• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.6
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• pp.959-969
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• 1997

This research is intended to help the development of new products and marketing strategies studying consumers' knowledge level and attitude towards original brand and the extension attitude related to the brand image. The detailed purposes of this study are as follow: First, it is to measure consumers' knowledge and attitude towards original brand. Second, it is to clarify the dimensions of the image about the original brand and extended brand product which is perceived by the consumer. Third, it is to meassure image consistency and product similarity between the original brand and extended product. The sample group consisted of female college students 393 in Seoul. Stratified sampling, based on major and grade of sturients and the structure of the college they were attending was used as sampling method. Questionnaires, which were selected from literature and proceeding researches published in Korea and abroad, were modified for this study, SAS Package was used for data analysis. The results observed in this study were as follow: 1. Consumers' knowledge level about original brand showed high among students majoring in clothing-related subjects and their general attitude proved to be positive. 2. Image factors of original brand were classified to dignity factor, personality/modernity factor, femininity factor, and ornamentation factor. Lipstick is considered to have high image consistency and product similarity. 3. Comparing the attitude before and after extension, extension to lipstick which showed high image consistency and product similarity received more positive reactions than one to bed cover sheet. 4. It was founded that although knowledge and attitude towards original brand with image consistency had no influence on the extension attitude, knowledge and attitude without image consistency influence the extension attitude.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.403-413
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• 2005

The purpose of this study is to interpret the elegant dressing visualized in modem fashion on the basis of the concept of elegance in dress and its aesthetic characteristics from the holistic viewpoint. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding, considering from the documentary study. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony. To grasp the trends of elegant styles since 1990s, contents analysis of the articles related to elegance in Vogue has been done. As a result, they have been classified into four groups of elegant styles which are Classic, Elaborate Couture, Soft Minimalism, Kitsch Elegance. Classic Elegance and Elaborate Couture Elegance represent traditional ones with conservative viewpoint. Soft Minimalism Elegance is a modem version of elegance. According to postmodernism as a open system, even kitsch has been refined to keep accompany with elegance fur aristocratic taste of high class. As a result of this study, in fashion from the 16th century to the first half of 16th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society. However in the end of 20th century it seems to start to fade in fashion trends such as mass fashion, youth culture, casual fashion etc. Rather, it can be thought that elegance has been expressed as one of the aesthetic values in dress, by virtue of its value of high class as well as its conservative stability.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.32-40
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• 2004

This study is done to assist in the limit of stage dress design research considering the sense of the times and the sympathy of spectators for actual stage. For the base research, to visualize the image which the spectators are feeling from Shakespeare's Hamlet, the evaluators had to analyze the whole image and color tone of the figures. First of all, 2 clothing for Hamlet, Gertrude and Ophelia had to be designed, and following conclusion has drawn. Hamlet A corresponds with passive looks which is a combination of loneliness, sadness and the unstable mental state of not adapting to and hiding from the reality. Hamlet B has more of matured looks which make Hamlet more free and comfortable from life and death as he overcame a crisis of death. Gertrude A corresponds with the image of coming right out of the funeral of late king. Gertrude B shows more of her sadness as she hears of her son Hamlet's despair and resentment and her maternal return degradation which is a special situations emphasizing her unstable and dizzy image. Ophelia A shows her usual and normal looks of a livelihood and femininity. She congratulates the wedding and coronation, and falls in love with Hamlet which shows a lot of her girlish image. Ophelia B shows dismantled rationality and violated virginity which is a very complex and unstable state showing a completely different image. Based on the above research. It was proposed their clothing through the next study of the characters, and personally make them for 2003 Yeonheedan Street Group's performance Hamlet.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.7
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• pp.4361-4369
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• 2014

This study examined the gender role identity within the Korean context with particular focus on how the changes within Korean society may have impacted on the gender role identities of middle-aged men. This research adapting Q methodology created a sampling distribution of P with 40 middle-aged men aged between 40-59 years old. Each of 40 Q samples were placed in a forced distribution of 9 scales. Secondary analysis of the results was then conducted by principal component factor analysis using the QUANL PC program. Middle-aged men are likely to have traditional masculinity and newly developed femininity, such as caring for others and sensitivity. This means that a consideration of these characteristics needs to understand the gender role identity of middle-aged men.

