• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.4 s.44
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• pp.431-441
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• 1992

This research was designed to evaluate the effect of need and of demographic variables of adult women on the conformity and individuality in the selection of clothes. 1. There are factors which have effect on variables of need. Marriage status, household type, age have effect on safety need, household type and age have effect on belongingness and love need. Household type and native community have effect on self-esteem need, household type, native community, school career, frequency of contact with mass media have effect on need for self-actualizing. Native community have effect on aesthetic need, and school careers have effect on the desires to know and to understand. 2. Self-esteem need, belongingness and love need, safety need, need for self-actualizing, aesthetic need, frequency of contact with mass media and income as demographic variables are directly related with conformity of clothing. Age, marriage status, native community, household type, school career are indirectly related with conformity of clothing. 3. Self-esteem need, need for self-actualizing, aestheitic need, desires to know and to understand, belongingness and love need, frequency of contact with mass media, household type have direct effect on the individuality of clothing. And age, household type, native community, school career have indirect effect on the individuality of clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.257-269
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• 1992

In the area of fashion business, market segmentation strategy has been paid attention for the purpose of assigning proficiently marketing resources. The use of fashion information in purchase decision process can serve as a base for market segmentation strategies. The purpose of this study was to identify four segmented profiles which are labelled as Print-oriented, Audio-visual oriented, Store intensive, and Pal advice group. Objectives were to determine fashion interest, fashion attitude and apparel selection criteria from each segment. For this study, the questionnaire was adminisered to 261 teachers and data were analyzed by using ANOVA, Regression and Pearson's Correlations. The results were as follows. 1. Print-oriented group had a positive attitude about fashion and they tended to place value on aesthetic and other-oriented criteria in selecting apparel. 2. Audio-visual oriented group had a strongly positive attitude about fashion but they tended to be less active toward buying fashion products and place much more value on other-oriented criteria in selecting apparel. 3. Store intensive group tended to be active toward buying fashion products. They had a positive attitude about fashion and placed value on aesthetic criteria in selecting apparel. 4. Pal advice group had a less positive attitude about fashion and tended to place value on economical and practical criteria in selecting apparel. Based on the profile of the each segment, it was suggested to express lingual or non-lingual symbols and to create concepts for meeting the needs of the segment

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.191-200
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• 2014

This study represents "an artialization of fashion" that may be regarded similar to art with a focus on luxury fashion brands. In the $20^{th}$ century, fashion began to share a similar language with art and became a central part in popularizing art. Fashion and art were drawn to each other in mutual fascination. Fashion studies arouse from disciplines like anthropology, sociology and art history as well as from aesthetic experiences and commercial characteristics. Fashion is very complicated phenomenon; therefore, a study on the artialization of luxury fashion brands needs to be approached for aesthetic and commercial aspects simultaneously. This study combines a literary survey with a case analysis of the relation of fashion and art as well as inquires on the artialization of luxury fashion brands based on discourses. The discourses are: first, fashion is an art, second, fashion and art differ in relation to the intention, third, fashion and art have mutual-borrowing. In view of the results achieved in this study, luxury fashion brands can achieve increased effectiveness through art. This study reveals the effects that luxury brands achieve through art versus a discussion on if fashion is art or not and if the relationship is moral or not.

• Journal of Fashion Business
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• v.5 no.2
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• pp.1-14
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• 2001

The purpose of this research is for confirming the aesthetics of 'little black dress' as one of the important items in contemporary women's fashion lives. Through the work, what is the aesthetic value that women really needed can be found. This research was processed by literal material with fashion photos, fashion books and articles which were related fashion trend from 1920 to 1990. The results are as follows ; The birth period of little black dress was 1920s to 1930s. Freedom and modernity was represented by little black dress. European elegance and American smartness were expressed on this item through 1950s to 1960s. In the end of 20th century, 'little black dress' has diversity just like fashion trend. As the aesthetics characteristics of little black dress, (1) contemporary woman's identity through chic and modernity (2) strong power of passing image (3) dual values of temptation and tatoo were found. Therefore this research can be useful to extent the meaning of little black dress in fashion study and to recognize contemporary women's needs.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.58-64
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• 1996

People live in an environment which affects the human b by way of ‘Affordance’ .. And the interaction between h human and the surrounding environment arises ‘the sense of place' through adoptation. Considering the human emo¬t tional and psychological needs, besides the functionalones, for the design of environment gives ‘the place’ the h humanized atmosphere. Then the viewing-window, re¬f fleeting the dweller’s sensibility and aesthetic aspect, be¬c comes an important design element for the human interi¬o or atmosphere. G Generally, the view has the character of the Panorama a and sometimes of the Picture. And the viewing - window t transfigures the visual effects by ways of ‘Framing’, at t taching the ’Screen’ and ‘Successive development' of the views through openings on the wall. Hence this study w was developed from the aesthethic view-points of archi t tecture, cinema, picture and photography etc., and the c conclusions are as follows. T The ‘Frame’ limits the boundary of the view into a p particular area, while the ‘Screen’ changes the clear view t to an obscure one. And the wall-openings located with i intervals show the fragments of the outer view in a suc¬c cessive way. And these techniques applied to the viewing window make the viewer have the associated meanings d derived from the ‘Guided Projection'. So, the associative p psychology of the viewer complements the partiality, ob¬s scurity and brokenness of the view into a complete one, a and finally the view comes to be an aesthetic one to the v vIewer.

