• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.1-13
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• 2013

This study examines the processes and characteristics of modern Korean embroidery art from the beginning of Korean modern times to 1945 which was the year of independence from Japan. An objective basis is presented by the analysis of articles and illustrations from the press and publications of the corresponding times. The significance of this study is to research the modern Korean embroidery art, which connected traditional times with modern Korean culture in order to investigate its identity. Due to Korea's modern embroidery art being started in the Japanese colonial times, there are some limits in it because of it being influenced by Western modern embroidery art and Japanese embroidery design. However, modern Korean embroidery art expanded from the private space to public space such as schools, open lectures and exhibitions. It has also accepted diverse foreign embroidery forms, which have been commercialized and accepted as art. The embroidery craft as commerce and art has given women the chance to achieve economic independence and to improve their social status. Modern Korean embroidery was art for the modern woman who had been educated in academic art, as well as a liberal art for wealthy housewives. It was the foundation of economic independence for poor rural women. It can be concluded that Modern Korean embroidery art has been accepted and developed by women in modern times.

• Journal of the Korea Furniture Society
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• v.23 no.2
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• pp.122-129
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• 2012

This article was intended as fundamental materials to recognize the current status of furniture hard ware in Korean market and to fix the identity of Korean furniture, by investigating and comparing the furniture hard ware used in the Joseon era and in modern times by type, function, shape and material. The analysis of furniture hard ware of the Joseon era and modern times from the view of functional aspects was oriented to the hard ware necessary to open and close the door & drawer on one side, and to that being attached to the main body of furniture not to scratch the wood by another wood on the other side, and from this the following conclusion was drawn. First of all, "Gwangdoojung" - a kind of spike- and metal decoration on the edge of the furniture disappeared, while the function-oriented hard wares have been diversified in modern times, from the perspective of the change of kinds. Second, the functional aspect of the furniture hard ware was emphasized in modern times than the Joseon era. In other words, the hard wares of the Joseon era came into view due to their strong appeal to decoration, whereas those of modern times were mostly hidden or moderated, keeping the function substantially. Third, the hard wares from the Joseon era were shown in concrete and detailed shape motivated by natural objects and furthermore even gloriously, but the modern hard wares are simple & basic geometry, from a formative point of view. Fourth, the material aspects present that the Joseon era's hard ware was mainly cast iron, whereas that of modern times shows the diversification from metal to even plastic. Finally, the recent trend in naming of the hard wares is the words of foreign origin. This resulted from that the foreign names of hard wares are valid also after import process in Korean market, so the domestic development of hard ware as the essential factor for the furniture design is urgently necessary to establish the identity of Korean modern furniture.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.880-890
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• 2001

The purpose of this study was to find out the correlation between the spirit of the times and the characteristics of each eras fashionable silhouette and clothing in Gothic and Modern Period. Theoretical studies about the spirit of times, and the characteristics of clothing about each times were preceded. The results were as follows: The similarities of spirit of times were 1) emphasis on reason and rationality 2) centralization by christianity in Gothic Period, and modernism theory in Modern Period 3) times of the nobility and the churchman in Gothic, and elite class in Modern era. The similarities of characteristics of clothing were 1) preference of slim body form as the ideal body figure, 2) emphasis on convenience and function for freedom in action, 3) discontinuation of traditional way of clothing attitude, 4) emphasis on straight and simple on the silhouette and design, 5) tendency of eliminating ornaments on clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.

• Journal of East-Asian Urban History
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• v.2 no.1
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• pp.7-26
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• 2020

Urban pollution has been a problem in China since ancient times. In modern times, pollution was aggravated by industrialization and urbanization and became closely related to people's lives. Shanghai was the industrial center and the most urbanized place of modern China. As a price, it needed to face extremely serious urban pollution, and the treatment of this problem involved all aspects of social life. Noise pollution let foreigners to interpret the Chinese people and the city of Shanghai from a cultural perspective, and let Chinese residents to understand Shanghai and the nation from a civilized perspective. Pollution regulation made Shanghai the first city in modern China to implement overall pollution control and levy environmental protection fees. It also enabled the Chinese to gradually fight for their rights in urban governance. Urban pollution also brought business opportunities; in the highly commercial city of Shanghai, it promoted the development of some industries. The experience of urban pollution and its treatment prompted the people of Shanghai to rethink and re-recognize modern civilization, and also promoted the formation of Shanghai urban community.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.673-684
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• 2001

