• Journal of the Korean Home Economics Association
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• v.24 no.4
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• pp.139-146
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• 1986

The purpose of this study was to identify aesthetic concepts of‘Sarangbang’furniture during the Yi-dynasty period and aesthetic descriptions indicating each concept expressed by experts in traditional furniture. The furniture selected for the study includes desks, table bookcases, document and stationary boxes (mungab), letter holders (Kobi) and inkstone boxes (younsang) with lacquer and oil finish on. The respondents were 72 traditional furniture experts; researchers collectors, sellers and artists related to period furniture. The important points of aesthetic descriptors were collected 123 from related literature. From experts' answers, 47 representative descriptors were selected. Data were analyzed with the SPSS using frequency, Percentage mean, factor analysis, t-test and C2. The results were as follows; 1. The aesthetic concept of sarangbang furniture during the Yi-dynasty can be categorized into 9 aspects; appearance of beauty, stability the interior space, naturalness, nobleness/harmony of lines, detail/refinement, simplicity, diversity solidity and surface division. 2. The characteristics of the Korean traditional furniture can be described using 47 descriptors explaining 9 concepts mentioned above.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.452-466
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• 2013

The Silla Dynasty was an open society and was an independent, creative, brilliant culture built on diverse cultures and values. Transforming from the Silla Dynasty to the Unified Silla, it unified the culture of the Three Kingdoms into one. It also displayed unique clothes that adapted new foreign elements into rich clothes forms unlike previous styles. This study first classifies the aesthetic consciousness of the Silla Dynasty by exploring the beauty of the Silla Dynasty realized through artifacts, books, and records in the Silla Dynasty and defines the each characteristic of the aesthetic consciousness. Second, it highlights the independency of Korean beauty through an investigation of how the aesthetic consciousness form appeared through these new appearances in the aesthetic consciousness of Silla Dynasty clothes. The results of the study show that the aesthetic consciousness of the Silla Dynasty can be inferred through Silla Dynasty artifacts, literature, sensuous beauty, and records that were classified into random natural beauty, humorous beauty, and decorative technical beauty. The Silla Dynasty aesthetic consciousness and aesthetic consciousness appeared in Silla Dynasty clothes based on the aesthetics of authenticity that created the honest and simple aesthetic moving of the early natural aesthetic sense of the Silla Dynasty. Silla Dynasty clothes are found to have transformed into an ornamental aesthetic consciousness of a sensual and decorative aesthetic consciousness in a Unified Silla.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.6
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• pp.809-826
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• 2013

This study considers types of expression and examines aesthetic characteristics by analyzing images expressed through space directing at Chanel Fashion Shows. The conclusions of this study are as follows. The expression types on space directing at Chanel Fashion Shows are what is presented by distributing huge objects associated with Fashion Shows at the center or back of the stage, integrating several detailed decorative elements while maintaining the morphological characteristics of the runway in a linear form, and utilizing an inartificial place or newly forming the whole stage. The symbolism characteristic was first indicated for the aesthetic characteristics on space directing at Chanel Fashion Shows. Symbolism is indicated through the identification of an implicit meaning towards a specific object. The symbolism was highlighted utilizing elements or stories that have a deep association with Chanel. Second, the characteristic of ecology was expressed through the recognition of the importance of the ecological environment by escaping the harmful practices of civilization such as environmental disasters and human alienation. The expression of visual ecology was emphasized utilizing themes related to environmental disasters or reviving the space of primitive nature. Third, the characteristic of fantasy was shown to express thoughts that originated from the human yearning for the ideal world contrary to an incomplete society. Fantasy was created by the inaccessible object in reality and a change in spatial structure. Fourth, the characteristics of amusement expressed pleasure, which is the instinctive desire truly immanent in a human being. It was natural amusement, which was advocated as freedom through the integration of neutrality, integrating either diverse elements (which are naturally recognized in our daily life) into Fashion Shows or amusement, which expressed newness through utilizing unusual objects in Fashion Shows.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.117-125
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• 2003

