• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.403-413
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• 2005

The purpose of this study is to interpret the elegant dressing visualized in modem fashion on the basis of the concept of elegance in dress and its aesthetic characteristics from the holistic viewpoint. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding, considering from the documentary study. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony. To grasp the trends of elegant styles since 1990s, contents analysis of the articles related to elegance in Vogue has been done. As a result, they have been classified into four groups of elegant styles which are Classic, Elaborate Couture, Soft Minimalism, Kitsch Elegance. Classic Elegance and Elaborate Couture Elegance represent traditional ones with conservative viewpoint. Soft Minimalism Elegance is a modem version of elegance. According to postmodernism as a open system, even kitsch has been refined to keep accompany with elegance fur aristocratic taste of high class. As a result of this study, in fashion from the 16th century to the first half of 16th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society. However in the end of 20th century it seems to start to fade in fashion trends such as mass fashion, youth culture, casual fashion etc. Rather, it can be thought that elegance has been expressed as one of the aesthetic values in dress, by virtue of its value of high class as well as its conservative stability.

• International Journal of Costume and Fashion
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• v.4
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• pp.63-80
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• 2004

Elegance in dress has been mentioned as an important term for explaining a beauty of dress and a fashion image through the times in the history of dress. Nevertheless, it has been spoken indeterminately without analyzing the accurate meaning. In addition, almost all the scattered discourses of it were very limited to womenswear. The purpose of this study is to provide a framework for a better understanding of the concept of elegance and its aesthetic characteristics expressed visually on dress from the holistic viewpoint, focusing on male elegance in dress. To obtain the purpose, the documentary study and the practical analysis were carried out. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. Its aesthetic values consist of luxury, nobility, refinement, femininity, harmony. Though male elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed ‘studied elegance’ for the first time. On the grounds of both the classification of periodic styles and the periodic values, they can be defined and categorized into Mannerism Elegance, Salon Elegance, Modern Elegance Since Dandyism, Aestheticism Elegance. In the late 20th century they can be recognised as Classic Dandyism Elegance, Soft Casual Elegance, Elaborate Heroic Elegance. Although male elegance in dress has been visualized in different ways depending on periodic values, it has essentially been a refined beauty of high class which was valued until recent years. Its common plastic features appear as soft shapes, subtle colors and delicate fabrics modulated with exquisiteness and well-adorned appearance, graceful behavior make elegant styles completed. All of elegant styles have m common with refinement, harmony as main aesthetic values.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.31-40
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• 2014

The purpose of the study was to examine model postures at fashion shows with respect to expressing fashion images including elegance and neutral-gender images. Data were gathered from the fashion shows held 2000 S/S through 2009 F/W, when elegance and neutral-gender fashion images were obvious in fashion collections. Three designer brands representing elegance and neutral-gender fashion images were selected by the researcher and fashion specialists including graduate students majoring in fashion. The fashion collection photos representing each image were selected from style.com, a website which contains four world's biggest fashion collections. The results showed different hand positions as a model posture according to fashion images. In the neutral-gender image, 16 photos (47%) showed a hand position at pockets, in the elegance image, 24 photos (82.3%) showed a hand position laying down by the sides. Also, walking pose was shown to be different between two fashion images. In the neutral-gender fashion image, 16 photos (52.9%) revealed a pose of 'natural walk', while 29 photos (100%) showed a pose of 'walk in a straight line' in the elegance imaged fashion. In conclusion, the neutral-gender image photos showed the pocket-positioned hand and the 'natural walk' poses more than elegance image photos, and elegance image photos revealed the hand position laying down by the sides and the 'walk in a straight line' poses than the photos of the neutral-gender image.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.95-107
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• 2004

Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been Ignored the Idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress hut also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness. decency. modesty. and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity. matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.

• Sijohaknonchong
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• v.21
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• pp.207-239
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• 2004

Jungchull(정철) was a very famous poet of Kasa(가사), Sijo(시조) and Hansi(한시) during the middle period of the Chosun kingdom. He has been studied by modern scholars mainly as a poet of Kasa(가사). These days, however, his Sijos are being studied as an important literary achievement. The purpose of this study is to analyze the pursuit of reality and elegance expressed in Jungchull's Sijo in order to understand his Sijos more deeply. In the process of this discussion, I will take a look at some of his Kasa(가사), Hansi(한시) and biography also, and I will compare his Sijo(시조) with that of his teacher's, friend's and senior's. Jungchull considered it important to become an official in the royal court because he was a Confucian scholar who believed in jugi-theory (주기론), in which all realistic phenomena is evaluated(Confucianism is very realistic in essence), and he had a happy life in the royal household until he was ten years old. I found that characteristics of his "realistic pursuit" are represented in his Sijo by two situations: the one is when he is apart from the King, and the other when he is together with the King. In all situations, though, he pursued an official position in the royal court. When he was apart from the king, his absolute resolution to follow the King was expressed in his not being able to sleep. In his sijo, he asks the wild duck to inform him of the King's welfare. He tries to flap his wings, to be the water or the moon in order to reach the royal household where the King was living. When he recognizes it's impossible, he expresses his perfect loyalty to the King in his Sijo by using literary paradox. According to this, he describes himself as not an able scholar, but also not a flattering scholar. In his sijo, he reminisces about working for the King in the royal household, when he had a good relationship with the King. But when he was an official in the province in a good relationship with the King, he expressed his intention of coming back to the royal household in order to be with the King again. From this we can ascertain that his pursuit of reality means to occupy an official position in the royal household, to serve the King and to have political power among of the officials. His elegance, expressed in his sijo, is deeply related to his absolute political pursuit of the King. He describes two kinds of elegance: nature related elegance and drinking alcohol related elegance. Two kinds of nature related elegance were delineated in his sijo, depending upon his political situation. When he had a good relationship with the King, occupying an official position, he delineated his gladness and free-heart in harmonizing with nature. But when he lost his official position. he expressed his purity using nature, and exclusion from nature. These kinds of nature related elegance were different from that of the usual Confucian scholar, for example, contemporaries Lee Hwang Next, two kinds of drinking alcohol related elegance were delineated in his sijo depending upon his political situation. More often he depicted excitement and composure of mind in his sijo by drinking alcohol in good situations than in efforts to overcome his agony in bad situations. The tradition of overcoming one's agony by drinking alcohol in bad situation was discovered by this writer in Jungchull's teacher's, and also his junior's sijo. Lastly in my next research paper future, I will look at the reason why certain various themes are represented in Jungchull's sijo, and what their the relationships are, to understand his literary works as a whole.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.33-42
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• 2010

