• 복식문화연구
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• 제9권6호
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• pp.893-907
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• 2001

The main purpose is to study the effects of princess lines on different body types and to disguise any imperfection by using diverse princess lines. We separated testers body shapes into specific body types, H, Y by applying both the direct and the indirect measurements. These designs were evaluated by using the point ranking system method, and then average scores were obtained from these evaluations. Following are the results of the study: 1 These are the resulting illusion effects when the shoulder width of the Princess line was fixed. When the Princess line originated from 1/3 point of the armhole, body types Y appeared to show narrow waist width. A-line silhouette appeared to display the narrowest shoulder width. When the Princess line originated from 2/3 point of the armhole, body types H and Y appeared to exhibit narrowest waist widths, and the A-line silhouette once again displayed the narrowest shoulder width. When the Princess line originated from 1/2 point of the armhole, body type H appeared to exhibit narrow width; and H-line silhouette displayed the narrowest shoulder width 2. When the Princess lines waist w'4th was fixed in order to study illusion effects of waist widths. In this experiment, locations of Princess lines and widths of the skirt were varied. When the waist width was fixed at 6.5 cm, For the H body type, the Princess line location of 1/3 point of the armhole in H-line silhouette design exhibited the narrowest waist width. For the Y body type in A-line silhouette design, the Princess line locations of 1/3 and 1/2 points of the armhole exhibited the narrowest waist width because it displayed the hourglass effect. When the waist width was fixed at 10 cm, H body type did not exhibit any significant differences between designs. For Y body type, A-line silhouette design with the Princess line origination point at 1/3 down the armhole exhibited the narrowest waist width. 3. The illusion effects of the hip were studied by fixating the width of the skirt and varying the locations of Princess line and waist widths. In H-line skirt silhouette designs, all two body types exhibited narrow hips when the Princess line origination points were at 1/3 and 1/2 way down the armhole. For A-line skirt silhouette, H body type exhibited narrow hips when narrow waist design with the Princess line originating from 1/2 point in the shoulder was shown. Y body type exhibited narrow hips when narrow waist design with the Princess line originating from 1/3 point of the armhole and 2/3 point of the shoulder. 4. With both waist and skirt widths fixed, all two body types exhibited taller and slender postures when the Princess line originated from the shoulder compare to the armhole.

• The International Journal of Costume Culture
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• 제4권3호
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• pp.182-194
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• 2001

The main purpose is to study lines on different body types and to disguise any imperfections by using diverse princess lines. We separated festers body shapes into specific body types, A, H by applying both the direct and the indirect measurements. Following are the results of the study: 1. nose are the resulting illusion effects when the shoulder width of the princess line was fixed. In case of the armhole princess line, the illusion that the waist intervals were narrow or wide in A-line silhouette. In case the shoulder princess line, when the waist interval was narrow, it appeared to show narrow shoulder in A-line silhouette. While the wide waist interval shows the wide shoulder width in H-line silhouette. It regards body type H in the same light as H-line silhouette when the waist interval is narrow, it appeared to show narrow shoulder width in A-line silhouette. When the waist interval was wide, it appeared to give the narrow shoulder width. 2. When the princess lines waist width was fixed in order to study illusion effects of waist widths. Generally, for body type A, Whether the waist interval princess line is narrow or wide, the princess line is located comparatively wide, in A-line silhouette appeared to show relatively slender waist. For body type H, whether the waist interval is narrow or wide, the princess line us situated comparatively narrow interval, H-line silhouette appeared to show sum waist but the differences are not significant 3. The illusion of the hip were studied by fixating the width of the skirt and varying the locations of princess line and waist widths. For the location of both armhole and shoulder princess line in H and A-line silhouette, the narrow shoulder width and the waist appeared to show narrow hips. mile they are wide appeared to show wide hips. 4. With both waist and skirt width fuel, all two body types showed taller and slender postures when the princess line originated from the shoulder compare to the armhole.

• 한국의류산업학회지
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• 제6권6호
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• 복식
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• 제65권3호
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• pp.131-150
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• 2015

This article studied the procedures and items used in royal princess weddings by examining "Garyedeungrok(嘉禮謄錄)" which describes Princess Hwasun(和順翁主, 1720-1758)'s wedding in 1732. This was the first wedding by a princess during King Yeongjo(英祖)'s reign. Preparation for the wedding was made based on the previous weddings of royal princesses, but it did not follow the old tradition. The wedding costs were cut down, and it was done in a simpler way than before. However, the simplification of elaborate wedding outfits were not part of this change as ceremonial robes such as No-ui(露衣), Jangsam(長衫) and Chopo(綃袍) were used without much alteration. The wedding ceremony of Princess Hwasun shows the transition process from the royal princess wedding ceremony traditions and rituals in the late 17th century to "Gukhonjeongrye", which emerged and became solidified as a new social norm in the 18th century. A legitimate royal princess and a de facto princess from King's concubine were hardly different when it came to their royal outfitting but the disparity in social status between the two was found in the materials used to make clothes for their respective husbands. Princess Hwasun's wedding procedure shown in "Garyedeungrok" is similar to that of "Gukjo-orye-ui(國朝五禮儀)": Napchae(納采), Nappye(納幣), Chinyeong(親迎), Dongroe(同牢), Hyeongugo(見舅姑), Hyeonsadang(見祠堂), and Seojohyeon(壻朝見). But "Garyedeungrok" deals with the procedures of Gantaek(揀擇), Buma-guanrye(駙馬冠禮), and Seonon(宣醞), which are not included in "Gukjo-orye-ui", and also with the process of preparation for wedding items and the information of related people. However, it is hard to learn about its specific shapes and features because it is often restricted to lists such as a list of clothing. Collecting new materials and an in-depth and succeeding study are required in the future.