Aesthetics of ugliness enlarged aesthetic field and brought back the repressed, estranged things. Hair style is not an exception. So I intended to examine the contemporary(1995-2002) women's hair styles on the basis of Rosenkranz' concept of ugliness. The results are as follows: First, extrinsic aspect contains formlessness and disfiguration. Among characteristics of formlessness, discord means appearing on a stage with a hair style derailed from our common sense or an incomplete hair style. Asymmetry means hair decoration or hair dressing which violates the principles of design. Disharmony means excessiveness beyond the concept of accent. Disfiguration has characteristics of vulgarity, disgust and caricature, and means cruelty, grimness or ridiculousness instead of pleasing beauty. Second, intrinsic aspect has incorrectness. As minority ethnic groups, estranged classes, children and women which in the previous field of absolute aesthetics were never considered as beauty appeared as subject matters of hair styles, the repressed things returned and a new genre was created thereby enlarging true aesthetic field. Like this, 1 cloud confirm that aesthetics of ugliness organized today's characteristic, peculiar hair styles, and enlarged aesthetic field.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.15-29
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• 2011

Fashion industry is high value added indust교, whose price is decided by design value so it requires creativity and uniqueness for competition. The purpose of this study is to grasp how the design characteristic of LED that can express new creativity and uniqueness is applied to fashion design and find out the expression characteristic of LED used in fashion design. The study subjects, the design to which LED is applied, were extracted from fashion show and internet search. As a study result, the expression characteristics of LED used for fashion design are as follows. First, for function, tool function that can provide convenience for life and expression function that can provide user with emotional and psychological satisfaction and communication were allowed. Second, for aesthetic changes, many-sided, multiple colors and pattern displays of LED changed design meaning visually and caused aesthetic emotion for observer. Third, for interaction, physical factor of LED, user, dress and environmental factor interacted each other, enabling both-sided communication. Fourth, for amusement, multiple lights of LED activated visual and tactile sense, expressing usefulness and joyfulness on the basis of various display possibilities and changes. The study result will be helpful for developing more unique, creative design according to the change of age and development of science.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.554-564
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• 2013

This study identified the characteristic and meaning of flow experience through the experiences related to fashion models' role performance; subsequently, the following findings were obtained. First, fashion models' flow experience could be divided into characteristics such as temporality, spatiality, relationality, physicalness and pleasure. Second, the process of this flow experience ultimately led to the complete moment. The complete moment can be said to be the aesthetic experience that provides both the meaningful experience and the aesthetic pleasure; it is the experiential knowledge at the dimension of mysterious integration that their body and mind are integrated into one. The beauty that fashion models exercise at the aspect of this aesthetic experience is that of performance and is an individual physical movement where they perceive their role and exercise their inner ability to express their costume most beautifully. Accordingly, the beauty of performance can be said to mean that the fashion show was successfully held by inducing both the performer and the audience into an aesthetic response. The process of specialized planning and preparation is required for fashion models to exercise the beauty of performance at the complete movement reached through flow experience and a successful fashion show. Diverse elements of the fashion show should be more organically constituted through such a process. Fashion models should exert efforts to embody acts such as walking, posing and turning through the performance of their excellent role as well as develop a training program to complete it.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.235-247
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• 2000

This study was conducted to consider the formation of sleeves from the point of view that dress is one of expressive arts. The formative meaning of a sleeve and its chronological formation according to its formative changes as an evidence showing the Internal changes of social culture were examined, centering around day dress of England in the 11th to 19th centuries. Then, sleeves were formatively classified and their aesthetic values were considered to help do formative, aesthetic expression of dress design in the present times. Literatures and references concerning the history of domestic and foreign dress were used as a method of study. The results of this study are summarized as follows. 1. In the women's dress, the formation of the sleeve focuses on aesthetic decoration. This means that in the androgentric society the status of women are subordinate socioculturally. 2. Sleeves were classified into a fitted shape and a extension shape according to the aesthetic formation. The fluted shape expressed the beauty of body with emphasis old natural body, whereas the extension shape represented aesthetic expression of decoration. 3. The formation of a sleeve has influence on forming an image of dress by making the silhouette of dress natural or distorted, expresses the harmonious beauty of the whole dress, and produces the expressional beauty that gives a distinct characteristic to a dress.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.95-107
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• 2004

Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been Ignored the Idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress hut also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness. decency. modesty. and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity. matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.