• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.752-765
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• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• Korean Journal of Health Education and Promotion
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• v.23 no.3
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• pp.121-134
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• 2006

Objectives: This study was conducted to analyze the general properties of beauticians and to analyze correlation between their experiences of indigestion and relevant factors and thus to provide basic data to prevent obstacles to beautician's health. Methods: A self-administered survey on 257 female beauticians in Daegu from March 15 to May 30, 2005 was conducted. Cross-link analysis was used to examine indigestion in relation to the general properties of beauticians, and correlation analysis was used to determine the level of relationship between indigestion and relevant factors, and multiple regression analysis was used to determine the degree of effects of relevant factors on indigestion. Results: The results can be summarized as follows: 1. As for indigestion by general properties and beauty-related properties, there were significant differences in gender(p<0.01), age(p<0.05) and marriage status(p<0.05) among general properties and there were significant differences in the number of holiday(p<0.05), beauty culture career(p<0.01), and the degree of satisfaction on duty(p<0.001) among beauty-related properties. As for indigestion by eating habit and health-related properties, there were significant differences in the degrees of regular eating(p<0.001) and regular living habit(p<0.001), and eating speed(p<0.01). 2. Factors relevant to the eating habit showing significant correlation with indigestion were regular eating habit, taking well-balanced nutrition, and taking salty food. Among them, the regular eating habit was shown to be the most relevant with the correlation coefficient of -0.253(p<0.01). The general and beauty-related factors showing significant correlation with indigestion were beauty culture career, number of holiday, and regular living habit. And regular living habit was shown to be the most relevant with the correlation coefficient of -0.260(p<0.001). 3. Results from the regression analysis showed that relevant factors having significant effects on indigestion were gender, beauty culture career, satisfaction on duty, eating speed, regular eating habit and regular living habit. And satisfaction on duty was found to have the greatest effect on indigestion. Conclusions: The findings of this study could be effectively used to develop a practical management strategy to prevent $beauticia{\acute{n}}s$ indigestion, and to promote $beauticia{\acute{n}}s$ health, and ultimately to improve the $beauticia{\acute{n}}s$ quality of life.

• The International Journal of Costume Culture
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• v.8 no.1
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• pp.32-42
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• 2005

This paper aims to propose fashion designs based on the application of art flower technique to translucent clothing material. For study method, firstly I looked into art flower applications occurred in modern trend since 2000 as well as theoretical research on art flower and transparency expressed as artificial beauty. Second, I attempt to express transparency in a variety of unique ways by using the art flower technique in producing clothes. Third, I utilized transparent flower with translucent clothing material and tried to suggest fashion design attempting mixture of new materials. As a result, firstly transparent image and material are well fitted in with modern trend and especially it was very suitable for expressing feminine beauty. Second, transparency was the element to suggest creative formative world in fashion design in regard to flower's beauty, various shapes and colors and to provide infinite materials as design motive. Third, the combination of knit clothing and plastic art flower displayed a new form of material combination. Especially as translucent material is fitted with trend such as function, lightness and variableness in modern times of the $21^{st}$ century, it presents beautiful combination with transparent flower. Fourth, Silk flower technique is variously used in art flower techniques. Various possibility ranges are presented such as flower was recreated with artificial image by silk flower technique to be newly expressed and various materials like aesthete film can be also expressed with silk flower technique.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.231-242
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• 2003

This study was aimed at analyzing how the dualism of hippie style in the modern retro-fashion, namely, the neo hippie style and the hippie chic style were expressed. For this study, domestic & foreign fashion magazines, preceding theses, literatures, an encyclopedia, and Internet sites were reviewed. The results of this study could be summarized as follows; 1. Silhouette : The neo hippie style was expressed in slim and long silhouette to show the natural beauty. The hippie chic style was expressed in various silhouettes depending on designer's tastes. 2. Color : The neo hippie style was expressed in strong color and analogous color coordination to show richness of human nature. The hippie chic style was expressed in psychedelic color, multi-color, and fluorescent color to show an unconventional and a future oriented idea. 3. Material . The neo hippie style used such soft, thin, and flexible materials as chiffon, satin, silk, knit, etc. to show the natural beauty The hippie chic style used expensive and luxurious materials, high-technological materials, harmony of different materials, etc. 4. Pattern . In the neo hippie style, it was generally used various patterns including plant, animal, insect. In the hippie chic style, it was widely used the natural pattern as well as the ethnic pattern. The neo hippie style was characterized by the natural beauty, purity, elegance as style symbolizing the social problem, on the other hand, the hippie chic style was characterized by designer's identity suggesting an idea of new style rather than a symbol of the social problem.