• The Research Journal of the Costume Culture
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• v.27 no.1
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• pp.11-19
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• 2019

The mass production after the industrialisation and the fast changing fashion cycles in today's world resulted in buying clothes and home textiles more than we need and discarding them before they complete their life cycles. This causes vast amounts of textile waste that creates environmental issues. Upcycling is the creative process of transforming clothing and textile waste by reusing deadstock or used fabric to create new garments and products. It holds importance in terms of sustainability, reducing waste and environmental pollution. During the process of upcycling, certainly the creativity and innovation are the key words because to reuse a product to a better value needs a creative mind, aesthetic consciousness, innovative look and knowledge and it is quite different from a normal design procedure. There is a delicate level of aesthetics which carries the reused materials to a higher value. The handling of the materials, knowing how to manipulate the waste material, the techniques available to apply to surfaces, the concept of two and three dimension on textiles and clothing, contributions of other branches of art such as sculpture and painting all help the designer to reach a higher aesthetic value in the upcycled product in this process. In the study; it was aimed to raise awareness, to attract attention to sustainable fashion and also to contribute to sustainable development as an upcycling design project realized with students in textile and fashion design education taken as an example.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.677-684
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• 2016

This study was done for the proposal for improvement for junior sportswear which is substitutable as uniforms in the form of elementary school and physical education uniforms by analyzing detailed features through investigation. Accordingly, we developed a prototype design for physical education uniforms as a symbol of the school to enhance the aesthetic and functional satisfaction. The results are as follows. When we developed physical education uniforms, we put activity on our first priority while taking the improvement in both aesthetic and functional aspects into consideration. In addition, we tried to make sure the uniforms reflect the refined and trendy elements to meet students needs to satisfy their aesthetic sense in dress. Reflecting the improvement proposals and preferences of the students, six different prototype designs were developed and evaluated on the basis of two concepts of "new basic" and "trendy". The highest ranking, the physical education uniforms design 1 is based on new basic concept and characterized with slim fit considering activity which will be worn as fall/winter physical education uniforms. Design 1 uses ottoman functional knit as a fabric material which is not only students favorite but also good in both flexibility and warmth. Top with style of high-neckline collar and full open zip-up is simplified with the incision lines and detail. It is a set-in sleeve design in which blue and yellow collars signifying school color are properly placed along with the incision lines in harmony.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.379-390
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• 2005

Every Society has it's own ideology and lifestyle and these form its unique aesthetic experience or values. In the paper observing recent, especially in 1980s and 1990s. Korean street fashion that is one way of expressing their values and lifestyle, the aesthetic values related to the morality have been studied. Through the studies using the cafes of Korean street fashion style we can understand the change of morality and fashion style according to the change of socio-cultural environments more deeply. For study methods documentary study and case study were executed. Morality related clothing were defined in detail through documentary studies and for analysis of street fashion from 1980s and 1990s the cases from 'Mut' and 'Ceci' magazines as well as the articles from Chosunilbo, Dongailbo and Maeilkyungje were looked over one by one. By understanding the intrinsic meanings and formal features of resent Korean street fashion, the direction for future fashion designing could be guided, which could satisfy consumers' needs in the rapidly changing world situation. Followings are the results of the study. First, morality of clothing could be defined in detail regarding modesty and extravagance. Modesty could be directly related to exposure of body and norms for appearances and extravagance to fashion oriented, luxury goods or brand name oriented and spending. Second, the exposing body has been accepted and permitted by public even with criticism more easily but they were less generous to values about norms regarding clothing. Third, the change of morality related to modest has happened earlier than the change of morality related to extravagance, which has begun very recently in 2000s.

• The korean journal of orthodontics
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• v.41 no.6
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• pp.440-446
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• 2011

Objective: Our aim was to determine the correlation between dental treatment need as assessed by the components of the index of orthodontic treatment need (IOTN) and a self-evaluation questionnaire in a population selected from the dental clinics of Shiraz, Iran. Methods: The dental treatment needs of 240 participants (120 men and 120 women) were measured on the basis of the IOTN dental health component (IOTN-DHC), IOTN aesthetic component (IOTN-AC), IOTN AC determined by the examiner (IOTN-ACE), and a self-evaluation questionnaire (SEQ). The correlations between the treatment needs assessed by all the methods as well as the correlations of the treatment needs with age and gender were assessed using a Spearman's correlation coefficient (${\alpha}$ = 0.01). Results: All methods were significantly correlated ($p{\leq}0.001$). The associations of IOTN-ACE with IOTN-DHC and SEQ were moderately significant (rho = 0.49 and 0.41, respectively). The associations of IOTN-AC with IOTN-DHC and SEQ were weakly significant (rho = 0.24 and 0.35, respectively). The IOTN-DHC was moderately associated with SEQ (rho = 0.53). Gender and age were not associated with treatment needs estimated by any of the methods used ($p$ > 0.06). Conclusions: The correlations between the self-evaluation and the IOTN components in young adults were close to those reported in children, and IOTN-ACE was more reliable than IOTN-AC.

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.