• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.5-20
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Japanese traditional wedding dress for women by analyzing such dresses' aesthetical senses. For the purpose, the study showed four types of the dress, Zunihidoe, Iro-uchicake, Chiromuku, Hurisode and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows : Aesthetical senses shown in the Japanese traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, its main factor while the remaining four types, were found having dignity as their main factors. adjective words which largely accounted for aesthetical senses included uncomfortable, unique, bright, dignity, classical, ornamental and beautiful, suggesting that the Japanese traditional wedding dress for women is somewhat unfunctional, high in dignity and aesthetic beauty. Aesthetical senses were most different according to nationality (Korea and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization.

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.98-99
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• 2005

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.7
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.162-178
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• 2010

The purpose of this study is to find aesthetic characteristics of Korean and Japanese women's traditional costumes in Modernization that happened in Korea and Japan during the late 19th century and the 20th century. The meaning of modernity has indefinite and comprehensive aspects, and the essence of modernity is found in searching for new changes. Modernization is the process of realizing modernity, and costume modernization can be discussed from the viewpoint of seeking new changes, functionality and popularization of costume. As Korean and Japanese costumes went through modernization, western costume became daily clothes of both two countries. The modernization of Korean and Japanese women's traditional costumes were achieved in the two directions. First, Korean and Japanese women's traditional costumes changed to search for functionality modeled of western costume. Korean costume went through dress reform movement and were generally simplified. Japanese costume made a change of wearing mode and introduced new garment like 'Hakama'. Second, the new style of traditional costume appeared. In Korea, 'Saenghwal Hanbox' was shown in the late 20c and in Japan, The reproduced dress(更生服)' and The women's standard dress(婦人標準服)' were shown in the late 1930's and the early 1940's. These kinds of new garment style were the more active compromise between the East and the West.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.6
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• pp.924-942
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• 2018

This study is to understand the symbolism and meaning of Yeomim in Korean traditional clothing. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, there are three types of Yeomim for Korean clothing. Various methods of Yeomim use different materials for tying clothes such as straps and buttons. Second, when we investigate how Yeomim of Korean clothing has evolved, left and right type of Yeomim had coexisted in ancient times and Dae had been used mainly to tie clothes. The Yeomim method has used various materials since the Goryeo Dynasty. During the Joseon Dynasty, right type Yeomim dominated with majority using Goreum. Third, Hanbok has consistently evolved with a unique bonding style that uses rectangular strap for Yeomim, from the ancient times. The particular Yeomim method of twisting a rectangular strap represents the circularity of space. In addition, Yeomim with a strap is characterized by the beauty of how its form can be highly flexible depending on the human body or location of Yeomim, which corresponds to an unbalanced and asymmetrical natural beauty unique to Korea.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.19-32
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Korean traditional wedding dress for women by analyzing such dresses'aesthetical senses. For the purpose, the study showed four types of the dress, jukyee, whalot, weonsam and private weonsam and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows; Aesthetical senses shown in the Korean traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, whalot adpated revelation as its main factor while the remaining three types, or jukyee, weonsam and private weonsam were found having dignity as their main factors. Adjective words which largely accounted for aesthetical senses included uncomfortable, warn, chaste, intellectual, bright, unique, regular, luxurious, classical, ornamental and beautiful suggesting that the Korean traditional wedding dress for women is somewhat unfunctional, but high in attractiveness and aesthetic beauty and has a better classical harmonization of dignity and revelation. Aesthetical senses were most different according to nationality(Korean and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization. Japanese people had unique and interesting senses while Korean people, chaste, calm and delicate aesthetical senses. According to gender, men revealed free senses and women, classical ones. According whether of specialization or non-specialization those who specialized in a related field had more unique, straight, regular, luxurious and interesting aesthetical senses that those who did not specialize.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.125-135
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• 2015

This study is a theoretical research based on previous domestic and international researches. The case study proceeded by collecting images from periodicals such as International Men's magazine GQ, First of all website(www.style.com) and Vogue website(www.vogue.com) were viewed. The images were selected had shapes, colors, and motives with Japanese aesthetic traits from Comme des Garçons' men's Collections of 2011 F/W to 2016 S/S. The purpose of this study is to find out the possible sources of forms and expressive methods of future fashion through Japanese traditional aesthetics of Rai Kawakubo's fashion world. Designers are expected to continue on using traditional aesthetic beauties of other countries as sources of modern fashion.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.339-346
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• 2002

This study analyzed the works, introduced in the collections of Yohji Yamamoto in an aim to identify traditional aesthetic and design concepts. As the data to study the concept and expression of the designer, fashion photographs were gathered in a focus on collections since 1990's. The traditional aesthetic expressed in the works of Yohji Yamamoto were characterized by the external aesthetics and the internal aesthetics. The traditional aesthetic of external aesthetics were classified into the plasticity and the wearing, and those of internal aesthetics were divided into the moderation, expertness and aesthetic exclusion. The plasticity was extracted into line, form and color. The wearing was presented artist of purpose through the mutual text. The moderation was based on the moral goodness and the aesthetical beauty. The expertness represented the fitting method and mutual reaction of color. through the natural beauty. The aesthetic exclusion was expressed through simplicity, loftiness, and unbalance.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.12
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• pp.1727-1738
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• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.