• Culinary science and hospitality research
• /
• v.4
• /
• pp.147-166
• /
• 1998

Following the developing tendency of the food service industry, people are showing a high interest in cooking and the number of applicant trying to learn how to cook is increasing gradually. In this research, we have concluded that developing a menu, we are to standardize its cost accounting correctly so as to reduce problems which can occur during the process to commercialize food. We have to research on the quality of food changing so fast and to develop proper food to suit both the oriental and occidental taste. Since fresh ingredients such as olive oil which has much unsaturated fatty acid, tomato, and fish etc. is usually used in making Italian food, especially the moderns love it very much. The reason is that eating fatty food such as meat and fish with tomato, we can digest it well in our stomach. Tomato play an important role to neutralize the effects of acid food. It has Vitamin B1 dissolving fat, rutin strengthening capillary vessels and controlling high blood pressure, amino acid developing mental activity, iron essential to blood formation, and calcium etc. These ingredients play important roles to control geriatric diseases. The new style of the propensity to consume in the class of new generation and new family, the trend towards the nuclear family, and the rapid expansion of aging have influences on westernizing diet and on spreading new sense of values such as rapidness, convenience, cleanliness, and simplicity for diet. Following the change of the times, the food service industry will be developed more and more.

• Journal of Fashion Business
• /
• v.1 no.1
• /
• pp.71-83
• /
• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• Asia Marketing Journal
• /
• v.15 no.1
• /
• pp.1-22
• /
• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Women's Health Nursing
• /
• v.6 no.2
• /
• pp.269-290
• /
• 2000

This study was conducted to inquire about the view on childrearing of university women for the purpose of building up the positive parent- child relationship and setting up preliminary parenting education program. The subjects were 137 university women who were freshmen to junior in one women's university in Seoul. Using the self-report questionnaire, data were collected from December in 1998 to March in 1999 and the contents which subjects wrote down were categorized by content analysis method. The results were as followed: 1. The age range of subjects were 20-22 years and main rearer was her mother(71.5%) 2. The view of subjects were revealed by 374 statements and then tied together 34 themes: 'exemplary parent model as a guider'(8.6%), 'determination for oneself' (8.0%), 'expression of love'(6.2%), 'humanity education'(4.8%), 'carrot and stick'(4.5%), 'respect of personality'(4.3%), 'sound living habit'(4.1%), 'conversation'(3.7%), 'regulation of greediness' (3.7%), 'supply of live experience'(3.7%), 'supply of broad and substantial vision'(3.5%), 'free choice'(3.5%), 'broad-mindedness'(3.5%), 'consideration'(3.0%), 'doing together'(3.0%), 'propriety education' (2.4%), 'pursuit of naturalness'(2.4%), 'looking for one's life'(2.4%), 'confidence'(2.1%), 'rearing by oneself'(2.1%), 'encouragement'(2.1%), 'cultivation of right sexual senses'(2.1%), 'desirable home environment'(1.9%), 'doing one's best'(1.9%), 'understanding'(1.6%), 'psychological intimacy'(1.6%), 'treat fair'(1.6%), 'pursuit of physical, psychological health' (1.6%), 'concerning'(1.3%), 'religious life'(1.3%), 'respect of individuality'(1.3%), 'cooperation' (1.1%), 'often-minded family'(0.8%), 'positive attitude'(0.8%). 34 themes were categorized by 12 categories once more: 'mature parenthood'(15.5%), 'acceptance' (11.5%), 'autonomy'(11.5%), 'pursuit of healthy life style'(9.4%), 'eagerness'(9.1%), 'making efforts'(8.8%), 'education'(8.8%), 'emotional bonding' (7.8%), 'respect'(7.2%), 'corporal punishment' (4.5%), 'supporting'(3.2%), 'composition of environment'(2.7%). In conclusion, we could expect that university women had a democratic view on childrearing with love and autonomy for a base. So we need to offer them nursing implementations such as preliminary parenting programs and parenting consulting in order to promote positive and interactional parent-child relationship by strengthening their desirable view on childrearing.

