• Archives of design research
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• v.18 no.1 s.59
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• pp.233-244
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• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• Journal of Convergence for Information Technology
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• v.11 no.5
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• pp.232-241
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• 2021

This study was conducted to prepare a countermeasure for turnover due to the effect of education satisfaction at franchise stores on turnover factors through the medium of education requirements. In the method of collecting data, 237 copies of the questionnaire method were used as the final data. The results are first, the analysis of educational requirements in general characteristics shows that academic background (F=5.655, p<).01), Analysis of the factors for turnover shows that position (t=-2.809, p<).Significant differences were shown in 01. Second, educational satisfaction is the educational requirement (r=-.16, p<).The correlation between 05) and turnover factors (r=-.18) is significant, and the educational requirement is turnover factors (r=.53, p<).It is shown to be a significant static correlation with 01. Third, designers (B=.25), t=2.332, p<.05) and educational requirements (B=.88, t=9.313, p<).001) has been shown to have significant static effects. Fourth, the educational requirements for educational satisfaction and turnover factors are significant (β=.52, p<).We can see that it is fully mediated by 001.Therefore, it is believed that it will be possible to investigate quarterly satisfaction and demand after communication and training with workers at direct stores, and reduce turnover through various curriculum education.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Proceedings of the Korean Vacuum Society Conference
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• 2012.08a
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• pp.269-269
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• 2012

A new ion source has been designed, fabricated, and installed at the NBTS (Neutral Beam Test Stand) at the KAERI (Korea Atomic Energy Research Institute) site. The goalis to provide a 100 keV, 2MW deuterium neutral beam injection as an auxiliary heating of KSTAR (Korea Super Tokamak Advanced Research). To cope with power demand, an ion current of 50 A is required considering the beam power loss and neutralization efficiency. The new ion source consists of a magnetic cusp bucket plasma generator and a set of tetrode accelerators with circular copper apertures. The plasma generator for the new ion source has the same design concept as the modified JAEA multi-cusp plasma generator for the KSTAR prototype ion source. The dimensions of the plasma generator are a cross section of $59{\times}25cm^2$ with a 32.5 cm depth. The anode has azimuthal arrays of Nd-Fe permanent magnets (3.4 kG at surface) in the bucket and an electron dump, which makes 9 cusp lines including the electron dump. The discharge properties were investigated preliminarily to enhance the efficiency of the beam extraction. The discharge of the new ion source was mainly controlled by a constant power mode of operation. The discharge of the plasma generator was initiated by the support of primary electrons emitted from the cathode, consisting of 12 tungsten filaments with a hair-pin type (diameter = 2.0 mm). The arc discharge of the new ion source was achieved easily up to an arc power of 80 kW (80 V/1000 A) with hydrogen gas. The 80 kW capacity seems sufficient for the arc power supply to attain the goal of arc efficiency (beam extracted current/discharge input power = 0.8 A/kW). The accelerator of the new ion source consists of four grids: plasma grid (G1), gradient grid (G2), suppressor grid (G3), and ground grid (G4). Each grid has 280 EA circular apertures. The performance tests of the new ion source accelerator were also finished including accelerator conditioning. A hydrogen ion beam was successfully extracted up to 100 keV /60 A. The optimum perveance is defined where the beam divergence is at a minimum was also investigated experimentally. The optimum hydrogen beam perveance is over $2.3{\mu}P$ at 60 keV, and the beam divergence angle is below $1.0^{\circ}$. Thus, the new ion source is expected to be capable of extracting more than a 5 MW deuterium ion beam power at 100 keV. This ion source can deliver ~2 MW of neutral beam power to KSTAR tokamak plasma for the 2012 campaign.

• Journal of the Korean Applied Science and Technology
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• v.34 no.2
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• pp.394-399
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• 2017

The goal of this study is to suggest the technology and the way of developing ergonomic shampoo device, which is able to adjust the height and to be devided, and it uses ozone water. As a result of developing the device, it can complete better the effect of preventing water splash than existing devices by making neck holding part higher. And it is also made with ergonomic design, therefore, the head of shampoo candidate can be drawn into it more easily. By adjusting water temperature($38^{\circ}C$) to candidate's taste through water heater attached to water bucket, when a candidate is being shampooed, it can help keep warm shampooing without delaying. We could know the process through temperature sensor. And we could also know the utility of its own sterilization(1PPM) and purification. Finally, ozone water was measured for 20 minutes and the ozone concentration was measured to be less than 1 PPM to ensure stability. All parts of the mobile shampoo stand together with the hot water device and the ozonated water conversion device were designed so as not to be inconvenient for the user to use.

• Journal of Science of Art and Design
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• v.6
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• Journal of the Korean Society of Costume
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• v.44
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.

• Fashion & Textile Research Journal
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• v.11 no.5
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• pp.808-817
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• 2009

The purpose of this study was to verify potential differences in group- specific external feature concerns and beauty care behaviors of Korean women in their 20's~40's depending on their narcissistic propensity. This study is to take psychological approaches to narcissistic propensity of our contemporary society, so that it can get better understanding about consumers and provide marketing data on beauty-related industry. To meet the above goals, total 400 sheets of questionnaire were distributed to subjects from March 30 to April 8, 2009. Out of 376 sheets of questionnaire collected, total 355 valid questionnaires except incomplete 21 ones were used for final data analysis. For data analysis, this study used SPSS 12.0 as statistic program to perform factor analysis, reliability test (Cronbac's ${\alpha}$ coefficient), cluster analysis, t-test, analysis of variance (ANOVA), Duncan's multiple range test and multiple regression analysis. As a result, this study could come to the following findings: First, according to cluster analysis depending upon different factors such as self-directed narcissism, others-conscious narcissism and others-sensitive narcissism, it was found that our women in 20's to 40's could fall into 4 groups, i.e. complex narcissism group, mixed narcissism group, others-sensitive narcissism group and dispirited narcissism group. Second, according to analysis on potential differences in external feature concerns among four groups depending on their narcissistic propensity, it was found that there were significant differences in all relevant factors among groups. Third, according to analysis on differences in beauty care behaviors among four groups depending upon their narcissistic propensity, it was found that there were significant differences in all relevant factors among groups. Fourth, according to analysis on potential factors of external feature concerns that may influence beauty care behaviors of complex narcissism group, it was found that those factors had significant effects on fashion-orientedness, cosmetic surgery and personality pursuit of this group. And it was also found that there were significant differences in fashion-orientedness, cosmetic surgery, makeup and hair styling of mixed narcissism group, others-sensitive narcissism group and dispirited narcissism group respectively.