• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.1
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• pp.33-52
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• 2020

Some consumers question the safety of imported fashion products. We examine the effects of the use of an ecolabel, product category, and country of origin on consumer responses such as perceived physical risk, attitude towards a product, subjective norm, and intention to purchase imported fashion products. A sample of 508 adults in their 30s to 40s participated in online survey experiments. The survey experiments used 2 (the use of the ecolabel vs no label) × 4 (country of origin: China, Dominican Republic, Norway, and the United States) between-subjects and 4 (product category: men/women's wear, children's wear, underwear, and accessories) within-sub-jects factorial design. A total of 32 product-catalog images (stimuli) and eight versions of the questionnaire were developed. The use of the ecolabel is identified as having a significantly lower perceived physical risk than the no-label. The consumers' perceived physical risk also differs depending on product category and country of origin. Consumers perceive a higher physical risk about children's wear and underwear than other product categories as well as fashion products sourced from developing countries than from developed countries. The reduction of physical risk is found to facilitate consumers' purchase decision-making process.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.104-118
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• 2011

Since Sirimavo Bandarinaike became the first female prime minister in 1960, women all over the world has been trying to break the highest glass ceiling. In a place where men had been dominating throughout history, women political leaders had to find a way to look the part by wearing power suits. Feminity was out of the question until the digital era of 21st century started. The world has evolved into a place where feminity could be strength instead of weakness. Now women political leaders are showing body curves, cleavage, using vivid and pastel colors, soft fabrics, elaborate details, accessories, long and curly hair. The padded shoulders of dark coloured power suits were replaced by soft colorful flowing feminine suits. Yulia Tymoshenko of Ukraine is the best example of 21st century woman political leader using feminity in her fashion style while enacting her role. When she first started politics in 1990's, she wore dark colored power suits like all other women political leaders did with short dark hair. As time passed her suits became more feminine with light colors and elaborate details. She has changed her hair into a neat braid, based on a traditional Ukrainian hair style. She used orange color for the Orange Revolution and white for pure image. Yulia Tymoshenko's fashion style as a way of role enactment showed professionalism, feminity, integrity, and ethnicity.

• Journal of Fashion Business
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• v.28 no.3
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• pp.1-15
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• 2024

Christopher Nemeth is a designer who combines characteristics of a pioneering upcycle design and deconstructionist design with fabrics, waste clothing, and pieces of fabric recycled in the 1980s. By hommaging his work from the Louis Vuitton 2015 F/W collection, Kim Jones is once again becoming a source of design inspiration in an era where upcycling fashion is attracting attention. Accordingly, an upcycling design approach might appeal to the MZ generation. Christopher Nemes' design presented in this study as a representative fashion designer of dismantling upcycling is basically based on dismantling. It can also be interpreted as dismantling upcycling design because it uses used clothing, waste clothing, and discarded fabrics as materials. This study examined main techniques of upcycling fashion design and derived characteristics of Nemes design as "deconstructive techniques using free lines of construction," "recycling upcycling vintage materials and clothing accessories," and "using handcrafted techniques of artistic sensibility." By applying Nemes' dismantling upcycling technique, four designs were developed for men's top and bottom sets for targets in their 20s and 30s to suggest the commercialization possibility. This study is meaningful in that it proposes a methodical alternative to the new deconstructionist upcycling design that can show Nemes' aesthetic characteristics, creative perspective, and personality by modernly reinterpreting the deconstructionist upcycling technique extracted through analysis of fashion designer Christopher Nemes' design. In particular, by actually producing the work and confirming whether the design technique can be implemented, the value as a fashion product that can be sold is realized.

• Journal of the Korean Society of Costume
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• v.18
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• pp.97-110
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• 1992

West African's traditional looms, weaving and raw materials, structural patterning, dyeing and basic forms of dress were examines in the present study in order to deepen the appreciation of the cultural heritage of West Africa, and to make a contribution to the policy planning for export market developing The research method employed was the analysis f written materials. The study was limited to the traditional clothing habit which is preserved and practicing by them at the present day and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) They have vertical single-heddle loom horizontal or ground single-heddle loom, and double-heddle loom. The width of the cloth produced on the single-heddle loom varies about 38.5cm to 123cm and double-heddle looms all produced on the single-heddle looms all produced narrow strips of cloth varying in width from about 1.3cm to 75cm, although the average is about 10-20cm. (2) Despite the relative simplicity of the llom technology a remarkable variety of textiles are produced. (3) The most popular decorative technique in West African compound weaves is extra-weft patterning which is produced on both single-heddle and double-heddle loom by men and women weavers. Other forms of secondary patterning on textiles in West Africa are dyeing, applique, patchwork and embroidery. (4) Two basic forms of dress have spread throughout West Africa, the poncho (bpibpi) and the wrapper. Some versions of these basic forms are supplemented by western inspired trousers, shirts and blouses coupled with accessories usually complete their traditional outfits. They have a great variety of basic poncho, like as Khasa, Gandura, Tuareg-poncho, Babariga, Rigas (agba-da), Grand-boubou, Afteck, Tagua, buba, Danshike etc. Although West Africa has long been in contact with the peoples of the Nile region as well as the Maghreb and Sahara, both the boubou styles and the wrapper styles appear to have developed with a minimum of outside influence. African Islam was the principal agent for the diffusion of the boubou styles.