• The Research Journal of the Costume Culture
• /
• v.28 no.4
• /
• pp.420-428
• /
• 2020

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer's expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user's positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character's image.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.8 no.3
• /
• pp.27-34
• /
• 2006

Flexibility, love of symbols, small size-these are all qualites that accompany the proclivity towards compactness in Japanese culture. They developed and have been refined to an unusual level in Japan partly out of the necessity to use limited space economically, but these qualities also characterize the aesthetic preferences of the people. Because space is so precious, it receives a great deal of attention in every aspect of life. Over the centuries Japanese have devised innumerable ways to use space that are ingenious in their successful combination of pragmatism, harmony, and beauty. Folding, stacking, rolling, nesting, carrying, consolidating, miniaturizing and transforming are some of the techniques for living that have created the compact culture. Folding allows a one-dimensional object to be placed in prescribed small space. Stacking objects of the same shape makes use of vertical space, saving valuable horizontal space. Rolling an object reduces it to a tidy cylinder without creasing it, creating yet another form of repose for functionally flat things. Nesting several identically shaped objects of graduated sizes is known as ireko. Carrying things by hand makes them available for any occasion, by plan or on impulse. Consolidating is to bring together the multifarious systems of living into an integrated whole. Miniaturizing things is a way to bring even the universe down to the scale of a human hand. Transforming the face of things is another notable propensity in the Japanese life style. Each one is put to use in countless ways, suggesting principles and conceptions that encapsulate the wisdom of tradition. In this study I wishes to investigate the principals of Japanese traditional design and the applied case in fashion goods.

• Journal of the Korean Home Economics Association
• /
• v.44 no.5 s.219
• /
• pp.89-98
• /
• 2006

The purpose of this study is to seek for a direction of child-care development through the basic concepts of home economics which have taken charge of much parts of the studies in child-care in the early years. When the problem of child-care is studied in view of the developmental process or the basic concepts of home economics, it is summed up as follows; First, on the basis of human ecological approach, when we study child-care, it needs to emphasize the mutual relationship between the macro-environment in connection with home and child-care. The study of child-care have to find out the relationship between the micro-environment in connection with children and the macro-environment in connection with home. And on the basis of this study, we must endeavor to build up the desirable environment of child-care. Second, on the basis of the concept of Institutional household, we mud be concerned about the developmental stages of young children, and emphasize 'the principle of love and care'. This means that the institution of child-care must be considered as a place which enlarges the merits of home and complements the defects of home through the strengthener of the function of home. Third, on the basis of healthy family, child-care service must support and complement the function of bringing of home in view of 'total healthiness of home'. Child-care service must be offered to be able to be chosen according to the total conditions of family such as the employment of mother, the family life cycle, the life style, the socioeconomic status of family.

• Journal of architectural history
• /
• v.8 no.4 s.21
• /
• pp.39-62
• /
• 1999

Basic concept of this study is that architectural form as a material at present has meaning for the dweller's life on the past historical plane. Main method to recover history is ethnographic interview to dwellers. Secondary method is to analyze ancestors' writings, buildings in the background of the family photos, and past drawings and then to relate them with architectural form at present. Taxonomy is a starting point: general name of the building by outside researcher is quite different from it by inside dwellers. 'Haengrang-chae', servant quarter, has never been used for servants. Function of the haengrang went outside thatched houses at the front village. Firsthand observation or simple analyses as results of several precedent research are reexamined and criticized through this study. The mansion has moaning when we synthesize with the site location based on farming land and tenant farmer, and decline of the Kyongpo Lake. Territoriality of the mansion is reinterpreted to 'In-Out Structure' by Yin-Yang thinking, Dwellers extend buildings gradually to outside village, surrounding rear hills, the lake, DongHae Sea, and finally goes to imaginative Taoist heaven beyond real nature through the literary life. Confucius principle, known to govern upper class house at Yi Dynasty also affect general composition of the buildings: perpetuation of the family by ancestor worship, elder dominance and male dominance, fraternity love in the extended family, charity display by reception of guests, Taoist scholarly life harmonized with nature. However, the study of the particular life and usage of the dwellers reinforces or corrects general supposition of precedent researches. Unique shape of the house has been formed by convenience of the dwellers' life style, early modernized free thought over the rigid Confucius design principle, and female power in male dominant society.

• The Research Journal of the Costume Culture
• /
• v.27 no.4
• /
• pp.353-367
• /
• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• Journal of Fashion Business
• /
• v.2 no.1
• /
• pp.71-75
• /
• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.