• Journal of Fashion Business
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• v.13 no.2
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• pp.30-49
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• 2009

This study was intended to research how such Japonisme affected the western fashion and to consider that the unique Japanese fashion was implemented in the western mode as the traditional aesthetic sense got jointed with the western culture together and was expressed as the modern Japonisme beauty. The beauty of 'Date' was the aesthetic sense created focused on the noble culture of public family. On the contrary, 'Iki', 'Wabi', 'Sabi' and 'Shibusa' is the Japanese lower middle class's universal living aesthetics. 'Kawaii' is influence on an animation, cartoon and character industry as well as the whole world’s fashion style as one of the common aesthetic sense of the world people in the modern time. That is, Japanese fashion designers expressed the human body with such the aesthetic sense by the design of shape, space, fusion, amusement through clothes. It could be concluded that they created an autonomous amusement’s design world over the visual beauty of human body.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.150-160
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• 2010

This research was intended to furnish basic data which can be helpful to maintain and improve the skin health and to activate aromatherapy by analyzing the knowledge, attitude and behavior on the aromatherapy skin care of college students. As their grade got higher, students of beauty class showed the level of knowledge on aromatherapy higher than those of non-beauty class, and that of girl students was higher than that of boy students and as the living standard of students got higher, and pocket money of a month of them got more, the level of knowledge on aromatherapy of them was high, and as the interest in appearance and satisfaction on appearance of them got higher, the level of knowledge on aromatherapy of them was high. In common characteristics, as the living standard of them got higher, and pocket money of a month of them got more, the level of attitude on aromatherapy of them was high. As the interest in appearance of them got higher, the level of attitude on aromatherapy on the interest in appearance of them was high. In the characteristics related with the skin, as the skin health condition of students got healthier, the level of attitude on aromatherapy of them was high, and it was high in the students who had much agony on the skin color.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.863-875
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• 2011

The purpose of this study was to survey the clothing behavior, care and the fiber preferences of multi-cultural families living in Korea. The data was collected using questionnaire surveys based on pre-tests, and a main survey conducted in Seoul, Gyeonggi Province and Chungcheong Province. The 258 participants came from 151 multi-cultural families and 107 Korean families. The results of this study were as follows: First, Filipinos owned more clothes than the Chinese and bought clothes more frequently. The Filipinos spent 10,000~30,000 Korean won on all types of clothing. Each time, the Chinese spent more money when purchasing jackets. Second, when health was the greatest concern for underclothes, they chose cotton fiber as their preferred fiber. When beauty was of greatest concern for blouses they chose cotton. When beauty was of greatest concern for skirts and jackets they chose natural fibers such as silk, wool or linen. Filipinos preferred synthetic fibers because they are easy to care for, and the Chinese preferred natural fibers due to their beauty, especially for pants. Third, multi-cultural families laundered at home using only a washing machine. All fibers were laundered together into the washer without any sorting. This study can contribute to providing basic data for an understanding of the clothing behavior and laundry styles of multi-cultural families which may be useful data in the apparel market in Korea given the relative and direct changes relevant to various clothing cultures.

• The Journal of the Convergence on Culture Technology
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• v.4 no.4
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• pp.161-166
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• 2018

Sojeon, Son Jaehyung(1903~1981) was interested in the composition of the classical writing style of Han-gul and its merits in the operation of the brush. And a genius, modern sense of sculpture and ingenious ideas applied to the calligraphy. Thus, he succeeded Tonggukjinche by sublimating it into a unique Handwriting pure and humorous. Sojeon Hangul Calligraphy is exaggerated in consideration of the change of direction, thickness and length of the stroke. There is nothing strange about law and organization and express the great beauty of the great art of harmony and change. Sojeon's contribution is significant in that it has not only become a model for the development of Han-gul calligraphy, but also created a new area of space in modern calligraphy.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.4 s.10
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• pp.7-15
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• 2006

Japan's modern fashion, which already became distinguished in the world fashion market, creates originality by identifying its own color as well as shape and details from its tradition. The purpose of this study was to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of Heian period in Japan and searching them in contemporary Japanese fashion. The scope of study was the perceived meaning of color in Heian period and Japanese contemporary fashion. In the methodologies, the literature and the empirical study focused on Heian's culture, including art history, ethnology, and the history of clothing and the contemporary fashion collection. Japan's original middle colors and intermediate colors began to be created in Heian period. The color aesthetic characteristics of Heian period appeared the beauty of compound color, layered color, overlapped color in Japanese contemporary fashion.

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.438-451
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• 2024

The interlacing technique has a long history of use as a means of creative expression and persists in modern society to satisfy the individual pursuit of pastimes. This method has the developmental potential to create new trends in the future. Interlacing techniques (e.g., basketry, plaiting, braiding, and knotting) are closely related to plastic arts fields, architecture, art, and industrial design where the various interlacing practices are applied. This research uses case analysis to study the types of expression found in the formative art field wherein the interlacing technique is applied. Results reveal several expressions, including optical illusion visual type, relief surface type, porous perspective type, and object borrowing type, all of which appeared in fashion bags. The aesthetic formativeness, which appeared in the fashion bags that applied interlacing techniques, was then classified according to geometric formative beauty in a process based on rules and order. Nature-friendly formative beauty reflecting handicraft locality and omnidirectional formative beauty by disordered deconstruction and heterogeneous combination were determined. The use of interlacing techniques that show creative, unique combinations and variations is expected to inspire the development and application of bag design that suits individual and original modern fashion trends. One limitation of this thesis is that it only studied cases appearing in modern fashion bags.