• 패션비즈니스
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• 제6권1호
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• pp.83-101
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• 2002

The purpose of this study is to observe the elements of Japanese popular culture portrayed in Korean new generation fashion at the current point of time, when Japanese popular culture is first being opened to Korea. And the another purpose is to look into the fashion consciousness of them, which is made up of these aspects. The new generation plays the leading role in further excelling the culture of our society. They are the generation of sense and sensibility, the generation of "me", the generation of information, and the generation of individuality. Even before Japanese popular culture was officially opened, the new generation was already accepting fashion, comics and animation, video games, music, broadcasting, food, etc. The Japanese cultural elements that show most in Korean fashion are street fashion and the fashion of celebrities. These are mostly brought in by fashion magazines, the internet, satellite TV, the new media of cable TV, and street shops. The aspects of Japanese popular culture in Korean new generation fashion are many and varied. Such examples in fashion are : vintage style, school-girl style, sexy causal style, black coordination, soft avant-garde style. It can be said that the fashion consciousness of Korean new generation could be placed in the following order. First, the variety of fashion. Next, the internationalism of fashion. Third, the information of fashion, and last, the play value of fashion. Interest has peaked in Japanese culture after the official opening, and this study has explored the very same aspects which can be seen in Korean new generation fashion. This study was meant to help make a responsible and sturdy new generation fashion culture which can help face the new millennium.

• 복식
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• 제53권3호
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• pp.31-49
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• 2003

The Purpose of this research is to examine and contrast the cultural characteristics of the street fashion in new generations of Korea and Japan. We also intended to help clothing companies understand the current trend in this new generation. As the method for street fashion analysis. various literature, internet information and new media materials were utilized. Key observations obtained are as following First, they pursue a complex image. New generations seem to admix images from different areas to create a synthetic image, rather than adopting a single image; Second, practicality is an important factor. They Pursue a sense of their own unique trend: Third, distinction. The difference in society values between Koreans and Japanese is incorporated. The Korean new generation considers the traditional moral principles as important social values. In contrast the Japanese new generation is greatly influenced by the open sexuality culture ; Fourth. public ownership and sharing of the culture. There is a gradual deviation from a dominating unidirectional influence from one country on another. Now the two countries are influencing each other ; Fifth, sense. There are numerous fashion items and generalized total coordination. New generations express more active and creative fashion sense in those fashion items.

• 대한가정학회지
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• 제49권9호
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• pp.99-109
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• 2011

The purpose of this study was to characterize the new women, modern girls and modern boys from the 1920's to the 1930's as a modern new generation, the primary consumer of modern consumption culture, and to examine their values, lifestyles, consumption culture and clothing attitudes. The data were obtained from the magazines and newspapers published from 1920's to 1930's and previous literatures, and analyzed by qualitative content analysis. The results were as follows: A modern new generation meant the new women, modern girls, and modern boys seeking for the western looks and cultural tastes. The values of a new generation people were individualism, materialism, and modernism which was the same as Americanism. They enjoyed western lifestyles and sports and consumed new mass media and popular culture. Their clothing attitudes were fashion orientation, conformity, symbolism, conspicuous consumption, aesthetic value, individuality, and practicality.

• 디자인학연구
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• 제13권3호
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• pp.201-210
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• 2000

문화의 흐름은 끊임없이 변화한다. 그러한 문화의 변화는 항상 새로운 세대에 의하여 주도되어져왔다 현재도 우리는 신세대에 의한 새로운 문화의 사조에 접해있다. 그리고 그러한 새로운 문화의 주인공은 다름 아닌 10대에서 20대 중반에 이르는 이 시대의 젊은 계층, 소위 신세대집단(新世代集團)임을 알 수 있다. 이들은 허리끈을 졸라매어 온 지난 세대와는 달리 경제적 풍요 속에서 그들 나름의 독특한 소비중심의 구매 패턴에 익숙해 져온 세대들이므로 기업으로서는 그들의 소비잠재력에 매력을 가지지 않을 수 없다. IMF의 한파가 끝나가고 21세기가 시작된 오늘날 소비시장에 있어서 이제 신세대는 강력한 단일 소비계층의 세력으로 자리잡으면서 점점 더 폭발적이고 파괴적인 구매패턴을 보이고 있다. 이 시점에서 이들의 소비문화와 성향을 조사 연구하는 것은 아무리 강조하여도 지나치지 않을 것이다. 기성 디자이너들은 이들의 성향과 문화적 속성을 면밀히 검토 파악한 바탕 위에 마케팅전략을 세워야 할 것이며, 더불어 이들을 미래의 소비집단으로 계속해서 이끌어 가기 위하여서는 세대가 바뀔 때마다 새로이 진압되는 신세대들의 문화의 속성이 어떻게 변화하고 있는지에 대해 계속적인 관찰을 해 나가야 할 것이다.

