• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.57-64
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• 2012

The purpose of this study was to compare the visual sensibility of red shirts in university students of two countries, Korea and China in order to suggest the color planning for shirts. Seven tonal red shirts' visual sensibility and preferences were evaluated by the students of Korea and from China in the sense of sight. Evaluated data were analyzed by using frequency analysis, average, factor analysis and t-test. The visual sensibility of red shirts was classified into three factors: sporty, romantic and classic. Those factors of visual sensibility showed a significant difference according to nationality and gender. The Chinese students had a more sporty feel to the strong tone, and a more classic feel to the dark tone than the Korean students. The deep tone red shirts was reputed to be more romantic by the Korean students, but the light tone and the pale tone were considered more romantic by the Chinese students. Meanwhile, the effects of nationality and gender on seven tone of preferences for red shirts was significantly differed.

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.36-36
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• 2004

21세기는 새로운 밀레니엄에 대한 낙관적인 기대와 빠르게 변화하는 현재에 대한 소외감, 알 수 없는 미래에 대한 불안감 등이 혼재된 양상으로 나타나고 있으며, 합리적 사고와 기계적 삶을 강요당할수록 사람들은 지나간 과거의 향수 어린 추억 속에서 해결의 실마리를 찾고자한다. (중략)

• 주택과사람들
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• s.189
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• pp.78-81
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• 2006

녹음이 주는 향기와 집에서 바로 연결되는 최고급 스포츠클럽 그리고 생활의 편리함까지, 요즘 현대인이 꿈꾸는 이상적인 집이다. 성남 시흥동 고급 주택촌은 작고 아담한 연목 사이로 들꽃이 피어 있고 그 끝으로 수영장이 펼쳐진, 영화 속에 나올 법한 집들이 모여 있는 곳이다. 로맨틱한 운치와 편리한 생활을 함께 즐기는 고급 주택촌 시흥동 동산마을을 찾아가봤다.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.753-768
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• 2018

This study reveals the aesthetic characteristics and formative characteristics of the converged images of romantic sportism by analyzing how sportism fashion and romantic images fuse together. As for research methods, this study examines the aesthetic and formative characteristics of sportism fashion and the aesthetic and formative characteristics of romantic styles after grasping the basic concept and background based on a literature study of romantic and sportism fashion. As for an empirical study, the styles of sportism fashion pictures of romantic images collected from 2010 S/S to 2016 S/S from www.vogue.com were analyzed. The study results showed that there are 4 aesthetic characteristics of romantic sportism in modern fashion that included 'non-oriented form visibility', 'non-boundary sensibility', 'multi-sense blend', and 'non-formal mixed usage'. The formative characteristics based on these aesthetic characteristics are also derived in accordance with design factors as well as analyzed through representative pictures.

• Journal of Industrial Convergence
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• v.18 no.3
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• pp.63-72
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• 2020

This study investigated up-styling techniques as related to wedding dress image. To find up-styles that fit well with a wedding dress, a questionnaire survey was conducted targeting hairdressers in the beauty industry, and new styles were created and suggested based on the survey results. For this, hair was slicked back without parting and combed upward. Then, using braiding techniques needed to produce a top point, styles were created to create attractive images. For up-styles that go with an elegant wedding dress, hair was parted in a ratio of 3 : 7. In addition, a roll technique was applied based on natural points by keeping the ears half-covered to create elegance. For up-styles that are perfect for a classic wedding dress, hair was parted in a ratio of 2 : 8, keeping the ears half-covered. Based on the back point, a twisting technique was applied to create classic images. It is anticipated that the study results would provide basic data needed for creating and understanding up-styles that go with various wedding dress images and make a contribution to their development.

• Journal of Fashion Business
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• v.11 no.1
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• pp.48-60
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• 2007

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women's costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

• Science of Emotion and Sensibility
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• v.5 no.1
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• pp.9-16
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• 2002

This study was designed to cluster the preferred sensibilities of college students, and to distinguish the most preferred sensibility according to gender and their inter-subject differences. 98 of sensibility adjectives were composed into questionnaire with SD method and the data of 176 students were analyzed in ANOVA, Cluster and Correspondence analysis using SAS package. College students were divided into 10-sensibility clusters: the Casual(no-decoration casual, cool-dynamic casual and elaborate-clean casual), the Romantic Modem, the Simple Natural, the Classic(craft-romantic classic and monotonous classic), the Expressionless, the Gorgeous, and the Traditional Folklore. The adjectives and the sensibility clusters of students were visualized together into 2-D with two axis of static vs. dynamic and light vs. heavy.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.447-464
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• 1996

In this study, observations were made on costumes of romantic ballet. Twelve ballets of romantic period were selected for this study; La Sylphide(1832), La Filledu Danube (1836), Le Diable Boiteux(1836), La Gitana(1838), La Gipsy(1839), La Tarentule(1839), L'Ombre(1839), Giselle(1841), La Peri(1843), La Esmeralda(1844), Pas de Quatre(1845), la Fille de Marbe(1847). Romantic age was acceptance of the ballerinas as the central figure on the stage. Famous ballerinas in romantic age were Marie Taglioni, Fanny Elβler, Carlota Grisi, Fanny Cerrito, Lucile Grahn. Romantic style of dancing sprung onto the stage of the Paris Oepra with M. Taglione's first performance of La Sylphide in 1832. Ballet costumes n romantic period except La Gipsy were with low decolletage, very short transparent sleeves that decorated with shining band or small cuffs, and the waist of the fitted bodice dipped to point in front decorated with sash or jewel. The form of skirts was bell-shaped and reached middle calf. That style became stereotype for ballet costume and called ballet blanc.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.32-48
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• 2007

This study analyzed image components of make-up image between fashion and advertisement of Christian Dior, also, this study examined, compared and analyzed their aesthetic characters. Then, it researched whether brand image was shaped exactly as the same method or not. The study was theoretical and established method; using more than a graduate student-major in clothing and make up, survey$(2004.5{\sim}6.)$ and SPSS 10 program statistics method. As the results, in Dior fashion and make-up, this study analyzed the factors of shape, color, material and texture, and both of them indicated the aspects of chic, classic, gorgeous and romantic image. Also, consumers understood them as a same image. This demonstrated that Christian Dior fashion and make-up have been shaping toward a same image as a same meaning.