content analysis with quantitative data increases the objectivity, especially in the case of highly complex materials like s appearance, multi-directional research method; quantitative and qualitative methods are combined in this study. In this research, first the change in hair length(HL), hair width(HW), hair height(HH) was examined to find out possible cyclic aspects of change in each elements and the significant relationships among the hair style was probed and the cyclic aspects between hair style elements and skirt style elements were compared. The data was analyzed by using Time series analysis and Pearson correlation coefficients. The statistical analysis of the hair style of 20th century showed that the hair style's elements changed independently and indicated the cyclic aspects in hair style as Kroeber's fashion cycle. To consider of this result, the hair style changed in a cyclic pattern, its pattern were different from skirt style's. And as hair style's change was affected by change, the hair styles change appeared during wars and disappeared during a social stabilization; this result supports social change theory.