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문영애 부천대학 1992 論文集 Vol.13 No.-
The purpose of this study was to investigate the relationship between clothing Behavior and sex role attitude and sex differences awareness of children for senior childhood years upon two regions-city of Wonju and Mokpo- The questionnaires were administered to 315 elementary school children in Mokpo and 268 in Wonju. This data was analyze statistically using to pearson's correlation, ANOVA(one-way or two -way) and Multiple classification Analyze. The major findings of this research can be summarize as followings: 1. There are significant relationships between the clothing behavior and the sex differences awareness subscales. 2. The sex have significants effect on sex differences awareness in two regions. Boys exhibited much more sex differences awareness than girls. 3. The sex role attitude subscales are positive significant relationaships among the sex differences awareness subscales. 4. There are significant inter relationships between the subscales of sex differences awareness.
20세기 전기(1900~1950)의 복식 스타일과 오뜨·꾸띄르에 대한 연구
문영애 부천대학 1993 論文集 Vol.14 No.-
The purpose of this study was to investigate the paris Haute-Couture and women's costume style from 1900-through 1950. These period divided four categories, and reaserched the women's costume style and social, cultural background of these categories. (1) The 1900~1914 period ; Belle epoque and 1910's. Change of silhouette, in costume, influence of Art Nouveau changed to the natural silhouette fitted snugly. It was the banishment of corset which brought into fashion a natural shape and the modern functional fashion. Women's costume style of 1910's were S-Curve style(Gibson girl style), Empire silhouette, Harem Oriental mood silhouette and Minaret style. In costume, equality between the sexes insist on popularization of pants and tailored-suit which brought into the Emancipation of women. (2) The 1914~1929 period ; First world war and 1920's. The tublar line was out to be determined image of Art Deco fashion as vertical line. Women's costume became much more boyish during these period and garconne style is designed in these time through background varieties of complicated culture all kinds of style for women's out fit was came out in the world. Garconne attemped simple, casual, and manish costume instead of usual elegance. (3) The 1929-1939 period ; Great Economic Crisis and 1930's. The bubble burst after the finacial crush of 1929. The basic silhouette changes that appeared in the 1930's were the lower hemline, the raised waist and the addition of width-accorss the shoulder, costumes reflected the somber economic conditions of the world. Women's costume styles of 1930's were slim and long silhouette. (4) The 1939-1950 period ; Second world war and 1940's. During the 1940's women's costumes were greatly affected by second world war. Paris, although invaded and subdued, maintained for a time, its traditional position as the fashion leader. Many of the dresses of the 1940's were very tailored, with broad shawl collars, broad padded shoulders and short slend skirt. These styles were 'Military Lock'. The most startling development of post war fashions was the 'New Lock' introdeuced by the couturier Dior in the spring of 1947. New man made fiber and interest in fabrics with interesting weaves contributed to the design characteristics of women's garments. Though the center of world fastion is spreading to London, New York, Milano, Paris Haute-Couture still have great influnce and autoritativencess on it. The 20th centrury women's costume styles were influenced by Paris Haute-Couture. The Paris Haute-Couture is said to be an origin of modern fashion industry. The first Haute-Coutue was founded Charles Fredric worth in 1858. Haute-Couture propersed continuously untill 'Belle epoque'. But, the two wars and the economic crisis, and the change of valuation of women toward the practicality and the rationality after the wars. AS a result, Haute Couture resumed its own position upon end of the war, and excercised its power to dominate the fashion world again in 1950's. As an art, the role of Haute Couture has always created a new type and developed the design material and stable technology. The main designers of Paris Haute-Couture are Charles Fredric Worth, Paul Poiret, Madeleine vionnet, Garbrielle Chanel, Christian Dior, etc. in 1900~1950. The fantastic and unpractical of Haute Couture design have no reality and have no financial profit. But, Haute Couture collection still attracts the wide attention and is the producing center of fashion ideas, and make the French Products give such a splendid impression to customers that still maintains its reputation despite of social and economic change.