• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.97-112
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• 2013

In this study, physical, social and psychological repression embodied by the body and clothing are referred to instinctual, power and creative desires, respectively, from the point of biological, social and aesthetic views. Desire refers to a behavior to overcome men's imperfections with individual security, sense of belonging and the pursuit of an ideal, which are obtained by living as a social creature. Repression through the body is sub-categorized depending on whether it is temporary or permanent. Repression expressed through clothing is seen through revealing/concealing, contraction/expansion, and deconstruction/ reconstruction. What enables human beings to embrace changes in fashion without fierce resistance or backlash is the changes of formativeness demonstrated by repression through the body and clothing. The aesthetic values drawn from the exhibition of repression and on the body and clothing are categorized into narcissism, fetishism and aestheticism. While narcissism is an instinctive desire grounded on the originality and confidence of the self that results in refusing repression, fetishism is a desire for power that expedites repression in the pursuit of materialistic value or sexual fantasy. Aestheticism is a desire for creativity that symbolizes the body-and-clothing repression in the pursuit of aesthetic idealism. Repression evokes desire, and the pursuit of desire leads to another repression. The aesthetic values of desire for instinct, power and creativity can be substituted with each other for interpretation according to the attitudes of an initiator, a user and a spectator.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.101-115
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• 2003

The purpose of this study is to define women's classic tailored suits surviving, despite current millennial impulses tend toward disintegration in style. Through documentary study, the reason which women had chosen the mannish tailored suits instead of sumptuous dresses in the 20th century beginnings is considered carefully. Also, examining the process of transition of women's classic suits makes it possible to infer the aesthetic characteristics of them. According to study, women had began to wear tailored suits acquiring physical comfort and the equality of the sexes. In the early stage, women imitated men's tailored suits in order to show seriousness, intelligent, capability for social success. However, in accordance with the advance of women's social position women modified it to suits themselves to present intrinsic feminity as well as masculine values. By staying the basic form, classic tailored suits have undergone constant internal changes in relation to sexuality. The aesthetic properties of women's classic tailored suits can be inferred as moderation, dualism, and versatility. In conclusion, the credibility with own authority and the evolutionary character inhering in the classic tailored suits could explain the continuity of them.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.113-117
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• 2007

Wabi-Sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. All things air impermanent. All things are imperfect. all things are incomplete. it offers an aesthetic ideal that uses the uncompromising touch of mortality to focus the mind on the exquisite transient beauty to be found in aoo things impermanent. Wabi-Sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional. Wabi-Sabi is the art of everyday life. These may be the methods for the relationship establishment between human and space on the ground of Wabi-Sabl concepts which is commonly found no in contemporary interior space in japan.

• Journal of Digital Convergence
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• v.13 no.10
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• pp.569-578
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• 2015

With much changes in men's appearance style to pursue, beauty care activities, and pursuing value, it has been required to have researches on it. This study analyzed men's acceptance of information about beauty care and also the characteristics of each pursuing value. An online survey was conducted targeting about 500 male office workers in Seoul. In the results of the study, the pursuit of the practical value of five beauty care activities was the highest while the aesthetic value was very differently shown in accordance with the types of beauty care activities, compared to two other values. Contrary to other styles, especially, the acceptance of the skin care style was influenced by the sociocultural value, practical value, and aesthetic value. Especially, the passivity of the aesthetic value and the emphasis on the practical and sociocultural values were shown. The hair care was influenced by the practical value while the plastic surgery was influenced by the aesthetic value. In the care style area, the acceptance of skin care was only influenced by the pursuit of complex values. Regarding the marketing of each care style, the large-scale marketing campaign would be effective for the hair care while it would be necessary to seek for more aesthetic campaigns for the plastic surgery business.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• Korean Journal of Human Ecology
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• v.24 no.4
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• Journal of Fashion Business
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• v.27 no.5
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• pp.135-145
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• 2023

The purpose of this paper is to develop a workwear design framework that can be applied in workwear design. A general explorationstudy was conducted onworkwear concepts and market research to understand the importance and growth potential of workwear. Subsequently, representative brands specializing in workwear are selected, and a case analysis of workwear is conducted with a focus on jackets, pants, and overall items. As a result, four key characteristics of workwear are derived: Ergonomic Pattern-making, Certified Fabric, Specialized Color, and Customized Details. To present a model that considers the functional, expressive,and aesthetic aspects of workwear simultaneously, the 'Function Express Aesthetic' (FEA) model is utilized as the foundation. The 12 derived elements in the newly developed framework combine these four characteristics with three aspects (functional, expressive, and aesthetic), allowing for comprehensive consideration and validation of workwear conditions. The new framework will be used in subsequent research for developing workwear prototypes and is expected to enhanceworkwear production by employing a systematic approach during the design ideation and evaluation stages. By effectively integrating functional aspects with expressive-aesthetic values centered on the functionality of workwear products, this framework will provide.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• 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.51 no.5
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• pp.157-173
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• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.