• 복식문화연구
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• 제22권6호
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• pp.873-889
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• 2014

The goals of this study are to analyze how fashion professionals' attitudes toward Grunge style have changed since the 1990s and to compare aesthetic features of 1990s Grunge style and the style since 2000. By searching Vogue and Women's Wear Daily articles from 1992 to 2014 according to the keyword "Grunge", three collections from the 1990s and 59 collections since 2000 were selected for analysis. Although Grunge collections of the 1990s were harshly criticized by critics and retailers as ugly, the more recent collections have been highly praised for both design and profitability. The common aesthetic features of Grunge style in the 1990s and beyond include loose silhouettes, mix-and-match layerings, plaid patterns, floral prints, and striped patterns. However, Grunge style since 2000 has new features such as ornate fabrics, handcrafted details, a formal and dressy look, and faux plaid flannel shirts in chiffon or organza. These features give the style a more luxurious, feminine, and refined appearance. The results of this study indicate that Grunge style of the 1990s changed high fashion beauty standards and today's designers and consumers prefer to mix various styles to create new ones. They typically do not consider the original spirit or identities of the varied styles.

• 복식
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• 제56권6호
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• pp.96-113
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• 2006

Romanticism factors in fashion since the 1990s is more about feminine softness and grace, and suggests the image of a fantastic cute and lovable girl with dreams. This study examined romanticism in literature focusing on the 19th century, which is considered the time of romanticism, and examined romanticism in men's fashion since the 1990s based on the newly found characteristics of romanticism. Romanticism in men's fashion since the 1990s can be divided into three categories of individual sensitivity pursuing romanticism, romanticism with a desire to aspire, and resistance inclined romanticism. First, individual sensitivity pursuing romanticism is the type that places importance on expression of emotions based on the values on individuals, and was expressed as either romanticism with sexual charm or as romanticism with an extremely feminine taste. Second, romanticism with a desire to aspire was the most prominent romanticism fashion type in men's fashion since the 1990s and it can be divided into four categories of aspiration of nature and time, aspiration of the past and romanticism, aspiration of childhood and aspiration of new exotic cultures. Third, resistance inclined romanticism was expressed as romanticism that is inclined to resist against materialism and romanticism that resists against youth culture.

• 패션비즈니스
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• 제8권2호
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• pp.102-115
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• 2004

The purpose of this study is to analyze the various types of styles and characteristics of Japanese street fashion since the 1990's. The primary source of data has been a collection of visual materials which include snapshots of young men and women in the Japanese street scene starting in the 1990's. To approach the Japanese street fashion comprehensively, I have divided the background of the Japanese fashion into three parts: 1. The birth of various fashion markets like the Dankai junior generation, Hetauma generation and Shinjinrui junior generation. 2. The pursuit of fashion senses like the well-balanced sense of independence and commensalism, uncommon sense and sense of a tassel. 3. A boom in new fashion business types like SPA and select shop. After the 1990's, the Japanese street fashion has changed through the popularity of styles which include the conservative casual style, sexy casual style, Harajuku pop style, and 3 Re(revival, remake, recycle) fashion style. The characteristics of the Japanese street fashion reflects the performance of virtual reality, the sign of style culture, and the communication of process.

• 복식
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• 제32권
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• pp.117-130
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• 1997

The purpose of this study were to identify the design elements and the changing flow of advertisement from 1970's to 1990's by using content analysis of men's magazines. Finding were as followed; First through the analysis of men's wear advertisement in magazine it was found that the closer to 1990's the more various men's wear styles and backgrounds were advertized. These were more image oriented than product oriented. Since 1980 the advertisement about the licenced and the imported brands have been increased and the serial advertisement has shown more fre-quently than the 1-page advertisement since 1990's ; Second two piece suit was dominated in men's wear during 1970's and 1980's From 1990's this style was decresed in stead combi suit was increased. In 1970's the X silhouette was infashion and the y and the X silhouette was in fashion and the y and X sillhouette were increased during 1980's . The H silhouette was dominated in 1990's The brighter and the more various colors appeared in 1990's than in 1970's. The brighter and the more various colors appeared in 1990's than in 1970's The solid pattern was the main flow in men's wear however the stripes and the the check patterns were added in 1990's Third single breasted jacket style with two buttons and tailored collar was in fashion during 1970's . The length of the v-zone was shorter than half at this time however it was lengthened in 1980's . Also the the length of the jacket was lengthened. In 1990's the double breasted jacket style and two buttons were increased. The length of the v-zone and jacket were also lengthened.

• 한국의류학회지
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• 제28권2호
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• pp.364-375
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• 2004

The purpose of this study is to analyze how the men＇s fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men＇s fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men＇s fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic fabric has a effect of minimalism of the last 1990＇s fashion, and wave hair of gentle image has a effect of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men＇s fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men＇s fashion has referance to fashion.

