• 복식문화연구
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• 제30권4호
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• pp.594-607
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• 2022

This study is a follow-up paper on "Development of flipped learning class model for nail beauty education" published by Seol (2022). This model was conducted from March to June 2022 for 70 students taking the "Nail color design 1" course. After 15 weeks of class, a survey of the students' perceptions of flipped learning and their self-evaluation of goal achievement was conducted, which was composed of questionnaires using a 5-step Likert scale. 15 questions were designed to evaluate the students' satisfaction with their experience and class operations; 4 questions to evaluate whether the class goal had been reached through flipped learning; and 9 questions to evaluate the students' perceptions of flipped learning. As a result of applying this model to theoretical and practical nail beauty classes, it was confirmed that flipped learning helped students better understand the content and had a positive effect on learning, while the subject's educational goals were also achieved. By evaluating the students' perceptions of flipped learning, we may conclude that they experienced learning satisfaction and perceived the approach positively. Moreover, they have expressed a desire for additional flipped learning. This study is thus meaningful in confirming the procedure's effectiveness by applying the flipped classroom model to theoretical and practical subjects with a focus on the nail beauty field, and showing how it achieved students' positive perceptions and educational goals.

• 한국의류학회지
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• 제33권9호
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• pp.1374-1385
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• 2009

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

• The International Journal of Costume Culture
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• 제6권2호
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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.

• 복식문화연구
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• 제7권1호
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• pp.52-67
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• 1999

A Study on the Drapery Presented in Costume The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider indesigning. Fabric falling in folds in the garment as seen on statues of ancient Greece ; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the vest esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -el-egance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human\`s lives and recurring humanity.

• 복식문화연구
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• 제19권2호
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• pp.402-415
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• 2011

The purpose of this study is to research the ideologies of African-American hair-styles according to cultural phenomena. This is a qualitative research using the books and theses about society, culture, hair and beauty, and materials of internet. The results are; Firstly, African-Americans are citizens or residents of the United States who have origins in any of the black populations of Africa. About 75 percent of the dark-skinned people on this continent have hair labeled "kinky". Secondly, African hair-styles expressed Supernaturalism and Traditionalism in the formative period of African culture. African-American hair-styles reflected Colonialism in the period of slaves. African-American citizen's hair-styles showed Nationalism after 1960s' Black Pride Movement in the period of settlement in America, and expressed De-territorialism since the boom of 1970s' Reggae. Today, the wearing of dreadlocks, cornrows, and afros has transcended racial and religious barriers. No longer necessarily reflections of ancient traditions and cultural identification, they are just as often fashion items.

• 통합자연과학논문집
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• 제4권4호
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• pp.323-331
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• 2011

In this study, ${\alpha}$-chlorosuccinic acid was synthesized through the reaction of maleic anhydride with HCl(g), (UV)250 nm~300 nm wavelength in presence of $CCl_4$. For the second reaction of N-(monochloro)succinic acid contained glucosamine derivatives(I) was accomplished by a modification of the general acylation using excess ${\alpha}$-chlorosuccinic anhydride in the presence of 2% acetic acid with methanol condition as a solvent at elevated temperature($70^{\circ}C$). We considered organic acid derivatives were useful especially for treatment for the cultivating porphyra.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.86-89
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• 2001

Popular in the 1990s, Western Minimalism declined in popularity in the end of the century while the Oriental Mysticism and the Oriental Minimalism called “Zen Style” appeared. Fusion and Oriental Minimalism, both of which pursue traditional beauty and the essence of functionality and beauty, are combined with Japanese elements. As Oriental Minimalism is oriented towards Japan and China, we should consider the Japanese modernization process. Japan internationalized their own traditional elements after modernization. On the other hand, we only focus on tradition in a view of modernity, Japan developed their own culture whereas we followed the Western influences and trends after our culture and social structure were destroyed because of the civil war. Therefore, the aim of this paper is to find out the possibility of culture variety in interior design from the Japanese samples which modernized their culture in various sights. In other words, I researched and analyzed the expressive trends in Japanese Contemporary interior design, architecture and similarity and difference between Korea and Japan.

• 복식
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• 제52권8호
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• 복식문화학회:학술대회논문집
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• 복식문화학회 1998년도 International Costume Culture Conference
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• pp.47-47
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• 1998

• 복식문화학회:학술대회논문집
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• 복식문화학회 2000년도 International Costume Culture Conference
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• pp.49-50
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• 2000