• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.1
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• pp.22-33
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• 2004

The purpose of this study was to investigate the differences of lifestyle and clothing behavior of high school girls according to their residential area. The focus group interview was executed with 29 high school students and picture analysis was carried with 400 pictures of their outfits on weekends. The results show that they borrow their clothing one another taking turns, and there has lesibean dress code in common regardless of residential area. Students residing in Seoul wear brand products, and buy at department store, discount store and the stores in Myongdong or Sinchon, while students residing in Inchon wear Bose products, and buy at the stores in subway. Most of adolescents wear easy casual, and those of Inchon sometimes wear formal with high heel and young character casual, and often wear make up and get hair permanant/dyeing.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.69-79
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• 1999

The study has the aim to now the significance of hippie dress and hairstyle and to understand the influence upon them in 1990\`. The results of this study are as follow. First, the results of the significance of hippie dress and hairstyle in 1960\` which and analized by the basis of pierce\`s semiotic theory showed social resistence, piece and anti-war, psychodelic, ethnic and nostalgia, and individualism. Second, studying the character of the end of 1990\` when hippie dress and hairstyle reappeared through related the papers, magazine, and articles, we could get the phenomenon of pastiche, postmodernism which had excepted the spiritual significance of hippie in 1960\`.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.3
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• pp.139-145
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• 2024

In modern society, many adults seek emotional solace by reconnecting with their childhood memories through "kidult" culture, especially as single-person households increase. This trend spans fashion, collectibles, movies, animations, games, and character merchandise, with Hollywood playing a significant role in its growth during the 1980s and 1990s. Kidult culture allows adults to relieve stress, foster creativity, and strengthen social connections, enhancing their quality of life. As this culture gains mainstream acceptance, companies are producing diverse products featuring beloved characters, appealing to a wide age range. The rise in single-person households has amplified the importance of personal expression and individuality, driving the popularity of kidult culture. Companies are leveraging this trend to create innovative designs that resonate with consumer preferences. This cultural expansion promotes new design forms and aesthetics, reflecting the evolving relationship between design and consumption. Kidult culture's growth underscores its significance in contemporary consumer and design culture, offering valuable insights into modern societal trends.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.193-202
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• 2012

With entering the 21st century, modern people's dark inside and panic are emerging as the talking point on the theater stage. Even in the field of stage costume, the necessity of a research is being demanded through analyzing on psychological anguish and structure of characters. Accordingly, this study aims to allow the stage costume design to be expressed a human being's Doppelg$\ddot{a}$nger Image, which was elicited through analyzing a work of the play titled Le Grand C$\acute{e}$r$\acute{e}$monial by a playwriter Fernando Arrabal, who draws the conflictory and contradictory duplicity, which positions in a human being's deep inside by having chaos as catalyst. A research subject is 'Le Grand C$\acute{e}$r$\acute{e}$monial,' which was staged as the winter performance in commemoration of the 50th anniversary for the foundation of Dept. of Theater, Chung-Ang Univ. in November 2009. Psychology of characters in a play, which varies dimensionally, could be delivered, as nonverbal element called costume, by applying costume design of Cavanoza, Syl, Nice to Doppelg$\ddot{a}$nger Image such as Innocence vs Cruelty, Purity vs Superficiality and Restraint vs Freedom, which were elicited through analyzing characters. Through this study, the costume, which was expressed by visualizing a human being's Doppelg$\ddot{a}$nger Image, could be known to function as important dramatic factor of allowing character's psychology to be understood through costume as well as functioning as visual and sensible language, which is important for communication with the audience. A research on costume design, which reflects a character's complex inside, is expected to be likely continued through in-depth analysis on a playwriter's intention and on the appearing characters at the current point of time when an active research is being performed on stage costume in the wake of this study.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Science of Emotion and Sensibility
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• v.16 no.3
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• pp.351-362
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• 2013

This study aims to investigate the characteristics of Chinese consumers, who are growing up as the global biggest consumption market, according to G sensibility types, and to provide the data base for China market by analyzing the consuming pattern per sensibility and the preferred color. For the investigation, the survey on G sensibility and consuming pattern was conducted for consumers in four cities of China. As a result of classification of G sensibility types, it was found that Chinese consumers tended to behave in accordance with their values and identities and the most general type in them was G1 pursuing the reasonable and logical consumption, unlike Korean consumers who tended to be shown as G3 for the most general type according to the preceding study. As to characteristic of consumption, Chinese consumers preferred to purchase clothes from the department store, and in case of G2 type, the characteristics was corresponded with Actionist's character which shows the wide range of behavior and high-consumption, by preferring the road-shop next to the department store. Chinese consumers tended to purchase the clothes on the basis of their preferred colors, and especially it was shown that achromatic color was very commonly preferred. Also the black color was on the highest preference, and white, dark gray and light gray were followed. Meanwhile, in chromatic color, it was found that brown, orange, red and blue were preferred in order, and in case of G4, it was found that they preferred more various colors compared to the other types. This result could be used as the data base for the marketing strategy of fashion design industry and the related companies, as well as the new communication method for the consumers.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.7485-7493
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• 2015

With the popularity of Korean Wave, making cultural goods specific for Hallyu tourists is getting more important. However, there are mainly daily life goods using celebrity character-based ones. Remarkably, there are only a few cultural goods especially in practicality-based clothing category. In particular, few cultural goods related to children's wear have been developed. Therefore, if children's wear is developed as Korean Wave cultural goods considering Chinese consumers' pattern and Korean Wave cultural goods, it will be helpful for revitalizing the Korean Wave and Korea's fashion market. In this regard, the purpose of this study is to develop children's wear design as Korean Wave cultural goods, thereby presenting empirical research results and fulfilling its following objectives: First, it is to identify the concept of Korean Wave cultural goods, to analyze the current status to finally establish data to develop Korean Wave cultural goods needed at this time. Second, it is to make real-life size works through development of designs to provide the empirical data for Korean Wave cultural goods market. For the research method and contents the review of the previous research, in-depth interview for qualitative research, and empirical research using market research and development of work were performed. Through the final research outcomes, Korean Wave cultural goods, the children's wear that can meet the consumer's needs were presented as empirical data. The study can be used as basic data for domestic fashion market and cultural product market and it is meaningful as a reference for the analysis on the Chinese consumers' needs.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.