• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.277-291
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• 1995

The purpose of this study is to consider the internal meaning and the external from of Dualism in Unisex Mode : to investigate the dualistic expression appeared on the Unisex Mode by analyzing the general fashion magazine. The results of the study were as follows : First, the phenomenon of Dualism in Unisex Mode may be clues indication that some roles, once assigned exclusively to either males or females, are becoming mutually shared, or what may be called human roles. Second, the expression of Dualism in Unisex Mode whether direct away of symbolic way is represented by metaphoric manner such as unisex look(mono sex look, or trans sex look) with spirit of the time’s. Third, the formality and contents that related dualistic mode shows a various method in style, coordination of texture or item.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.2
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• pp.233-240
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• 1998

The main objective of this study was to develop a basic information base on Chinese consumers related to clothing purchases. Previous studies on Chinese consumers were extensively reviewed and in-depth interviews were conducted with 12 middle-level managers at Korean apparel companies which market their merchandises in China. Combined results from the reviews on previous studies and interviews indicated that traditional values, communism and industrialization are the major forces which shape contemporary Chinese consumers. Industrialization, in particular, accompanied by influx of western culture and economic development, has resulted in wide-spread phenomenon of conspicuous consumption. Thus, brand and brand images appeared to be the most important considerations for purchasing imported apparels. In addition, diversity of Chinese consumers and geographical differences were emphasized, which indicated need for market segmentation. Other characteristics including body measurements also provided implications for fashion marketing in China.

• Journal of the Korean Home Economics Association
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• v.23 no.4
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• pp.9-17
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• 1985

The pur[pose of this study is to investigate the research method and to provide a guide to the ways in which researcher, interested in costume history, can obtain in formation. There are comparison, induction, observation, awnalysis, experience and synthesis in method of science. Firstly, comparative research is to ascertain the accumulated evidence. Secondly, we can compare with historical phenomenon. A research intend to verify the hypothesis based upon the sources of information. It is an available method to investigate the costumes and adornments in the past. Whatever the approach, the researcher much discribe the facts objectively. Historical research has been approached in many warys in the field of costume. There are visual and documentary sources. Visual sources are paintings, sculptutre, frescoes, coins, potteries, medals, mosaics, wall paintings, stained glasses, seals, tapestries, illustrations, photographs, movies, and fashion dolls. Documentary sources are archives, letters, diaries, literature, wardrobe accounts, sumpturary laws, newspapers, and recollections.

• 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\`.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.5 no.6
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• pp.69-78
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• 1982

Traditional CVP (Cost-Volume-Profit) analysis employs linear cost and revenue functions within some specified time period and range of operations. Therefore CVP analysis is assumption of constant labor productivity. The use of linear cost functions implicity assumes, among other things, that firm's labor force is either a homogenous group or a collection homogenous subgroups in a constant mix, and that total production changes in a linear fashion through appropriate increase or decrease of seemingly interchangeable labor unit. But productivity rates in many firms are known to change with additional manufacturing experience in employee skill. Learning curve is intended to subsume the effects of all these resources of productivity. This learning phenomenon is quantifiable in the form of a learning curve, or manufacturing progress function. The purpose d this study is to show how alternative assumptions regarding a firm's labor force may be utilize by integrating conventional CVP analysis with learning curve theory, Explicit consideration of the effect of learning should substantially enrich CVP analysis and improve its use as a tool for planning and control of industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.6
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• pp.1070-1086
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• 2020

This study analyzed the size of women in their 60s, 70s and 80s in the 2014 Human Body Dimension Survey data among Size Korea's 7th Human Dimension Survey Data in 2015. This study examined the characteristics of changes in female body shape according to aging and the age range. The height item gradually decreased from the 60s and then rapidly decreased to the 80s. In the case of the circumference item, a sharp change occurred in the section from 69 to 70 years old. The reduction in hip height, waist height, and navel level waist height was not significant compared to the decrease in stature. Both width, thickness, and circumference gradually decreased with age. It can be seen that the back bends forward and the legs become thinner than the body due to the aging phenomenon with increasing age. Even for older women, the characteristics of aging differ in their 60s, 70s and 80s, so age segmentation of silver clothing should be considered.

• Textile Coloration and Finishing
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• v.35 no.4
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• pp.221-230
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• 2023

Meta-aramid and polyamic acid were separated and the manufactured films were analyzed for their integration and logarithmic properties. The miscibility of meta-aramid and polyamic acid was analyzed by Fourier transform infrared spectroscopy and scanning electron microscopy. Using calorimetric analysis and differential scanning calorimetry, the storage of meta-aramid and polyamic acid, indicated on the right side of the column, was analyzed. It was confirmed that the initial thermal resistance occurs because the polyamic acid is accounted for in the meta-aramid, and the glass transition temperature and persistence phenomenon are explained.

• Journal of the Korean Society of Costume
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• v.18
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• pp.291-306
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• 1992

From the mid-1980s '91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into 'Primitivism', 'Oriental element' and 'the element of a national costume in the East European bloc ' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human's ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80's. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80's to 91's, is thought to create an forgotten romantic emotion and traditional fashion

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.110-124
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• 2015

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.