• Journal of Korean Home Economics Education Association
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• v.24 no.3
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• pp.35-56
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• 2012

The objective of this study investigated characteristics and developed the teaching models elements of creativity and personality education in home economics education based on its identity and nature. Above all, I investigated premises and assumptions of creativity and personality education in home economics education through literary consideration, and then found out eighteen creativity and personality elements. Thus, I proposed Practical Problem Solving Learning Model, Creative Problem Solving Learning Model, Inquiry Learning Model, and Role Playing Model(experience study) in 'Clothing and self-expression' unit. The study identified that creativity and personality education meets nature of home economics education and strengthens the basics of the creativity and personality education in home economics education. In the future, I recommend the activation of philosophical debating of the creativity and personality education, various class models of creative and personality education, and follow-up study of the creative and personality education.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.648-665
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• 2002

This study is to analysis on movie costume including the personal characters, social influences and situational effects of the main heroines among the expressions of clothing through the movie, "Gone with the Wind" produced by the MGM Company in America in 1939 with the collapse of the social classes through the American Civil War as its setting. The range of this study is to look into the images of cinema costumes like the colors and silhouette related to the roles based on the movie. According to this study, first, we can see the changing process from crinoline to bustle styles by historical invastigations into clothing styles rather than the images of roles in the aspect of silhouette Scarlet of hanghty and challenging character is shawn in X-type silhouette mainly using capped sleeves and laces and Mellany of obedient and generous character, compared with Scarlet, is showing less detail effects, and is expressed in A-type silhouette of modesty and maturity. Second, there are remarkable differences of colors and details in which starlet who had the pioneer spirit used the vivid tones like red, green and black, and white laces and blades as an accent while Mellany who was considerate and soft used the dark tones like black and blue, and white and blue lace shawls And third, in images, Scarlet who was very positive in sociai activities is expressed as a elegance and romantic images in the sophisticated and modern styles but Mellany who was a good and steady housewife was shown as a elegance image in the mannish styles.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.4 s.163
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• pp.604-614
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• 2007

As the role of retail stores in distribution channels becomes more significant and competition among them becomes more fierce, retail stores are making efforts to gain a dominant position in market share. And as such, consumer store choice behaviour is becoming more diverse and complex. The purpose of this study was to analysis the store choice process and to aid in understanding the types of store choice behaviors. 30 subjects were sampled by focus sampling and investigated by in-depth interview. Some consumers went through all stages of store choice process and others skipped some. The consumers who usually had no plan to visit stores and who purchase without problem recognition process were categorized as opportunity-taking type, and the consumers who visited just one store without external search of other store information were categorized as store-loyal type. Finally, the consumers who searched store information externally were divided into brand-oriented type and value-seeking type. The brand-oriented type represented the consumers who did not evaluate stores in detail because which store to visit was decided on brand; and the value-seeking type represented the consumers who did in fact evaluate stores in more detail according to the items and trends in fashion. This study is meaningful in that it provides a dynamic store choice process and examines related variables thereto.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.64-79
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• 2010

The digital era in the 21st century is globalized and is collapsed boundary among countries, thereby being able to be said to be characterized most largely by proceeding with being a form like a federation and EU. A change into digital era brought about a change in all the aspects of human behavior and culture, not a change simply in temporal significance and technological significance. In recent days, all the services came to be possibly used the integrated device with the same network owing to innovation of communication technology, which is represented by digital, network, and internet. Now, the broadcasting industry, computer industry, and communication industry are exceeding the peculiar sphere by being mutually merged. Each of industrial sector centering on internet is showing the phenomenon of being united. The hybrid trend, which was formed by phenomenon in the complex digital media society, tended to be indicated in fashion and makeup design. As the digital media era was generated, the hybrid trend induced a change into society in open and horizontal idea. It came to be known that there is independent trend in each field even while organically working in the middle of the whole frame that fashion and makeup express a human being's external beauty. This implies that makeup is not what is always influenced by fashion as an accessory in fashion and a supplementary role, but what can show its contrary phenomenon. This study examined characteristics, which are shown in fashion and makeup due to hybrid influence with greeting the digital media era. This study was carried out in order to be conducive to objective data available for giving help to the future direction and marketing data in product of the relevant businesses, through the results of this study.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.728-738
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• 2006

As movies and dramas which show traditional clothes and fusion clothes are getting popular these days, lot of people are paying attention to these dress and ornaments. And as for the domestic collections which seem to reflect this trend, various fusion style clothes are getting widely adopted by people. Therefore, this study analyzed and considered the clothes designs when the country started to open itself to other countries, by selecting a movie titled "YMCA baseball team", a movie to ascertain vigorous historical verification, and by conducting the prior study and using the DVD capture program. This study is meaningful in that based on the comparison study on the costumes, it clarifies the degree of costumes(clothes) acceptance at the point of nation's opening to other countries, which is the source of fusion style, and further shed light on the role that the movie costumes will play. From this study, we can get the following conclusions. First, through the theoretical background it can be known that when the country opened itself to outside world the dress and ornaments of the time was adopted in a top-down way, namely, first adopted by the royal family and the upper class, which could have easy access to the western civilization and institutions, and then the low class later. Second, in the movie titled 'YMCA baseball team' the costumes were designed through the strict and thorough historic verification, and it can be confirmed that various dress and ornaments adopted at the time of nation's opening to the outside world centered around the clothes design for new women. Third, 'YMCA baseball team is evaluated as a movie that reproduces that time well and as a media that provides an effective clue to the dress and ornaments adopted by the public when the country opened itself to the outside world.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1584-1594
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• 2008

