• 복식
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• 제50권
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• 한국의상디자인학회지
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• 제9권2호
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• pp.15-30
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• 2007

The purpose of this study is to investigate the effect of makeup, clothing tone and clothing style on wearer's with same color coordination of lipstick and clothing. The experimental materials developed for this study were a set of stimulus and response scales (7-point scale semantic). The stimuli were 64 color pictures were manipulated by computer simulation. This experiment design was $2{\times}2{\times}4{\times}4$ factorial design. The stimuli were a set of eyeshadow color(brown), clothing style (formal style of Jacket / skirt and casual style of cardigan / pants), lipstick and clothing color (red and orange), lipstick tone(vivid, light, dull and dark), clothing tone(vivid, light, dull and dark). The subjects of this research were 384 female undergraduates living in Gyeongsangnam-do. The investigation was carried out at a lecture hall at the time between 10 a.m. and 3 p.m. in May 2006. The data were analyzed using SPSS program. Factor analysis, 4-way ANOVA, t-test, and Duncan test were used as analysis methods. Image factors according to variation of clothing style, clothing color, and makeup color are composed of 4 different dimensions (visibility, attractiveness, tenderness, and stability). In dimension of the visibility, the image was perceived to be glowing and luxurious regardless of lipstick tone and lipstick color in the case of the vivid tone clothing. According to the variation of clothing style, clothing color and tone, makeup color composed of eyeshadow color, lipstick color and tone, it was investigated that the images for a clothing wearer were expressed diversely, were shown differently in image dimensions, and could be produced to different images. The analysis data for images according to the combination of makeup and clothing color, tone, and style thus provide basic material for image consulting or color coordination.

• 한국생활과학회지
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• 제16권3호
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• pp.651-664
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• 2007

The purpose of this study was to research the college students' life styles, housing satisfaction and future-housing environment preferences according to demographic variables. So the eventual purpose is to offer basic data of future-housing development. This study has a subject of 512 college students living in Jeonbuk province. In this statistical analysis, SPSS 11.5 for Windows program. The results of this research were as follows; The college students' life style showed higher in the self-confidence-directed and the home-directed types. And the college students' housing satisfaction showed higher in housing equipments. The life style and housing satisfaction were significant difference according to major, their parents' academic career, fathers' occupation, average incomes, type of house. The college students' future-housing preference showed higher in housing equipments and environment. And the significant difference according to gender, school year, major, mothers' occupation, and type of house in the college students' future-housing environment preference. College students' life style, housing satisfaction, and future-housing environment preference have a significant correlation one another. Housing satisfaction variables had positive correlations with life style and future-housing environment preference. Partially, negative correlation was showed between life style and future-housing environment preference. As a conclusion, college students' life style and housing satisfaction constituted important characteristics which could affect future-housing environment preference directly. These results should be provide fundamental information for the new generation's future-housing development.

• 한국생활과학회지
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• 제13권6호
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• pp.847-860
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• 2004

The purpose of this study is to obtain basic data needed to understand school-age children's parent-child communication style, stress coping behaviors, and child behavior problems. The subject of this study were 362 primary school children (the fourth and the sixth graders) and their mothers in "D" Metropolitan City, Korea. The research tools included standardized parent-child communication style scale (Min,l991), stress coping behaviors scale (Min,1998), and child behavior problems scale (Hun,l996). The data were analyzed using statistical techniques such as Mean, standard deviation, frequency, percentile, t-test, F-test, pearson's correlational analysis, stepwise regression analysis. In the relationship between child perceived parent-child communication style and stress coping behaviors, the children who make open communication with their parents demonstrate high problem-solving, support-seeking coping behavior. The children with closed communication with their parents have high hope expectation, revenge coping behavior. In the relationship between child perceived parent-child communication style and child behavior problem, the children making more closed communication with their parents show more behavior problems. The children with more closed communication with their mothers have more hyperactive behaviors, aggressive behaviors, and immature behaviors, and the children who are making more closed communication retain more anxious behaviors and withdrawn behaviors. In the relationship between child stress coping behaviors and behavior problems, the more problem-solving and support-seeking coping behaviors the children possess, the less problem behaviors they demonstrate. The more hope expectation, revenge coping behavior the children possess, the more problem behaviors they show. With the results above, we can find out that parent-child communication style has an effect on stress coping behavior, and parent-child communication style and stress coping behavior have an influence on child behavior problem.