• 건축역사연구
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• 제24권4호
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• pp.19-28
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• 2015

This study examines the Singapore public housing supplied by Singapore Improvement Trust (SIT) in the 1950s. Focused on the Princess Elizabeth estate and Princess estate of Queenstown, this study surveys their construction backgrounds, site plans, unit plans, architectural designs and meanings. The Princess Elizabeth estate was the model estate for workmen's flats. This estate showed mixed blocks of flats arranged around a large quadrangled open space for children. The Princess estate was a neighborhood of Queenstown, Singapore's the first new town. At this Estate, there were some new architectural occurrences departing from the Tiong Bahru Estate. Those are the appearance of high-rise typology, and the increased specificity in the functions of open spaces. Thus the open space became to get hierarchy, and divided an estate to small neighborhood units. For the SIT, open space is synonymous with the improvement of urban environment. Through the purposeful creation of open space, the SIT intended to solve the problem of sanitation and to make a neighborhood unit which can be pleasant place for regional community.

• 심성연구
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• 제36권1호
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• pp.1-54
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• 2021

바리공주는 부모인 왕과 왕비의 일곱 번째 딸로 태어나자마자 버림을 받지만, 병든 아버지를 살리기 위한 약을 얻기 위해 홀로 저승에 간다. 그리고 험난한 시련을 통하여 재생의 불사약을 가져와 죽은 부모를 살리고 신격을 획득함으로써 만신의 왕이 되는 무속신화이다. 무당의 조상인 바리공주의 삶에는 시련과 고통을 견디며 죽고, 새롭게 탄생해야 하는 무당의 필수적인 입무과정이 내포되어 있다. 바리공주가 신성을 획득하여 무조의 신이 되는 그 이야기속에서, 집단적 무의식의 원형, 원초적 상인 신화소를 발견할 수 있다. 분석심리학적 관점에서 본다면 고통, 죽음, 재생의 과정을 거치고 만신의 왕이 된 바리공주는 영웅신화에서 볼 수 있는 개성화 과정의 일단을 나타내고 있는 것으로 보인다. 바리공주는 부모의 병을 그냥 고치는 것이 아니라 죽음에서 살아나게 하였다. 죽은 부모를 살아나게 하는 생명의 약을 구할 수 있었던 것은 바리공주가 일상의 하찮은 일을 반복적으로 하며 견딘 자기희생적인 부모에 대한 사랑과 자비이다. 바리공주는 자아의 입장보다 넓은 자기(Self)에 입각해서 세상을 바라보고 행동하였다. 저승에서의 고행 속에서 치료자의 조건을 갖춘 바리공주는 영혼의 인도자이며, 치유자원형인 것이다. 이렇게 바리공주의 고통을 넘어선 신성한 치유의 힘은 한국인의 심성 속에 내재한 자기원형, 즉 치유자의 어떤 신적인 상을 깨우쳐 주는 상징적 힘인 것이다.

• 한국의상디자인학회지
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• 제14권2호
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• pp.101-111
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• 2012

The purpose of this study is to evaluate the differences of visual image on variations in the length and princess line, in a silhouette of a one-piece dress with the application of the 3D Virtual Clothing System known as i-designer. Eight sample were examined: 2 variations of the length and 2 variations of the princess line, 2 variations of the form of a silhouette. The data was obtained from 66 fashion design majors. The data was assessed by a t-test and a multi-way ANOVA and factor analysis. The results were as follows; The visual image according to the design variables, four factors were selected; the attractiveness factor, the activeness factor, the practicality factor, the elegance factor. In these factors, the attractiveness factor is estimated by the most important factor. As a result of analyzing the effect of the interaction in the visual image according to the design variables, the influence of the main effect was found to be great in each factor. In the activeness factor, a significant difference was noted in the two-way interaction between the length and the princess line, the length and the silhouette. In the elegance factor, a significant difference was noted in the two-way interaction between the length and the silhouette. However, the influence on three-way interaction among the length, the princess line, and the silhouette was not significant.

• Archives of Plastic Surgery
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• 제42권2호
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• pp.126-130
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• 2015

Lipofilling is a reconstructive and aesthetic technique that has recently grown in popularity and is increasingly being used in breast surgery. Previous concerns had been raised regarding its safety when used for remodelling and reconstruction of the breast; however, these concerns have since been dismissed. Over the subsequent two decades, little evidence has been found to support these early theoretical concerns, and growing numbers of proponents of the procedure are confident in its safety. Many developments and refinements in the technique have taken place in recent years, and several studies have been published regarding the safety of lipofilling in the breast. We reviewed the current literature regarding the use of different lipofilling techniques as well as the current evidence regarding the oncological safety of the procedure in patients seeking aesthetic breast enhancement and in patients requiring reconstruction after treatment for breast cancer.

• 한국항해항만학회지
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• 제29권2호
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• pp.119-126
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• 2005

Ferry Golden Jindo collided with Ferry Princess near the No.7 light buoy of Incheon Port No.1 Passage in restricted visibility due to dense fog. The result was that Ferry Golden Jindo got a hole at the starboard midship section shell plating and Ferry Princess sustained damages at the starboard bow and 25 persons injured The aim of this paper is to investigate this collision accident, to clarify its causes, and to prevent such accident from occurring again In short, this collision resulted from Princess' high speed in restricted visibility, Golden Jindo's carelessness of watchkeeping, lack of proper safety training of crew, lack of instruction of supervisor, carelessness af PTMS Center and indifference of Korea Shipping Association, etc.

• Archives of Plastic Surgery
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• 제43권2호
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• pp.222-223
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• 2016