• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.211-222
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• 2020

The purpose of this study is to investigate how the influence of sensory weight on the physical fitness participants affects exercise passion and psychological well-being, and to provide basic data for improving the quality of life and well-being of the people. In order to achieve the purpose of this study, data were collected using participants' sensation seeking tendency, excercise passion, and psychological well-being scale, and various statistical analyzes were performed to obtain the following results. As a result of the analysis, first, it was found that there was a difference in sensation seeking tendency, exercise passion, and psychological well-being according to the gender of participants in leisure sports. Second, there was a difference in sensation seeking tendency, exercise passion, and psychological well-being according to the careers of participants in leisure sports. Third, the thrill and adventure of the sensation seeking tendency had a positive effect on the pleasure, immersion, and confidence of the psychological well-being, while pursuing experience on the self-realization of the psychological well-being, but it was found that the sense of boredom had a negative effect on the immersion of the psychological well-being. Fourth, the thrill, adventure, and pursuit of experience among the sensation seeking tendencies had a positive effect on the harmonious passion of exercise passion, but negative effect on the sense of boredom. Finally, it was found that exercise passion had a positive effect on all sub-factors of psychological well-being.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1418-1430
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• 2007

To strength global competitivenss and raise reputation in times of globalization, the practical use and development of traditional culture which must be discriminated against other countries wedging their ways. The purpose of this study is, 1. Make the mutual relationship between globalization of Korean traditional clothing(Hanbok) and the strean of the international fashion clear. 2. Deduce a common primary fact through commonness of international great products and a success of globalization in Asian nations 3. Suggest a scheme for globalization of Korean traditional clothing from the flank of a design and a policy on the basis of analysis. The consequence of this study is, 1. In the situation that modern international fashion focused Re-Orienting Fashion, Korean traditional clothing-Hanbok is considered as the most priceless value of application for an effective design sauce to differentiate.2. The common point between International leading fashion brands and success of globalization of each Asian nation is to pursuit an effective marketing strategy through a proper harmony with a differentiated 'uniqueness' which is motivated from their tradition, a sense of modern trend reading, and a 'generality' which fits in their lige styles. In consequence, we must develop typical design factors to be connected directly with Korean traditional image from the flank of design, For this, the typical design factors need to be applied with grafting tradition and modern ideas, simplicity, convenience, fleshly senses, and youth.

• Journal of the Korean Society of Costume
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• v.51 no.2
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• pp.105-120
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• 2001

The purpose of this study is to identify the relationship of self-efficacy, which is a kind of the self concept about one's own ability, to the decision-making process, which is the key part of consumer behavior. The subjects in this study were 985 male and female undergraduates of a university located in the city of Kyongsan, the north Kyongsang province. The collected data were statistically processed by MANOVA and ANOVA. For post test, Scaffle and $\chi$$^2$-test were employed. The followings are findings of this study : 1. Concerning incentive to buying, the group having the weaker general self-efficacy is stimulated more highly by the incentives of self-display, fashion pursuit and economic utility than the group having the stronger general self-efficacy does. 2. Regarding information sources. the factor of observation is frequently used by the group having the weaker general and social self-efficacies more than the group having the stronger general and social self-efficacies. 3. As to the evaluative criteria of clothes, the group having the stronger general and social self-efficacies put a higher value on functional and economical points than the group having the weaker general and social self-efficacies does. 4. As for the evaluative criteria of store the group having the stronger general self-efficacy lays stress on store atmosphere, store attributes and convenient shopping condition, while the group having the weaker general self-efficacy puts emphasis on brand and fashion. 5. In buying apparels, the group having the stronger general and social self-efficacies makes more planned purchase.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.56-63
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• 2014

Furniture has been developed in pursuit of human convenience and comfort, but nowadays it does not consider human users and gradually loses the essence of furniture. Especially furniture design that disregards the relation with space loses both the meaning and purpose of furniture. In this regards, it is necessary to understand the essence of furniture design and establish a design direction for future progress. Based on the relation between furniture and space, this paper intended to study on John Pawson's works that pursued the essence of design focusing on users, and propose a direction in a sense of real meaning for modern furniture design after exploring the characteristic of the furniture design of John Pawson. The study method of this paper was to investigate the design language of John Pawson and analyze his furniture in the morphological structural, functional, and material aspects. Based on such analysis, this study investigated the characteristics of the furniture design and found out what the core of the design that he pursued was. The scope of the study included the Independent Furniture that was restricted furniture collections of Driade and Spatial Furniture designed and installed at the stage of space construction. The study result showed that the design of John Pawson considered 'the suitability to a specific place' as important factor and furniture was planned at the stage of planning space. Each independent furniture defines all spaces in the morphological, lay-out and functional aspects of furniture and emphasizes their own property. As Spatial Furniture shares the function of spatial composition element, Pawson's furniture can be all called Spatial Furniture.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.185-199
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• 2004

This study is intended to examine Honore Daurnier's realism formativeness, review it in connection with socio-cultural conditions, analyze costume designs by a style of realism formativeness, in order to find the value. For the study, the procedure included the review of Daurnier's works and world, together with realism formativeness. Then, Daurnier's realism formativeness applied to costume designs were categorized and found the features of each style. Finally, it sought the implication of realism formativeness in costume designs. Honore Daumier, a realist of France in the 19th century, has been reputed that he pursues plain reality with a satire, uses all the conditions of humans as his object, and observes the vanity, desire, and foolishness of humans to represent his own expression techniques as cold as a stone. Realism formativeness is characterized by adherence to observing reality and engagement in reality, an effort to represent the world as it is as what we sense it without diluting or omitting it, nor any deception. The following terms can be used to describe the three styles of intentional recreation, satire on reality, and real existence; For intentional recreation in costume may be featured by the avant-garde, the pursuit of autonomy, reconstruction, rediscovery, recombination, reinterpretation, neutralized representation (reality ＋ the abstract), transformation, distortion, shock, and unexpectedness, etc. For satire on reality in costume, satirical criticism and mockery in a coexistence of time and space, dualism due to the combination of the exterior and the interior, reality reflecting the actual reality, and irony are those words. Real existence in costume may be described with objectivity, ordinariness, correctness of representing a theme, impersonality excluding subjectivity, clearness, certainness, and preciseness, etc.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.11
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• pp.1733-1743
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• 2009

The LOHAS trend is based on a present and future culture with a sustainable influence on the life of modem humans. This study examines the LOHAS trend to create a design that is practical and reflects a notion of LOHAS in quality. Design making is selected with three sub-themes under the concept 'With Us, Nature & High Touch' and the dress design that is suitable to the type and purpose of the parties following the concept. Theme A, "Neo-Classicism" is for a reception party. It made efficient use of 'Type of environmentally friendly material practical use + Type of multi-function design + Type of order production + Type of society morals design'. Theme B, "Between Virtual & Reality" is for a wedding reception. It made efficient use of 'Type of environmentally friendly material practical use + Type of multifunction design + Type of retrenchment design + Type of order production + Type of society morals design'. Theme C, "Arty Illusion" is for a cocktail party. It made efficient use of 'Type of Re-design + Type of nature motive practical use + Type of the higher sensitivity pursuit design + Type of order production + Type of society morals design'. This study explained that nature, environment, and a sense about society are put to practical use in fashion design through the creation of a fashion design to apply a LOHAS fashion design notion and a special quality.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.26-39
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• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.