The purpose of this study was to find out the correlation between the \"spirit of the times\" and the characteristics of each eras clothing in Renaissance and Post-modern Period. Theoretical studies about the \"spirit of times\" and the characteristics of clothing about each time were preceded. The results were as follows: Similarities of \"Spirit of times\" were 1) emphasis on humanity 2) anti-centralization 3) destruction of social status 4) deconstruction of christianity in Renaissance and modernism in Post-modern Period. Similarities of \"characteristics of clothing\" were 1) emphasis on erotic aspects of female body 2) emphasis of erotic aspects on clothing 3) tendency to revert to the old fashion 4) popularization of certain social groups fashion 5) tendency of deconstructionism in fashion 6) tendency of \"No match mix\" 7) androgynous style.f \"No match mix\" 7) androgynous style.ous style.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.157-190
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• 1995

This report aims at studying on marriage extravagancies in Yi Dynasty and modern time in Korea. The author argues that we have to do the reform of consciousness and our reflection, with regard to the marriage extravagancies in Yi dynasty and modern times in Korea. In the way, we have to be illuminated by the seminar for the house wives of high class, by the discussion on marriage extravagancies or on the prohibition law of that which can keep.

• 한국정보디스플레이학회:학술대회논문집
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• 2009.10a
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• pp.510-512
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• 2009

A volumetric 3D display system based on a rotating two dimensional color LED array is set up. It has a cylinder display space ${\Phi}800{\times}640mm3$ which is composed of 256 slices of pictures in one 3D image with each slice $320{\times}256$ LED pixels. The volumetric image has 4 gray scales and 64 colors. The main structure and working principle of the system is described in detail.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.61-77
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• 2002

The purpose of this study is to investigate difference and likeness on the form in women's Hanbok between the later Chosun Dynasty and modern times based on Belong's observing system for 'Apparel-Body Construct'. Belong's framework is composed 5 pairs of contrast word -'Closed or Open', 'Whole or Par', 'Planar Separation or Planar integration'. 'Flat or Rounded', and 'Determinate or Indeterminate'. Major findings of this study are as follows. First, the form of women's Hanbok in later Chosun Dynasty is 'Variably Closed', 'Part' and 'Rounded', whereas that in modern is 'Open', 'Whole' and 'Flat' Women's Hanbok of modern is lesser convex, and more open than that of later Chosun Dynasty according to increasing use of transparent textiles. Moreover, in comparison with old style, that of modern has the tendency of perceiving primarily whole feature by organic linkage of parts. Because of loose fit of Jeogori and rigid DongJong etc, characteristic of 'Plat' strengthened in modern Hanbok. Secondly, women's Hanbok in the later Chosun Dynasty and modern has common properties of 'Planar Seperation' and 'Determinate'. Women's Hanbok belongs to 'Planar Seperation', because the effect cognized to figure and ground. can be found between small parts and whole of Jegori, or can be found between the head and face. Jeuori and waist band, and Chima and under ware. Further more. it can be classified into 'Determinate'. because it use textiles which have no pattern un it or which show a subtle surface effect by texture changing.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.73-90
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• 2011

Modern footwear is accepted as a fashion accessory that plays the role of a point of style, which reflects trends and makes use of individuality and stylishness, not a practical means itself. This study considers diverse types of western shoes, which had been historically popular from, and about a role in accordance with it, and grasps the occurrence background and the aesthetic characteristics in shoes type, which had initiated fashion in the historically cultural aspect. Thus, the aim is to be conducive to developing design related to modern shoes. As a result of this study, shoe styles have changed in relation to the historical situation throughout every period from medieval times to mid-modern times. Two functions of shoes, practicality and aesthetics, could be observed tendency of leading fashion in the middle of mutual control and supplementation according to social conditions, economic strength in a person of wearing shoes, social standing, and gender. Accordingly, considering that designs related to shoes are influenced by the historical conditions, continuous research on unique designs according to each era is thought to be necessary to develop shoe designs of the future.