The purpose of this study was to investigate the effect of hue, tone, and necktie width on men's wear image. The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 12 color pictures, in which the hue(red, blue), tone(lt-shirt/dk-tie, dk-shirt/lt-tie), and necktie width(narrow, medium, width) were manipulated. The 7-point scale was used for evaluation of men's wear image. The subjects of this research were 120 female college students living in Seoul, Gwangju, Jinju, and Masan. The investigation was carried out at April-May 2009. The data were analyzed by using SPSS program. Analysis methods were ANOVA and Duncan-test. The results of this study were as follows.; The analyses of men's wear image according to hue, tone, and necktie width revealed that the concerned factors are four characteristic dimensions of ability-elegance, attractiveness, appeal-activity, and warmness. Hue showed an independent effect on ability-elegance, appeal-activity, and warmness. Tone showed an independent effect on warmness. Necktie width showed an independent effect on appeal-activity. In addition, interaction effects of hue and tone on ability-elegance were found. Interaction effects of hue and necktie width on ability-elegance and attractiveness were found.

• Korean Journal of Human Ecology
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• v.18 no.1
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• pp.137-143
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• 2009

The purpose of this study is to examine the evaluation of texture image and preference according to the structural characteristics of silk fabric, and to analyze the effects of texture image and sensibility on the preference. 53 female subjects evaluated fabric image and sensibility of 17 specimens of white silk fabrics sold on the market with semantic differential scale. The data were analyzed through factor analysis, Pearson correlational coefficient and t-test using SPSS win 13.0. For the evaluation, structural characteristics such as fiber contents, weave type, weight and thickness were analyzed. Factor analysis showed that sensibilities were classified into 3 categories; 'surface property', 'weight', 'flexibility'. Fabric images were classified into 2 categories; 'elegance' and 'naturalness'. Statistically significant differences of structural characteristics on the texture image were observed. Weave type affected 'surface property' and fiber contents affected' flexibility'. Weight and weave type affected' elegance', too. The significant factors affecting preference were fabric image of 'elegance' and structural characteristics of 'weave type'. The results of this study showed that the most preferred silk fabric is smooth and soft satin weaved fabric with texture image of 'elegance'.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.354-368
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• 2004

The purpose of this study is to investigate the effect of Shirts-color(Different-color, Same-color) and Hat color(Red, Blue, Beige, Grey), Hat design (Beret, Cloche, Bowler, and Capeline) on impression formation. The experimental materials developed for this study were a set of stimulus and response scales. The 7-point semantic thirty stimuli color pictures of various combination of hair length, hair style, and type of hat design were manipulated by computer drawing. The subjects were 360 undergraduates living in Seoul, Kyunggi and Kyungnam. The experimental design was composed of 3 factorial designs. The result of the study can be summarized as follows; Impression factor of the stimulus consisted of the 5 different dimensions. (concentration of attention, attractiveness, gracefulness, activity, tenderness). Concentration of attention, elegance, and tenderness in case of a hat as a clue, elegance and tenderness in case of the color of upper clothes as a clue, and all the factors except attractiveness and elegance in case of the type of hat as a clue were significant factors to differences of appearance. In regarding the effect of interaction between each variable, the combination of Hat color and Shirts-color had significant effects on tenderness, Hat color and type of hat design on concentration of attention, elegance and activity.

• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.320-333
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• 2006

The purpose of this study was to find out differences of visual evaluation according to perceiver's gender, clothing silhouette, and body exposure of the lingerie look. Subjects were 246 college males and females in Seoul. The visual evaluation of the lingerie look was divided into four image dimensions: elegance, individuality, fascination, and activity. Silhouette had significant influences on the perception of elegance and activity. The hourglass silhouettes were evaluated more elegant and active than the tubular silhouettes. The body exposure had significant influences on the evaluation of elegance, individuality, fascination, and activity. The shoulder and the back exposure were estimated high in fascination, the breast exposure low in elegance, and the waist exposure high in individuality and activity. Individuality, fascination, and activity had interaction effects by perceiver's gender and body exposure. Males estimated the waist exposure to be more fascinating than females, and females estimated the breast exposure to be less active than males. There were significant interaction effects in evaluating the 4 image dimensions according to the silhouette and body exposure. The shoulder and the leg exposure of the hourglass silhouettes were estimated more elegant than those of the tubular silhouettes. Dimensions of clothing image which influenced on preference of lingerie look were different between males and females.