• The Korean Journal of Ecology
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• v.17 no.3
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• pp.355-366
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• 1994

The purpose of this study was to investigate the changes of water quality and the patterns of self-purification with season in Gokneung stream. The vegetation in the ecosystem around Gokneung stream was dominated by Quercus species. In the physicochemical analysis based on the contents of DO, BOD, conductivity and total phosphorus, the upstream seemed to have been polluted, but the downstream was self-purified. In biological investigation by bentic macroinvertebrates, the result was similar to that in the physicochemical analysis. The self-purification constant based on BOD of the upstream, 1.013, was the highest. In the self-purification constants with month, that of September was 0.995 and that of January was 0.272. These results indicated that the self purification capacities of spring and autumn were larger than those of winter and summer in Gokneung stream.

• Journal of the Korean Society of Costume
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• v.37
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.2 s.38
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• pp.173-187
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• 1991

The purposes of this study were to investigate the clothing attitude of college living in different culture area and to find out the critical factors which have an effect on their attitude. Samples subjected to this study were 774 college students consisted of 368 Korean students living in Seoul, 286 American students and 120 Korean students resident in New York. Clothing attitude was Measured by questionnaires composed of four variables; Clothing Attitude, the aspect of clothing habit, self·esteem and demographic variables. The statistical data were analyzed by t-test, $x^{2}-test$, ANOVA, Duncan multiple range test, Factor analysis, multiple regression analysis. The results of the study were as follows: 1. There was significant difference in all clothing attitude variables except expression of personality and personal satisfaction according to culture area. 2. There was significant difference in factors which have an effect on clothing attitude according to culture area. 2-1) Clothing attitude of Korean students were more affected by self-esteem than that of American students and Korean students resident in N.Y. 2-2) Clothing attitude of Korean students were more affected by sex, grade, major and income than that of American students and Korean students resident in N.Y. 3. The most influential variables on clothing attitudes of college students turned out to be self-esteem and cultural area. Other variables such as sex, major and income had some effect on clothing attitude such as sex, major and income had some effect on clothing attitude. 4. There was significant difference in the aspect of clothing habit according to culture area. 4-1) There was significant difference in all aspect of clothing wearing variables according to culture area; clothing wearing motives, influence by reference group about dress, dress accord- ing to uses. 4-2) There was significant difference in all of clothing buying behavior variables according to culture area; the factor on clothing selection, the place of clothing buying.

• Archives of design research
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• v.11 no.3
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• pp.219-228
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• 1998

As automobile drivers' desires become ever diversified with the spreading phenomenon of 'characteristic automobile decorations', it is feared that the design quality may be deteriorated, while the safety be retarded in terms of performance and function. In Korea, the 'Dress-up tuning' becomes the source of the social criticism because of lack of relevant codes and professional tuning services, while automobile drivers are excessively having their automobiles overdressed ignoring the overall aesthetic aspect and functions. Under such a circumstance, this study was aimed at reviewing the practices and dress-up accessories by each automobile part of those foreign automobile makers and professional tuners who have introduced the concept of 'customizing' and developed dress-up accessories and various tuning parts only to satisfy their customers' tuning needs. It is anticipated that automobile styling would tend more to pursue a 'coordination' featuring ordinary consumers' individualistic senses, while customers' needs reflecting their life styles be more refined. Meanwhile, Korean automobile consumers have accommodated the product designs : presented within the producers' frameworks, but they are expected to pursue the design values varying according to changing structures of production, society and industry as well as the resultant design activities. In all, makers and designers are requested to be aware of such changing environment structures and thereby, explore other alternatives, or reflect seriously on the socio-cultural implications inherent in the products, namely on the production and consumption of people's favorites.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.148-157
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• 2016

In this study, the notion of payment intention price was introduced and examined in relation with self-image congruence, clothing preference and two types of reference price: expected price and fair price. One hundred samples of female collegiate students participated in the group survey and responded to the instrument including variables of clothing image evaluation, clothing preference, reference price, payment intention price toward a one-piece dress as the stimulus, and ideal self-image perception. Descriptive statistics, correlations, and regressions were applied on data analysis. The results were as follow. Payment intention price was determined by clothing preference and fair price, and the explaining power of fair price was greater than clothing preference. One confirmatory path was observed that self-image congruence effects clothing preference, and then clothing preference effects payment intention price. The other confirmatory path was from expected price to fair price and fair price to payment intention price.

• Journal of Fashion Business
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• v.3 no.2
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.1
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.1-14
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• 2009

This study is intended to examine the modernization of Chinese costumes through historical events, and to analyze the characteristics of the costume modernization process. The modernization of Chinese costumes appears to have begun with the Opium Wars, and the Nanjing Treaty(1842), the Beijing Treaty(1860) and the official residence of western people in Chinese territory. Afterwards, in order to initiate change, the Chinese people themselves implemented the Westernization movement(1861-94), placing an emphasis on the westernization of external elements such as technology and form, but aspects such as costume, deeply saturated in their traditions, do not appear to have changed significantly. Despite self-empowering movements such as these, as western forces diffused deeper into the Chinese mainland, neo-intellectuals formed the axis of a revolutionary movement. A major example can be found in the Xinhai Revolution(1911) revolution, which forbade the binding of feet and shaving of frontal hair and partially implemented western formal dress. Through these factors, the modernization process of Chinese costume demonstrates characteristics of an adherence to traditional dress and partial acceptance of western attire. Through this, we may understand the modern costumes of China, which adhered more to tradition than Japan, which pursued western costumes actively within a similar period, and Korea, which rushed modernization due to Japanese authority.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.28-38
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• 2007

This study is on the image of a woman's body exposure, expressed in various situations or images in the modern fashion. The results of this study can be summarized as the following. First, either the exposure or stress of a woman's specific body parts like breast, waist, hips, or legs which can be sensed totally different from man's or the ironic disclosure of body parts always lapped around emphasizes femininity by giving full play the unique sexual beauty of a woman's body. Second, the desire of disclosure to have others' attention with the concealment as suggestive exposure expresses the eroticism. The modified eroticism is found different from the conventional concept and is based on the desire to make others notice one's existence continually by the sexual exposure dress particularly to entire the other sex, the dismantlement of changing an underwear to an outer-dress, and so forth. Third, both exposure of a woman's sexual body parts and expression of exposure to the utmost by laying a woman's entire body bare can mean sex liberty in the laissez-faire generation. This may suggest a pleasure-oriented way of thinking of the self-consolation rather than showing others, or feature the personality and the liberty endowed women with.