This study was to research the characteristics of the body shape of Korean woman farmers by the major crops. Four hundred ninety-five Korean woman farmers from 9 different area such as Kumi, Damyang, Iksan, Injae, Chungju, Choongju, Haman, Whasung, and Whasoon volunteered for this study. Their major crops were the rice, the pepper, the water melon, the strawberry, the wild rocambole, the sweet persimmon, the grapes, the mushroom, and the chrysanthemums. Twelve body angles were measured from archived the somatotype photographs of the front, the side, and the back. Questionnaires of SF-36 and the farmer's symptom, and the farm-work related movements were surveyed. The results were as follows; 1. Farmers had lower health levels in physical role limit, pain, vitality, and physical function than other occupational workers. 2. Most farmers acted the high-risk ergonomics motions when they worked in the farm. 3. There were significantly different on the both shoulder angles, the hip tangential line slope, the hip breadth angel, in frontal ankle-knee angle, the bending back angle, the dropping breast slope, the abdominis media angle, under the abdominis media angle, the glutea angle, under the glutea angle, and the sideward knee angle(p<.05). 4. Farmers cultivating the low plants such as the water melon, the strawberry, and the wild rocambole showed more banded vertebralis and side knee angles. Farmers cultivating the red pepper showed the dropping the left shoulder and O shape legs. Farmers cultivating the fruit trees such as the sweet persimmon and the grapes showed the less banded side knee angles than other farmer groups. 5. On comparing the same age, farmers showed the older's body shape in earlier and much more than the old living in the city.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.794-808
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• 2014

This research aimed to examine the effect of emotional dissonance and emotional intelligence on the prosocial behavior of fashion salespeople in department stores, and whether emotional intelligence mediates the relationship between emotional dissonance and prosocial behavior. Moreover, we aimed to suggest a method to improve the prosocial behavior of salespeople as a strategy to obtain a continuous competitive advantage in an increasingly competitive fashion distribution environment. This research was conducted through a questionnaire survey, and 345 responses were collected from department store salespeople for the final analysis. First, the analysis results showed that the emotional dissonance of salespeople arose from their dealings with their organization and with customers. Prosocial behavior was deduced to be a factor of the cooperation with coworker and extra-role customer service. The emotional intelligence was deduced to be a factor of the use of emotion, regulation of emotion, self-emotion appraisal, and others'emotion appraisal. Second, with a higher level of emotional dissonance against the organization, there was less cooperation with coworker, while a higher emotional dissonance against customers resulted in increased cooperation with coworker. Third, it appeared that with a higher level of emotional dissonance against the organization, there was a higher utilization of use of emotion, self-emotion appraisal, and others'emotion appraisal of emotional intelligence. Fourth, as the regulation of emotion, self-emotion appraisal, and use of emotion were higher, there was more cooperation with coworker, whereas an increase in the utilization of one's own emotion and emotional control resulted in a higher level of extra-role customer service. Finally, emotional intelligence has a significant mediating effect between emotional dissonance and prosocial behavior. The above results suggest that for department stores to improve the prosocial behavior of their sales staff requires the establishment of a method to enhance the emotional intelligence of the staff. The results also indicate that there is a need for department stores to prepare a systemic tool to enable them to select people with a high degree of emotional intelligence when recruiting salespeople.

• Journal of Fashion Business
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• v.2 no.1
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• pp.1-11
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• 1998

In this study fashion illustrations published in American Vogue from 1960 to 1989 were investigated. Among the large number of illustrations published in American Vogue in this period a considerable number of illustrations was chosen: from 1960 to 1969 143 editorial illustrations and 333 advertisement illustrations; from 1970 to 1979 34 editorial illustrations and 168 advertisement illustrations; from 1980 to 1989 123 editorial illustrations and 81 advertisement illustrations. In studying those illustrations the main point was put in finding characteristics and the changing trend of fashion Illustrations. In the sixties editorial fashion illustrations were published mainly during early sixties. The Illustrations of Rene Bouch, Evelyn Marcil, Dagmar and Eunice Moore Sloane took the space of editorials. Among those Illustrators Bouch published most frequently. The companies such as Galey & Lord, Lord & Taylor, Bergdorf Goodman, Bonwit Teller etc. used fashion illustrations for the advertisement. The name Kenneth Paul Block, Babara Pearlman and Dorothy Hood can be found very frequently on the illustrations for those companies. Antonio Lopez too published in 1963 some advertisement illustrations. In the seventies the total number of editorial fashion illustrations diminished drastically compared to the number in the sixties. Antonio published in 1973 and 74 fifteen illustrations, Joe Eula published from 1976 to 79 thirteen illustrations, and beside them Mats Gustavson published in 1978 six illustrations. The number of advertisement illustrations decreased a little, but many companies used fashion illustrations for the advertisement. The illustrator who worked most actively were Block and Fred Greenhill. In the eighties editorial illustrations experienced a "Renaissance". New high-level illustrators appeared and new fashion illustration magazines were found. Antonio played a central role among illustrators published for editorials in Vogue. In addition to him 15 other illustrators including Mats and Eula with various styles worked for editorials. In contrast to the flourishment of editorial illustrations the number of advertisement illustrations decreased compared to seventies as a result of the domination of fashion photography in this area. Today only few fashion illustrations can be found in fashion magazines. The magazines are dominated by fashion photographs. However fashion illustrations will not totally perish from fashion magazines, because it still has some valuable functions in fashion advertisement. Those functions cannot be fulfilled by photography. Therefore fashion illustration will survive in fashion magazine but playa minor role compared to photography.