• 한국생활과학회지
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• 제24권4호
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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.

• 감성과학
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• 제11권2호
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• pp.139-152
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• 2008

대부분의 경영분석가들은 뷰티산업이 미래의 주요산업의 하나가 될 것이라고 예견하고 있다. 뷰티산업은 뷰티에 관련된 서비스와 상품을 포함하고 있는데, 이 시장에서의 경쟁은 더욱 치열해지고 있다. 뷰티 서비스와 뷰티 상품을 마케팅하기 위해서는 뷰티가 측정될 수 있어야 하지만, 실제적으로 뷰티를 측정할 수 있는 수단은 사실상 개발되어 있지 않다. 본 연구에서는 Langmeyer and Shank(1994)의 연구를 바탕으로 인물의 매력을 단일의 차원이 아닌 다차원으로 규명하고자 하였다. 총 258명의 대학생 응답자를 대상으로 인물의 매력에 관련된 뷰티의 차원에 관련된 설문을 실시했고, 이를 바탕으로 인물의 매력에 관련된 뷰티의 차원을 도출하고, 뷰티 측정에 대한 관리적 시사점을 제시하였다. 본 연구에서는 수행된 정량적 분석에 기초하여 최종적으로 인물 매력에 관련된 4가지 뷰티 차원을 도출하였는데, 2개 차원은 인물의 내면의 아름다움에 관련된 것(역동적 성격, 배려)이었고, 나머지 2개 차원은 인물의 외면의 아름다움에 관련된 것(형상, 스타일)이었다. 또한 본 연구에서는 추가적으로 응답자 특성에 따라 아름다움 인식에 차이가 있는지 분석하였다. 응답자 특성으로는 성별, 외적 아름다움의 인식 차이, 자신의 외모 만족도가 고려되었다. 분석결과는 자신의 외모 만족도와 아름다움의 인식 가치가 본 연구에서 도출된 아름다움 차원에 있어서 아름다움 인식에 영향을 미친다는 것을 보여주고 있다: 1)자신의 외모 만족도가 높은 경우 전반적으로 외모차원과 심성차원의 아름다움을 모두 높게 평가하는 것으로 나타났다, 2)아름다움의 인식 가치가 높은 경우 외면의 아름다움 차원을 내면의 아름다움 차원보다 상대적으로 더 긍정적으로 평가하는 것으로 나타났다.

• 한국의상디자인학회지
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• 제18권2호
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• pp.161-175
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• 2016

Sensitivity has become more important in relation to design in a changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China the discussion had begun. In Korea where the first scholarly discussion on aesthetics had begun around 1929, more and more rigorous and theoretical discussions emerge nowadays. Korean beauty consists of unplanned Beauty and unplanned planned Beauty. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes the nature as it is and Japan values the artful decorative elements. In modern Korean fashion, the characteristic Korean aesthetics of unplanned Beauty appears in the various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and simplified silhouette. Also, there are plays on balance and proportion using straight and curves lines and variegated colors and creative printing, intentional asymmetry, and destrution.

• 한국의류산업학회지
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• 제14권6호
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• pp.918-927
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• 2012

This study identified the aesthetic characteristics of the face description in late Joseon Dynasty beauty paintings. A total of 24 beauty paintings were selected as representative of the late Joseon Dynasty genre of painting works. The paintings were analyzed by the shape, color, and physiognomy of beauty trends from the components of women's faces expressed in the works of artists. The results of this study showed that the shape of the face components expressed a round, curved and thin line. Colors were expressed through Obang-sack (a traditional Korean color). Also the physiognomy of the late Joseon Dynasty's women was soft, wise, economical and brilliant. A round-forehead meant that economical and virtuous housekeeper, thin crescent shaped eyebrows denoted women of wisdom and excellent sensitivity. Single long thin eyelids and implied a women of longevity. A round curved nose were eager tobe a wise mother and a good wife. Small concave lips were desired eagerly by gentle and intelligent women. A curve face implied a subjective women of insight and good memory. In conclusion, the late Joseon Dynasty beauty paintings expressed a traditional Korean beauty face and a modern baby face. The data are useful for the aesthetic standards of modern through meaning of Korean traditional beauty.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• 고전문학과교육
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• 제15호
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• pp.265-301
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• 2008

In this writing, issued beauty as Hyangga(향가) creative motivation into the focus, its expression modality is discussed and then an aesthetic sense of Sil-la is considered. For its research, in "Samkukyusa"("삼국유사") some Hyangga - , , , - that have phraseologies for beauty meaning are choose for the discuss. First, beauty as Hyangga(향가) creative motivation were expressed by above methods. 1. Beauty as desires for acquisition and confirmation in 2. Beauty that the subject (the writer) looked upon in 3. Beauty that felt pathetic for declining in 4. Beauty that arouse from disillusion in Second, an aesthetic sense of Sil-La in "Samkukyusa"("삼국유사") showed as the above. 1. Physical beauty that Sil-La were attracted by 2. Beauty as the glorified object that Sil-La were attracted by 3. Beauty as the virtue notion that Sil- La were attracted by In consequence, it is discussed that Sil-La had an aesthetic sense as the perfect virtue united the transcendence and the real.

• 한국패션뷰티학회지
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• 제3권1호
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• pp.20-28
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• 2005

As the size and the diversity of the beauty industry grow, the need for systematic marketing strategy in beauty shop also increases. This study aims at finding 1)how to segment the market of beauty industry based on lifestyle variable and 2)how to set up the corresponding mix strategy on target market. The case of 'B beauty shop' shows that the validity of lifestyle-based segementation model is verified as the shop has posted a drastic financial outcome during last 5 years. In addition, this study implies that the corelation research between lifestyle variables and marketing mix strategy should be included as an important factor in launching a beauty-related business in segmented market.

• 한국의류학회지
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• 제31권4호
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• pp.574-583
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• 2007

This study aimed to look into the features of the hair beauty service components and the effects of these elements on customer satisfaction and word-of-mouth intention. Subjects were 20's-40's women and survey methods such as frequency analysis, t-test, ANOVA, factor analysis, reliability analysis, and regression analysis were used. Results were as follows: First, hair beauty service were composed of eight factors such as facilities of hair beauty salon, employee's kindness, amusement facilities, light refreshments, guidance to a process of hair style, keeping service for personal belongings, reservation service, and customer management. Second, the effects on customer satisfaction was significantly affected by facilities of hair beauty salon, employee's kindness, guidance to a process of hair style, customer management, keeping service for personal belongings, light refreshments. Third, customer satisfaction with hair beauty service affected the word-of-mouth intention.

• 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.

• 한국의류학회지
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• 제17권2호
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• pp.167-175
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• 1993

Meaning of expressive words on the beauty of clothing is to comprehend inclusively with subjectivity and sensitivity. Suppose that meaning of the words was analysed, the study would be found type structural through a type of meaning component and inner reciprocity of elements. Category in the Beauty of Clothing was to consider various languages on beauty of clothing as the concept of the type. The purpose of this study was to clarify the concept structure of Categories in the Beauty of Clothing. In this paper 'Chic' and 'Dandism' were analyzed. As the result of the study, it is constructed at three different dimensions. They were the Beauty of phenomenone such as surface level, the Beauty of essence such as element level, and the Beauty of process that existed between the surface level and the element level. In addition, the idea words of each dimension were as follows; The Beauty of phenomenone was expressed 'refinement', 'wisdom' and 'originality'. The Beauty of essence was included 'subtlely', 'grace', and 'sence/reason'. The Beauty of process was included the method of 'harmony' and 'proficiency'.