• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.639-656
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• 2018

The term fashion sense is used in everyday conversations by consumers to refer to the ability of people who dress well in attractive ways or to refer to the competencies or expertise of fashion professionals. Despite the frequent use of the term, its concept has rarely been explored systematically. In this study, we performed in-depth interviews with 14 fashion experts to clarify the concept of fashion sense. The core elements of fashion sense were explored based on the interview results. As a result, twelve core elements were identified that included visual ability, aesthetic experience, aesthetic recognition ability, intuition, self-consciousness, self-efficacy, fashion experience, involvement in fashion, creativity, innate sense, environmental support, and development due to education. In addition to these twelve core elements, 42 supplementary elements were identified. This study is to help initiate an academic discussion of the concept of fashion sense as a competency that fashion experts should develop. The findings of this study can provide practical and educational implications for the fashion industry and academia.

• Journal of the Korean Home Economics Association
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• v.41 no.9
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• pp.1-16
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• 2003

This study examined the clothing behavior in terms of creativity, individuality and conformity. The subjects were 317 boys(mean age: 18) and 312 girls(mean age: 18) in third grade of high school, in which were situated at north and south part of Han-River in Seoul. They were administered with the following questionnaires to measure the attitudinal and behavioral conformity, creativity, individuality, clothing conformity, clothing nonconformity, clothing confidence, aesthetic sense, clothing importance, fashionability. Results indicated that (1) high school students who have high creativity showed higher scores in clothing nonconformity, clothing confidence, aesthetic sense, clothing importance than those who have low creativity. But there were no significant differences between two groups in clothing conformity and fashionability(p<0.001). (2) High school students who have high individuality showed higher scores in clothing conformity clothing, nonconformity, clothing confidence, aesthetic sense, clothing importance and fashionability than those who have low individuality(p<0.001). (3) Students who have low attitudinal conformity showed higher scores in clothing nonconformity, clothing confidence and aesthetic sense(p<0.001) and lower score in information and norm specific clothing confirmity(p<0.05) than those who have high attitudinal conformity. And those who have high behavioral conformity showed higher score in clothing confirmity than those who have low behavioral confirmity(p<0.05). From these findings, we could find that the importance of creativity and individuality was greater than that of conformity in clothing behavior. These results were discussed and following studies were suggested.

• Korean Journal of Human Ecology
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• v.12 no.4
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• pp.519-528
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• 2003

The purpose of this study was to make a comparative factor analysis of relations between college girls' make-up and clothing behaviors. The results of the study were as follows : 1. Make-up behavior showed the significant differences in accordance with whether doing make-up or not, motives of initiating make-up, sources of make-up information and references and expenses for cosmetics purchase. 2. There were negative correlations between all sub-factors of make-up behavior and the sense of comfort. In clothing behavior, a positive correlation existed between aesthetic sense and fashionableness. In make-up behavior, however, those college students who were more aware of others and considered make-up more important as a means of skin care and self-change regarded aesthetic sense, one of the sub-factors of clothing behavior, as most important.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 1997.04a
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• pp.14-19
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• 1997

Emotional intelligence and aesthetic aspects of traditional Korean music, Kuk Ak, are investigated in terms of fractal relationship. The exploration of Kuk Ak in the view of an intelligence paradigm will restore the balanced sense of art and science which seeks happiness in life.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.11
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• pp.1649-1659
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• 2002

It is anticipated that, in the 21st century, aesthetic sense will be altered radically with the introduction of new value systems and ethical standards. At the beginning of the 21st century, new aesthetic senses and identities have already emerged and exerted influence to the society, arts and fashion trends. The purpose of this study is to analyze the aesthetic characteristic of the transitional period of the 21st century. This study employed the qualitative analysis and the main aesthetic characteristics of the 21st transitional period were found as hybrid, technicism, neo-retro, new naturalism, and multi-nationalism. The transitional fashion in the 21s1 century mirrors the post-modern trends with diversity and indeterminacy as the basis of changes. It is expected that this pattern will continue to extend persistent and dominant influence to the future fashion industry. In the subsequent study, quantitative analysis wi]1 be conducted to verify the aesthetic characteristics analyzed in this study.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.164-173
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• 2013

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today's architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject's forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.

• Journal of Ship and Ocean Technology
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• v.5 no.3
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• pp.14-26
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• 2001

The shape of an industrial product has to be determined within the constrained conditions of keeping firmly many kinds of functional and performance requirements. On the other hand, the configuration of artistic work would be created desirably using the sense of aesthetics, even if conflicting slightly with these requirements. The development of a methodology for an aesthetic design founded on human sensitivity is becoming highly desirable in recent years. In this paper, a method of measuring beauty quantitatively for an artistic evaluation if proposed using the aesthetic cognitive theory and the optimum configuration could be found by a search using the genetic algorithm. Furthermore, an expression of optimum ship appearance can be gained as graphics.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.643-653
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• 2003

The purpose of this study was to investigate the relation of desire for aesthetic surgery and clothing attitude of female with their body satisfaction, need, and self-esteem. Subjects were 813 females of 10's to 40's living in Daejeon Metropolitan City and Gongju City, Chungchungnamdo. Results from this research revealed that the correlation of desire for aesthetic surgery with body satisfaction was negative so that female satisfying one's body shape didn't want to have aesthetic surgery. However, aesthetics and sexual attractiveness of clothing had positive correlations with body satisfaction. It was also shown that the need and self-esteem of female affected directly on the desire for aesthetic surgery and the pursuit of clothing aesthetics. Women with higher need for exhibition and dominance were not only concerned about the elevation of their appearance through their clothing but also recognized the value of modifying their appearance through aesthetic surgery. Women with higher self-esteem were interested in the elevation of their appearance through clothing, but the other hand, they showed negative attitude toward modifying their appearance via aesthetic surgery. This result revealed the fact that women with higher self-esteem had a tendency to keep the traditional sense of value and as a result, showed negative attitude toward the aesthetic surgery.

• Journal of the Korean Society of Costume
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• v.47
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.