• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.95-104
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• 2003

Just as costumes reflect the spirit of the time, hair styles echo the social changes and even facilitate them, being used as a means of communication. In short, hair styles reflect the cultural life of the time dynamically. In our modern times, fashion is moving very fast, and such a phenomenon is more conspicuous in hair styles. While individuals are eager to pursue their own individuality, hair styles play a leading role in fashion, excelling the costumes. In this sense, we need to note that hair styles may be related with individual, social and psychological factors. As people are more interested in hair colors, the scope of hair color selection becomes wider. People visit beauty shops to have their hair colors changes rather than have their hairs cut. Selection of a hair color seems to be deeply related with individuals' psychological states. Since hair colors have much effects on their facial images, hair designers need to have an empathy with their customers. Each person has his or her own unique image, and his/her selection of hair colors is affected much by external environment as well as his/her traits. With such basic assumptions in mind, this study was aimed at analyzing the preferences of hair colors by those in their 20's, 30's and 40's who are more interested in their hair colors. To this end, their preferences of or tendencies for hair colors were surveyed by sex, age group and job.

• Journal of Fashion Business
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• v.22 no.3
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• pp.75-88
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• 2018

The purpose of this research study is to analyze the effect of servicescape on customer orientation of skin beauty professionals. To attain the purpose, this study conducted self-administered survey of skin beauty professionals who have been working in Seoul cities and Gyeonggi provinces. by handing out total 438 copies of questionnaire. But 400 copies except for 38 ones of those respondents deemed to be unfaithful responses were analyzed and researched. A total of 400 questionnaire responses were used for data analyses. According to the results of factor analysis, Factor analysis revealed five factors of servicescape-surrounding factors, functionality, aesthetics, safety, and convenience- and three factors of customer orientation of beauty professional-understanding customer needs, beauty professional needs to offer services and meeting customer needs of beauty professionals. The result of regression analysis revealed that as for understanding customer needs of skin beauty professionals, convenience and functionality, safety and aesthetics has significant effects. All five factors of servicescape, safety, aesthetics, functionality, surrounding factors and conveniences, have significant effects on meeting customer needs. Regarding beauty professional needs to offer services, safety, functionality and convenience factor were significant factors. The study is to provide preliminary data on information useful in developing the method for managing and improving servicescape.

• 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 the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.11-26
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• 2003

It is an important means of expressing oneself and is affected by the social and cultural environment, too. People are creating another new lower culture, it's Sub Culture, that is, their own unique new fashion through the coordination status of a lower culture and its components to reveal the visual symbol of such garments and body decorations most clearly. The Punk formed as an reaction to 1960's hippie appeared as the most unpleasant image to the established generations with their ultimate resisting action and new aesthetic-consciousness. Their coordination by the use of the disorder and stimulative tool which gives abhorrence appears again as Cyber Punk being influenced by optical art and multimedia in '90s. It can be seen that the form of lower culture mentioned above became a storehouse of new fashion creation through the most nuclear role of lower culture and the unique characteristic coordination by age and that each lower culture fashion can become a style icon of new fashion through free coordination.

• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.119-132
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• 2003

This research was attempted in order to raise the actual effectiveness of beauty education by reviewing the problems on beauty education curricula of junior colleges and arranging their countermeasures. This thesis suggests improvement plans of curricula in Korean beauty education as follows. First, one of the main aims of beauty education sought at a junior college should be verified that it is to raise beauty leaders, furthermore, by including artistic knowledge on top of skill-based education purposes we shall put more efforts improve and sublimate beauty art, not only as skills but also as art. Second, it is necessary to fix the department titles in accordance with the contents of curricula. The titles have to be standardized for the right recognition of each curriculum by dividing beauty into hair beauty, skin-care or make up with each curriculum based. Third, it is necessary to standardize major requisite subjects to be completed in certain units by each major among colleges as well as class hours. forth, the curriculum system needs to be revised in accordance with school system for example suitable curricula for each school system level of private institutes and secondary vocational institutes, high school, junior collage, university, post graduates, etc, I have to be developed and enforced.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.29-38
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• 2005

