• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.111-127
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• 2001

This study aims to apply the formative aesthetic of human body to the form of clothing. For this purpose I try to find the various methods of analysis used in the work of sculpture. The method of inference and the checklists of design are used to relate the sculpture with the clothing design specifically. This methodology intends to regard human body as an artistic form and use the image of sculpture to the maximum. Especially I try to derive the motives of design and recreate them in clothing design emphasizing silhouette. On this methodology, following results were developed. First, the observations on the formative characteristic of human body show that the transformed form of human body expresses more perfect image of human body than the original form. The power of simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity and exaggeration can be variously recreated in a silhouette with the formative and cubic effect, simplicity, and activity. Third, the elegant and static image found in the analysis and synthesis of human body can be used as a motive of clothing design and the changed details lead to the transformation of silhouette. Fourth, in developing designs by the item of checklists, one motive can be variously recreated according to the methods of designs.

• Archives of Plastic Surgery
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• v.44 no.1
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• pp.80-84
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• 2017

Defects involving specialised areas with characteristic anatomical features, such as the nipple, upper eyelid, and lip, benefit greatly from the use of sharing procedures. The vulva, a complex 3-dimensional structure, can also be reconstructed through a sharing procedure drawing upon the contralateral vulva. In this report, we present the interesting case of a patient with chronic, massive, localised lymphedema of her left labia majora that was resected in 2011. Five years later, she presented with squamous cell carcinoma over the left vulva region, which is rarely associated with chronic lymphedema. To the best of our knowledge, our management of the radical vulvectomy defect with a labia majora sharing procedure is novel and has not been previously described. The labia major flap presented in this report is a shared flap; that is, a transposition flap based on the dorsal clitoral artery, which has consistent vascular anatomy, making this flap durable and reliable. This procedure epitomises the principle of replacing like with like, does not interfere with leg movement or patient positioning, has minimal donor site morbidity, and preserves other locoregional flap options for future reconstruction. One limitation is the need for a lax contralateral vulva. This labia majora sharing procedure is a viable option in carefully selected patients.

• Journal of Fashion Business
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• v.27 no.6
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• pp.37-46
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• 2023

This study aims to develop workwear prototypes by applying a systematic approach considering the characteristics of workwear. A case study was conducted before this study to derive workwear's four characteristics: 'Ergonomic Pattern-Making, Certified Fabric, Specialized Color, and Customized Details.' a prior study proposed the integrated framework combining these characteristics with the FEA model. The new framework identified that these characteristics are considered in terms of functionality, expression, and aesthetics; it can increase workers' satisfaction and meet the market demand without concentrating on only particular aspects. Before prototype production, the requirements for each characteristic of workwear were analyzed through theoretical research of previously published related papers. The study primarily gathered workwear requirements data and sources from consumer satisfaction surveys and investigations into the wearing conditions of work clothes. When considering all aspects of pattern-making, fabric, color, and detail in functionality, 'comfort movement, body protection, improved work efficiency' were identified as necessary. Expressive requirements were fundamental, including 'reflecting the wearer's preferences, expressing a sense of belonging and identity. It was clear that incorporating design elements and applying current trends to the aesthetic requirements of work clothes was necessary. Four prototypes comprised two top and bottom sets and two overalls using these requirements. The framework was used throughout the entire process of planning, producing, and evaluating prototypes, and through this, the results fulfilled the requirements. This study is significant because it produced workwear prototypes using an integrated approach that considered functional, expressive, and aesthetic aspects.

• Journal of the Korean Society of Costume
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• v.38
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• pp.31-49
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• 1998

This study is the primary basic study about the spatial feature of modeling of Fashion Design. Then, this researcher lays significance in establishing the basic system about the character of dress and its ornaments as modeling in spatial-formal, dimension, examining the feature of modeling closely through perception principle and offering the basic principle to plan and organize the modeling space for dress and its ornaments on the basis of it. To generalize the findings is as follows : First, the spatial system of modeling for dress and its ornaments is made with 3 elements such as space, human beings and dress and its ornaments. Second, the form of dress and its ornaments and the spatial organization start from the structural basis which is human body, and the sensible system of body is made through inter-action, but the aesthetic expression is complet-ed by the moment of body. Third, the characteristic principle of model-ing for dress and its ornaments which was suggested in Chapter IV is based on the visuo-per-ceptional modeling experience, and these thinking contents are inputted in cognition course as the invisible in formation in the new space plan and organization and activate the apperception course and aim at the action about aesthetic judgement.

• Journal of the Korean Wood Science and Technology
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• v.38 no.5
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• pp.385-390
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• 2010

This study was carried out to manufacture very thin natural elm veneer overlaid charcoal board for enhancing aesthetic value of charcoal board for the indoor application, and to use the advantageous properties of the charcoal as a building material for solving the sick house problem. The thin elm veneer had 26.9% opening ratio. The experiment results showed that the spreading area and the nonvolatile content of adhesive did not affect the gas adsoprtion of fancy veneer overlaid charcoal board. The natural thin elm veneer overlaid charcoal board enhanced not only the aesthetic beauty but also showed the same gas adsorption by the charcoal board.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.617-628
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• 2018

The aim of this essay is to discuss the relationship between Korean literature and Korean intellectual scenes. Since its first introduction to the local context, literature as a genre has served as a field in which colonial and post-colonial intellectuals have attempted to win the accreditation of Western enlightenment. Literature has been regarded as a crucial instrument of liberal arts and education in Korea. Literature has functioned as a social movement in Korea since its inception. During the colonial period, radical intellectuals and literary writers published essays and articles in literary journals. This status as a social movement is still a distinctive characteristic of Korean literature. From the outset, Korean literature has functioned as an enlightenment project for cultural development. As such, Korean literature retains a political meaning of "literariness," which reshuffles the hierarchy of the sensible and creates novelty against given aesthetic regimes. As a result, in the process these regimes are thereby de-purified of their status as purely aesthetic movements; their perspectives thereby come into contact with other discourses and practices outside the art world. This essay argues that as a genre, Korean literature always functions as "world literature" in Korean intellectual scenes.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.