• 복식
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• 제58권3호
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 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.

• The International Journal of Costume Culture
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• 제13권2호
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• pp.104-117
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• 2010

The purpose of this study is to find out the effect of on-the-job experiencing program on the formation of dynamics such as creativity, organizing, and clarity necessary for launching into the society through a cause-and-effect analysis to determine the priority of resources investments and improvements of educational courses. As a result, the selling experience and planned workshop were found to have effect on the creative dynamic that preparatory business starters must secure without fail. This means that e-Fashionn Lab(http://www.bc2d.com) which is an experiencing program, is fully accomplishing its initial objective set up at the time of the system design. In addition, the selling experience and the mini-home page experience were found to have effect on the formation of organizing dynamic of preparatory business starters. This shows that the system design to realize the database of personal friendships and personal information is being used fully as an educational practice instruments. Lastly, the selling experience and planned workshops were found to have effect on the formation of clarity dynamic of preparatory business starters as experiencing characteristic has effect on creativity. However, the community (work room) experience was found to have no effect on the formation of dynamics necessary for preparatory business starters to advance into the society at this study. This signifies that the system input resources should be pushed back in priority and that curriculums and system design should be concentrated on strengthening the selling experience and planned workshop in general.

• 한국의류학회지
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• 제34권1호
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• pp.50-66
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• 2010

This Shanghai region study is a sample survey of female college students in their early 20s. This study collected and analyzed the information of shapes through a direct contact survey to understand the breast figures and the measurements of bodies to provide basic information to improve brassiere production for adult females in China. Data was analyzed through a SAS 9.0. The characteristic of the final brassiere pattern that had been corrected and complemented from the results of the $l^{st},\;2^{nd},\;3^{rd}$, and $4^{th}$ fitting tests is defined as a brassiere inserted with a round wire that has the 3/4cup to wrap the bust area by about 3/4. It consists of an upper and lower nonwoven fabric cup that has a flat-shaped wing of a circular dart. The drawing method of the pattern of this brassiere is applied with the conditions to cover the body naturally under the diverse and organic relations of the material factor of stretch material and wire, functional factor, and sewing factor. The final pattern is created as a bigger angle of wing pattern and a short inner side diameter because there are more Chinese women with a back of bending figure compared to Korean women.

• 복식문화연구
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• 제6권1호
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• pp.136-148
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• 1998

This is a study on the change of the Medievalmen's underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Throughout the Middle Ages, the underclothing of both sexes possessed characteristic inherited from earlier times. Its function was purely utilitarian. It was not used to express class distinction and only very indirectly to enhance sex attraction. The idea of underclothes was associated with the idea of the body's sinfulness. Underclothes could also symbolize the discipline of humility. To appear clad only in underclothes was a voluntary form of selfabasement often practised by pilgrims. The notion that underclothes might express the spirit of the changing times, in sympathy with the outer clothing, did not enter the medieval mind. The length of the shirt was less than that of the modern garment, especially after the middle of the fourteenth century. The sleeves were somewhat full, without cuffs, and cut straight. During the second half of the twelfth century, when braies become definitely an undergarment. In the fourteenth century braies became shorter and shorter and the shirt could no longer be tucked in but hung outside over the thighs. After 1340 the costume on the surface somewhat resembling modern 'tights', began to reveal display the shape of the male leg as a form of sex attraction. By the close of the Middle Ages, braies had become less like loincloths, and more like modern bathing trunks. The peasant and laborer did not attempt to keep pace with the changes of fashion but, continued, as a rule, to wear the long braies of their forefathers. The higher ranks how this garment reflected the changes of the mode of outer costumes.

• 복식
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• 제60권6호
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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.