Nowadays, fashion is high evaluated as a mean of self expression as well as a formative art itself, The moderns' elevated beauty sense and strong desire for individuality expression have not only advanced various and refined fashion presentation but also led to expansion of fashion to a total coordination covering hair and makeup. Of them, hair styling does play an important role in rounding out the various image of fashion. It is not only far from omittable part but also, out of simplicity in the past, taking formative characteristics in form and structure day by day. Especially, artistic elements of modern arts are being introduced as motives, and of which representative is e introduction of kinetic art which is thought the artistic approval on mechanization trend in the 20th century. Thus, the study was intended to investigate how and in what forms the various features of kinetic arts is reflected in the modern hair shaping, and to suggest a new prospect of kinetic art-applied hair shaping.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.695-704
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• 2011

This study is an attempt to explore the expressive techniques and characteristics of tie-dye shown in the contemporary fashion. In doing so, the study conducted a literature review and analyzed the works show cased for 2001S/S through 2010F/W, especially from the "big four" collections in Paris, Milan, New York and London. In the contemporary fashion, tie-dye techniques such as tying, folding and sewing are used in an independent or combined manner to express unique images. They also highlight decorative images in combination with a variety of decorative techniques including draping, pleating, beading. In light of its characteristics, tie dye expresses unique formative aesthetics with diverse patterns and creates more gorgeous images than when many different colors are used for dyeing. The dyeing process works as a critical factor influencing the overall image of design, as it is expressed as a pattern by being applied on the whole of an item rather than in part of clothes. The characteristics of tie-dye techniques used in the contemporary fashion are associated with the expressions of natural beauty, abstract decorative beauty, and dynamic rhythmical beauty.

• Journal of Fashion Business
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• v.10 no.4
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• pp.78-94
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• 2006

The purpose of this study is to analyze and to compare the makeup style and the ideal beauty of the Renaissance and the Baroque by examining the portraits. The result of this study is as follows. Firstly, as for the Renaissance makeup, they preferred a broad forehead and thin eyebrows. The color for lips and cheeks makeup was orange and light orange in fashion. Secondly, as for the Baroque makeup, they preferred a broad face with double chin, dark and thick eyebrows and small lips. The color for lips and cheeks was reddish and clear. Finally, as for comparison the these ages, the Renaissance ideal beauty was a little plentiful women with a broad forehead, thin eyebrow. But the Baroque ideal beauty was totally plentiful women with thick eyebrows, clear reddish lips and cheeks. The color of lips and cheeks was more reddish and clear in Baroque. The Baroque women had the smaller lips than the Renaissance women and they are more plentiful and modern with a flourish than the others.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.67-82
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• 2014

This research aims to explicate how we reveal our identity and emphasize beauty in our passion for beauty. It also attempts to find out our sense of beauty in exaggeration of visual expressions. The purpose is to represent how the contemporary knit fashion is various and exaggerated in our modern fashion world, and also to give the direction of new knitwear designs through the visual analysis of exaggerated knit fashion. Literature research was done by studying reference books and magazines, leading papers and based on a dissertation thesis. This study collected 787 designer's works published in the world's big Four collections from the 2000 S/S to 2011 S/S, in 23 seasons during 12 years. In answer to 9 experts about the criteria of classification, 520 works were chosen and analyzed according to the standard of exaggerated knitwear. The result of the study is the followings: The type of exaggeration shown in contemporary knit fashion was classified in three categories; Enlarge exaggeration, reduce exaggeration and transform exaggeration. As a sub-category, enlarge exaggeration was classified into three categories; Volume expansion and the expansion by the material, gauge and larger composition application expansion. Reduce exaggeration appeared as mini-reduction, skinny-reduction and transform exaggeration was respectively classified into deformation of the shape and patterns. The characteristics of exaggeration shown in contemporary knit fashion appeared as the new formative sense. In terms of fuller sense and surface, using various materials, gauge, changes in the composition represented challenges for textiles. The exaggerated contemporary knitwear expressed sex appeal using tight-fitting effect. Contemporary knit fashion simplified the design by taking advantage of the strong elastic attributes. It showed the beauty of women, expressed variability and limitless knit characteristics beyond the conventional thinking. In addition, it has been well represented as a form of freedom, amusement and diversity.