• 복식문화연구
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• 제15권6호
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• 아동학회지
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• 제10권1호
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• pp.1-10
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• 1989

This study compared the effects of open and directed teaching styles on creativity and mathematical achievement. The subjects were 32 three- and four-year-old children enrolled in the Home Economics Laboratory Nursery School at the University of Arkansas during the fall semester of 1987. In this study, the open teaching style was a child-oriented method of teaching with the help or guidance rather than the actual instruction of teacher, while the directed teaching style was a teacher-oriented method of teaching with actual instruction of the teacher. Forty-eight activities and materials relevant to mathematical concepts appropriately designed for the subjects were used. The nursery school children were divided into morning and afternoon groups. Utilizing a Latin square design, the children in the morning group were taught by the directed teaching style for four weeks followed by a three week period of no planned mathematical activities, then taught by the open teaching style for four weeks. The children in the afternoon group followed the same schedule except the open teaching style was first. At the end of the two four-week sessions of mathematics experiences Thinking Creatively in Action and Movement and selected items of Tests of Basic Experiences 2: Mathematics were administered. The scores of each of the two tests were analyzed using a t-test of dependent measures for the two teaching styles, the sex, and the age of the children. Children taught using the directed teaching style showed a significantly higher originality and mathematical achievement scores than those taught using the open teaching style. Differences for sex and age revealed that the directed teaching style was a significantly better method of instruction to foster the originality for boys and the mathematical achievement for four-year-old children.

• 한국식생활문화학회지
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• 제29권6호
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• pp.477-487
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• 2014

This study aimed to develop a new commercialization model for theindustrialization of head family food as a gentry families' complex food culture product. We tried to develop a head family food and propose a city sightseeing style's head family product by interviews with 'Hakindang' as the center, the head house of the Suwon Baek clan, and Injaegong group in Jeonjoo. Hakindang (in Jeonju) was confirmed as an improved model Korean-style house in the enlightenment period and the twentieth style modern head family as emerging capitalist. Hakindangsupported independence war funds in the Japanese colonial era and was widely known as gate of filial piety in Jeonju. Representative seasonal foods of Hakindang include pan-fried sweet rice cake with flower petals in the spring, hot spicy meat stew and polypus variabilis in summer, hanchae in autumn, and napa cabbage kimchi with salted flatfish seafood in the winter. When parents-in-law had a birthday, there were party noodles, sliced abalone stuffed with pine nuts, brass chafing dish, fish eggs, slices of blilde meat, and matnaji. Daily, there were mainly salted seafood, slices of raw fish, grilled short rib patties, braised fish, baked fish, syruped chestnut, grilled deodeok root, bean sprouts, radish preserved with salt, dongchimi, soy sauce-marinated horseshoe crab, butterbur, perilla seed stew, salted clams, raw bamboo shoot, agar, fried kelp, etc. The most basic virtue of the head family is filial duty, and they developed mosim dining as a representative food of Hakingdang's head family. The mosim menu is composed of 65% carbohydrates, 20% protein, and 15% fat because it is table for parents-in-law like more than 75 years old. The sensory evaluation showed a chewy texture that is easily swallowed.

• 한국패션뷰티학회지
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• 제2권3호
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• pp.96-101
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• 2004

This study suggests the basic resources for men's cosmetic which shows in history. Because not only ancient chief but also modern French noble men made up in the area where succeeded the traditional national cosmetic, when it was seen through historic or world, the men's cosmetic was generated and was more luxurious and presence than women. But since the French revolution, men was limited the collection of fashion, also the luxurious cloth and cosmetic disappeared. It was 1960s that men's cosmetic based rock musicians reappeared. And then, rock musicians made up luxuriously. The early cosmetic of rock musicians began from the protest's meaning for old fashioned value and fixed society. But gradually, it was changed the style that valued appearance's beauty. In the past, movie star's hair style and cloth were the basic fashion, but now the sportsmen are recognized heroes and their cosmetic is prevailing. Today, the basic meaning of men's presence fashion is that men and women's each role and self expression is allowed and appearance's decoration showed from sex roles disappeared. Men is limited body's beautiful expression and collective range but they fluently express each self imagination through work, special hobby, female attire and drag queen. From various men's beautiful expression, we will know that human beings want a society which is recognizing different self expressions.

• 복식
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• 제34권
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.

• 패션비즈니스
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• 제8권4호
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• pp.104-116
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• 2004

Kanga is a type of cotton clothes with splendid patterns that East African women throw on their bodies. It first appeared in the East African shores in the mid-nineteenth century. A new style of squared handkerchiefs brought to Africa by Portuguese merchants for the first time was referred as to leso of which early designs were in a basic form of white dots on dark background. Consumers called such material by kanga as they began mentioning its craftiness and comparing its elegant nature to a sociable red rooster and graceful feathers. From the early 1990s, Swahili characters have been embroidered in designs of kanga, mainly consisted of proverbs. Kenya's kanga products are widely known and well represented whereas Tanzania makes the best use of it for political and social events. Fascinating and practical kanga has established its position as an essential part of East African cultures that is being well received as a fashion style there in these days.