• 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.

• Journal of Korean Ophthalmic Optics Society
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• v.18 no.1
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• pp.67-73
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• 2013

Purpose: Recently, bacterial contamination of equipment and accessories required for vision correction has become a main causal factor in ophthalmic diseases. Thus, We investigated on both the actual condition of bacterial contamination from glasses of vision correction. Methods: Investigation of microorganisms was carried out with a group of 145 glasses wearers, composed of 36 elementary school students, 37 middle school students, 38 high school students, 10 college students, and 32 aged men. Results: Seventeen species of bacteria are detected from glasses of vision correction: B. cereus, B. licheniformis, Bacillus sp., CNS, Enterococcus sp., Escherichia coli, Proteus sp., Pseudomonas sp., Serretia sp., Streptococcus sp., Staphylococcus epidermidis, Staphylococcus aureus, Streptococcus hemolyticus,, Acinetobacter sp., Enterobacter cloacae, GNR, and Pseudomonas aeruginosa. Among 17 species of bacteria, there are some potential causative agents for keratitis, corneal ulcer, Acute dacryocystitis, Orbital cellulitis, Periphlebitis retinae, Marginal blepharitis, and Acute conjunctivitis. Enterobacter cloacae, Pseudomonas aeruginosa and Staphylococcus epidermidis cause keratitis. Pseudomonas sp., and Staphylococcus aureus cause corneal ulcer. Staphylococcus aureus causes acute dacryocystitis, orbital cellulitis, periphlebitis retinae, marginal belpharitis. Streptococcus hemolyticus causes acute conjunctivitis. Conclusions: In summation, it is verified that hazardous, opportunistic and infectious microorganisms exist in glasses for vision correction. Ophthalmic diseases are predicted. Therefore, supplementary research on the development of a cleaning solution to cleanse the infection and of an effective method to remove microorganisms is required.

• Korean Institute of Interior Design Journal
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• v.23 no.4
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• pp.23-31
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• 2014

In this study, in order to analyze customers' space satisfaction, ten modern high-class Korean restaurants, five in New York and another five in Seoul, that were opened or remodeled after 2008 were selected and satisfaction characteristics survey of 197 customers who use these Korean restaurants was conducted by using Likert 5-point scale. The study results(a high reliability was obtained showing the Cronbach's alpha coefficient of average 0.895 for all questions) were analyzed for the frequency, percentage, mean, etc. and the mean between groups were comparatively analyzed by conducting the t-test, Duncan's test by using the SPSS 18.0 statistical program. The results are as follows. First, the results of customers general characteristic comparative analysis, all the Seoul and New York customers have comparatively high academic ability, high income and eating-out expenses. The main customers in Seoul were the women in their thirties and forties while those in New York were mainly in their forties and fifties both men and women at similar rate. Second, as to the satisfaction with the interior, the satisfaction with finishing materials was little higher in New York as Seoul (3.30 points) and New York (3.86 points). The satisfaction with color was relatively higher in Seoul (3.66 points) and relatively lower in New York (3.18 points). As the satisfaction with furniture and decorating accessories was relatively lower in both Seoul (3.10 points) and New York (3.48 points). The satisfaction with space size in Seoul (the total space size: 3.99 points, private space size; 3.90 points) was relatively higher than that in New York (the total space size: 3.46 points, private space size; 3.28 points). The satisfaction with interior and exterior in both Seoul (exterior: 3.63 points, interior: 3.40 points) and New York (exterior: 3.28 points, interior: 3.39 points) were average. For the satisfaction of environment, Seoul (3.42 points) was slightly lower than that of New York (3.56 points). Third, the result of customers' satisfaction in Seoul and New York showed no commonality. Therefore in order to be renewed as the Korean restaurants with high customer satisfaction, it is expected that the Korean restaurants located in Seoul and New York need to plan the space by considering their customers' characteristics and satisfactions.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.