• Korean Journal of Child Studies
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• v.38 no.1
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• pp.95-116
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• 2017

Objective: Middle school girls who belonged to the concerned group in their school assessment were treated by sandplay for relieving their emotional and behavioral difficulties. The purpose of this study was to explore the change of the internal world of the girls through sandplay. Methods: Analytical psychology and sandplay theories were used for this exploration, especially Turner's (2005) content themes in sandplay. The participants were four first-grade girls. Pre-test measures, a 12-session sandplay program, and post-test measures were administered. Results: For the first girl, the initial phase was 1-6 (time trip), the intermediate phase was 7-9 (seeking for an inner island), and the final phase was 10-12 (seeking for a real stone). For the second girl, the initial phase was 1-5 (my heart was like cold weather), the intermediate phase was 6-10 (fallen, sick, and risen), and the final phase was 11-12 (trophy given to me). For the third girl, the initial phase was 1-5 (seeking for oasis), the intermediate phase was 6-10 (difficult trip for climbing with camel), and the final phase was 11-12 (discovering oasis). For the fourth girl, the initial phase was 1-3 (an island drowning shortly ), the intermediate phase was 4-10 (my unknowable mind), and the final phase was 11-12 (a tree growing well). Conclusion: This study showed psychological phenomena in the sandplay of four girls such as opposites and the union of masculinity and femininity as they explored their own identity. Drawing tests and counselling objects indicated positive changes; thus, these findings support the effectiveness of sandplay therapy for transforming the psyche of middle school girls.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.88-102
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• 2003

In our culture, the term, "be like", is frequently used. There are expressions such as "feminine-looking dress" and "manly style" relating to this term when we describe the styles of clothing. This study addresses the question on which type of garment would be selected under the description of the term, "be-like", in relation to gender. This term reveals the preconception of gender as being feminine or masculine according to the styles and colors of clothes. A group of 362 college students from Seoul and Gyeonggi area was surveyed fur the study The statistical analysis of SPSS 10.0 was applied f3r analyzing the data, and the significant variances were reviewed by the basic statistics, multi-variate and T-test. The results are as follows: First, the details of clothes imply the preconceived idea of gender. As a result, women's blouses and skirts were selected as the most feminine upper and bottom garments. The Y-shirt and T-shirt were selected as the most masculine upper garments. However, in contrast to the . skirts being the most feminine bottom wear, the pants were not significantly recognized as the most masculine ,clothes. Second, the variances of the survey show that the female students are more conscious of the sexual identity expressed in clothes than the male students. Third, the styles of clothes reflect the general understanding of what is considered to be "feminine or not feminine" and "masculine or not masculine" In conclusion, this study has discovered that the certain characteristics of gender are predominantly implicated in the styles length, and color of clothes. Both men and women responded differently in defining their idea of "femininity" and "masculinity". Nevertheless, there still exists strong preconception of what is considered to be feminine or masculine, and it affects the choices people make in selecting clothes.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.22 no.3
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• pp.149-155
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• 2011

Objectives: The current study investigated the personality characteristics of parents of children with attention-deficit hyperactivity disorder (ADHD) using the Minnesota Multiphasic Personality Inventory (MMPI), which is commonly used in clinical medicine. Methods: Participants were 117 parents of children with ADHD (96 boys and 21 girls) and 77 parents of comparison children (50 boys and 27 girls), who completed the Korean version of the MMPI. Results: The MMPI scores of the fathers of ADHD children were significantly higher on the Psychopathic Deviate (Pd), Masculinity-Femininity (Mf), Paranoia (Pa), and Psychasthenia (Pt) scales than the comparison group's were. In addition, the mothers of ADHD children had higher MMPI scores on the traits of Hypochondriasis (Hs), Psychopathic Deviate (Pd), and Schizophrenia (Sc) than the comparisong roup had, but were not significantly higher. Conclusion: The fathers of ADHD children might be antisocial, irresolute, passive, paranoid, and anxious. In addition, mothers of ADHD children might have hypochondriacal, antisocial, and/or psychological confusional traits, but these were not be significantly high. These results suggest that the psychopathology of parents of ADHD children might correlate with their children's ADHD.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.