• 비교문화연구
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• 제33권
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• pp.77-94
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• 2013

This article aims at analyzing melodramas in films of Northeast Asia for seeking comparative studies of popular narrative which have been widely favored in Korea, China and Japan since the 1990s. It is explored of expectation and desire of public who have taken pleasure in watching the films in each countries of Northeast Asia as well. It is selected to Letter(1997) made in Korea, The Road Home(1999) in China and Love Letter(1995) in Japan for the research as above Melodrama of each countries has been searched at not only maintaining the traditional melodramatic convention but also corresponding to sociocultural environment of each countries for meeting tastes of public 'in the 1990s' when cultural interchanges have been more active along each countries of Northeast Asia. It will be concretely pursued to the interchanges and influence-reception relation of melodrama for follow-up research as it has been sprightly enjoying as well as transforming common cultural contents at each countries of Northeast Asia since the 1990s.

• KDI Journal of Economic Policy
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• 제43권1호
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• pp.53-80
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• 2021

The main objective of this study is to determine whether there have been TFP increases in the Korean manufacturing sector due to trade liberalization since the 1990s. Based on the methodology proposed by Pavcnik (2002), which focuses on the channel through which trade liberalization measures enhance overall industrial productivity by triggering the exit of low-productivity firms, this study tests the following two hypotheses: first, the TFP increase in the Korean tradable industry is not higher than that in the non-tradable industry, and second, plants with lower TFP levels did not exit from the tradable industry. Through the rejection of these two hypotheses, it is possible to infer indirectly the effect of trade liberalization on firm productivity rates in Korea since the 1990s. First, this analysis reveals that since the 1990s, the TFP of the tradable sector compared to the non-tradable sector presented a statistically meaningful increase only in the 2000s, when China joined the WTO and trade increased sharply between Korea and China. Secondly, TFP growth in the tradable sector was positively affected by exits, as it was plants with lower TFP levels that ceased to exist.

• 한국지형학회지
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• 제19권1호
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• pp.1-15
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• 2012

이 연구의 목적은 지금까지 한국의 지형학 연구에서 해안지형 일반주제에 대한 연구 성과를 정리하고 앞으로의 연구 과제를 제시하는 것이다. 한국지형학회가 창립된 1990년대를 기준으로 전 후 기간을 구분하여 해안지형 일반 연구 경향을 파악하였다. 이 연구에서 해안지형 일반 연구 주제는 간석지와 해안단구를 제외한 해안지형 전반을 가리킨다. 1990년대 이후의 연구 경향은 총 5개 한국의 지리학 관련 학회지에 발표된 연구의 양적 성과와 주제별 연구 동향을 분석하고 해안지형 연구와 관련한 방법론적 측면을 지형변화 측정과 퇴적물 분석으로 구분하여 정리하였다. 해안지형 연구는 다른 지형학 연구 분야와 마찬가지로 1970년대를 전후하여 시작되었으며, 1990년대 이후 타 지형학 분야의 연구가 확대되는 것과 마찬가지로 활성화되었지만, 해안지형 일반 주제에 대한 연구는 2000년대에 이르러서야 활발하게 진행되었다. 해안지형 일반 주제에 대한 연구는 해안사구에 대한 연구와 해안 관리와 관련된 연구가 주를 이루고 있다. 이것은 해안환경에 대한 사회적 관심의 대두와 관련이 깊으며 추후 지속적인 연구가 필요하다. 해안지형 연구와 관련한 방법론 정리에서는 지형학계가 극복해야할 한계점을 검토하였다. 지형변화와 퇴적물 분석 측면 모두에서 형태동역학적인 연구가 진행될 수 있도록 방법론을 개선해야 하는 것이 주요 과제이다.

• KDI Journal of Economic Policy
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• 제32권3호
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• pp.33-69
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• 2010

본 논문에서는 1990년대 중반 이후 우리나라 교역조건의 추세적 하락요인을 Baxter and Kouparitsas(2000)의 분해방법론을 이용하여 분석해 보았다. 주요 분석결과는 다음과 같다. 교역조건의 변화의 분해방법을 통해 우리나라 교역조건의 하락추세가 대부분 공산품 대비 연료의 상대가격 상승으로 인한 재화상대가격효과에 기인함이 나타났다. 또한 전 세계 55개국의 교역조건 변화를 동일한 방법론으로 분해해 본 결과, 1990년대 중반 이후 재화상대가격효과에 의한 교역조건의 추세적 하락이 선진국 개도국을 불문하고 공산품 수출국의 공통적인 현상임을 보였다. 이는 우리나라 교역조건 하락의 주요 원인이 우리나라 내부적 요인보다는 예를 들어 중국의 무역확대 등 외부적 요인에 기인함을 시사한다. 회귀분석 결과 중국의 무역확대는 우리나라의 교역조건 하락의 중요한 원인이 되었으며, 특히 2000년대의 원유와 원자재 수입가격의 상승과 공산품의 수출가격을 하락시킨 것으로 나타났는데, 이는 교역조건 분해결과가 시사하는 바와 부합한다.

• 복식
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• 제61권1호
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.