• 복식
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• 제66권7호
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• pp.171-191
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• 2016

Lady Han, Gongshin-buin(恭愼夫人韓氏: 1410~1483) was Gongnyeo of Ming emperor and sister of Han Hwak(韓確:1400~1456). The aim of this study is to analyze the characteristic of costume presents for Lady Han, and to investigate a part of Joseon women's attire in the 15th century. Most of the presents for Lady Han were native products of Joseon to help alleviate her homsickness, but surviving relics are very rare. The costume-related presents included daily accessories and fabrics such as natural ornaments, embroidered pouch, needle case, wig, wooden comb, portable knife with multi-blades, various colored plain silk [綿紬] and ramie. Also, preceding research analysis of costume relic were combined with study of presents for Lady Han's. The most salient costume of Joseon women in the 15th century was the symmetric collared jacket. In addition, ornamented jeogori, pouch with pine nut stitch, chima, jangot, jangsam, black veil[羅兀] made with ra or jeung, glass beads, paintings of Ming and Joseon can be references. Illustrations show 6 representative type of Joseon women's full attires in the 15th century are as follows. First, is a combination of 'symmetric collared jacket with peacock rank badge, jeoksam, chima, underwear' and 'hoa-a, janga-a, embroidered pouch, needle case, knife with multi-blades: presents for Lady Han'. Second, formal wear focusing on symmetric collared Jacket of cloud pattern. Third, formal wear focusing on multicolor ornamented jeogori. Fourth, town wear with jangot and neoul. Fifth, formal wear with jangsam. Sixth, daily wear focusing on banbi with symmetric squre collar. Accessories and underwear shown in another illustration were same as the first illustration. Results of this study can be used as content for making historically accutate costumes as well as costume education.

• 대한기계학회논문집
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• 제15권1호
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• pp.229-240
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• 1991

본 연구에서 사용한 이론과 제시된 방법의 타당성을 검토하기 위하여 익열 간 극이 무한대인 단일 익형 주위의 유동장을, 최근에 개발된 계산방법인 Lambda방법을 사용한 Dadone의 해석결과와 비교하였고, 범용의 압축기 익형인 NACA65게열 익열 유동 에 대한 Herrig의 실험값, 그리고 미분해석에 의한 점성-비점성 상호작용 방법을 사용 한 Hansen의 계산값고, 이들 조건과 동일한 상태에서 본 연구에서 제시한 방법으로 계 산한 결과와 만족할 만한 일치를 얻었다.

• 한국식품조리과학회지
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• 제30권3호
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• pp.291-306
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• 2014

The purpose of this study was to examine the use of social commerce restaurant products by college students according to demographic characteristics and eating out behavior. The questionnaire for the survey was distributed to 450 college students, who have experiences of purchasing a restaurant product on social commerce, with 286 responses used for analysis. From the result, college students frequently use smart phones and SNS for making such purchases. While the awareness of social commerce was high, they sometimes visited the websites and purchased products. The awareness and purchase experience of Coupang and Ticket Monster turned out to be the highest. The most frequently purchased product was restaurant discount coupons, followed by fashion/accessories, movie or concert tickets, food products, and beauty shop discount coupons. The discount rate was mostly 30 to 40% on average. The most significantly considered matter in purchasing products and services was product quality, followed by discount rate and consumer review. The respondents ate out at least 3 to 5 times a week, spent $100,000{\leq}200,000$ won, and were generally satisfied with the restaurant products from social commerce sites. The main satisfaction reason was price, whereas the dissatisfaction reason was false and puffy advertising. Service quality improvement and variety of category were the most necessary factors for improvement. Among the demographic characteristics, there was a difference in purchase expenditure of social commerce restaurant products, as well as purpose, companion, time used and word-of-mouth experience according to gender. According to grade, there was a difference in purchase expenditure, companion, area of use and impulsive purchase. Among the eating out behavior, there was a difference in purpose, companion and word-of-mouth experience according to the eating out frequency. Meanwhile, there was a difference in purchase expenditure, companion, time used, word-of-mouth experience and tool according to the eating out cost.

• 복식문화연구
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• 제18권6호
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• pp.1291-1304
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• 2010

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical 'Chicago' formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.