• 가정과삶의질연구
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• 제15권4호
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• pp.341-354
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• 1997

In post-industrial society consumption takes a role as a means of acquiring unique lifestyle of style especially for the new generation. The purpose of this study was to identify consumption culture of adolescents in the context of consumerism culture. The use of goods in order to create social distinctions and to establish self-identity was note in is new generation's consumption culture and it was argued that advertising and other media attach images of beauty fulfilment and good life and that they persuade adolescents to have such lifestyle through buying consumer goods. It was also argued that the consumption culture of adolescents is strongly related to the counter-culture or counter-school culture. Implications were discussed with respect to future research area.

• 한국생활과학회지
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• 제7권2호
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• pp.49-61
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• 1998

The purpose of this study was to understand the new generation's culture and to analyze if the characteristics of their lifestyle is significant for the study of new generation's fashion. The new generation's characteristics of lifestyle can be described as a strong pride of their own self and the life which expresses that pride. To analyze this characteristics connecting it with fashion, it is as follows: -It is the egocentric sensitivity culture. In their fashion, there appears a tendency that sense and individuality are counted much rather than fashion. -Diverse fashion information is gained through the mass media and communication. The sense for fashion is liable to change according to the circumstances and, simulated world is made. -The sense of denial is not shown much to the western lifestyle and way of thinking owning to the international open culture. Their consciousness and favorite of fashion are beyond the border. The new generation showed the unprecedent way of expression, denying the established form, and this is defined as Borderless fashion. The Borderless fashion leads a whole trend of new generation's fashion in the late part of ninties. Two typical trends appear as Genderless look for the individualic group and Romanticism look laying stress on womanliness.

• 패션비즈니스
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• 제12권2호
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• pp.28-41
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• 2008

Fashion style in movies delivers their image the atmosphere and becomes the means for containing the personality, spiritual world and inner thinking the characters in the movies and including its plot. When the American new cinema emerged in late 1960's and early 1970's in the American movie history, the new left wing which wants to overturn adult generation and the hippie culture which wants to escape from an existing system also emerged. Therefore, this study analyzed the fashion style in the movie 'Easy Rider (1969)', i.e. the representative new American movie which showed the isolation from adult generation and negative realities of the American society. From the movie, we can understand the young generation after the Vietnam war, i.e. baby boom generation, pursued the hippie culture as their young culture. With their strong self-consciousness, they formed their own lifestyle and values which are different from those of adult generation, and we can understand clothes were used as a tool to express their value system.

• 복식
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• 제56권6호
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• pp.132-144
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• 2006

21C, the age of culture, has the effects on the whole aspects in society with its cultural features, and the social changes become the foundation to create the new culture. The W generation, which accounts for Woman, World, Well-being, and Web, etc, leads the trend as 'a new group of powerful consumers' of establishing a new pattern. The W generation prefers psychidelic make-up using pearl through the cyber space, a space for communication like the N generation. In addition, through the Internet, leading the society of fusion or hybrid, with gender and age broken-up, the feminine as well as kidult-like make-up has emerged. On the other hand, with the influence of well-being on the whole society, well-looking appears outside, and lohas inside. The W generation prefers glossy make-up in order to make the skin healthy and polished, and eco-friendly products with lohas.

• International Journal of Advanced Culture Technology
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• 제4권1호
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• pp.37-50
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• 2016

In recent years, the development and application of green energy resources have attracted more and more /$^*$ 'tention of people. The training room presented here is focused on the terminal applications of a photovoltaic power generation system (PPGS). Through introducing the composition and the general design principles, we aimed at leading the students to master the fundamental skills required for its design, installation and construction. The training room consists of numerous platforms, such as: PPGS, Wind and Photovoltaic Hybrid Power Generation Systems, Wind Power Generation Equipments, Simulative Grid-Connected Power Generation System, Electronic Technology Application of New Energy, etc. This enables the students to obtain their project and professional skills training via assembling, adjusting, maintaining and inspecting, etc., various component parts of the photovoltaic and new energy power generation systems, to further grasp the fundamental and related theoretical knowledge, and to further reinforce their practical and operational skills, so as to improve their problem-analyzing and problem-solving abilities.

• 한국철도학회:학술대회논문집
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• 한국철도학회 2009년도 춘계학술대회 논문집
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• pp.1779-1792
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• 2009

Now, the goal of the third generation KTX project is to create a new species of high speed train in order to open a new era of high speed railway system in history by authentic Korean technology and innovative design. Now the third generation KTX, must go beyond the original stagnant paradigm and be positioned as an emotional resource which is creating a shift in the public's perspective of transportation and expanding the idea that transportation intersects the two distinct realms of culture and environment as well. In addition, the overall design should reflect the Korean culture and characteristics, simple yet resonant, both the interior space and the exterior fuselage should portray the dynamic heritage of Korea such as the powerful yet subdued energy of Jung Joong Dong. In short, through the symbolic key words in Korean, Dong(Dynamics), Mek(Pulse), Ryu(Flow), Gam(Sensibility), the third generation KTX design project aims to create an new identity of Korean high speed railway which can stand globally.