• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.30-39
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• 2015

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.137-158
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• 2005

Modernization of Korea had begun with the reformation of the Kab-o Reform in 1894, which the government had designed after the protectorate treaty with Japan in 1876. It had affected drastic changes on the formation and framework of a Han-bok by government and the main changes is found in creating new style of Gae-ryang Han-bok. During 1980's, the peoples were interested in traditional cultural heritage, and 'the campaign of wearing Woo-Ri Ot' prevailed in Korea to instill the radical sprit of Korean. A Han-bok, which was made at this time, has called a Saeng-hwal Han-bok. The purposes of this study are to defue the the words that are Han-bok, Gae-ryang Han-bok and Saeng-hwal Han-bok of meaning and characteristic based on the previous studies and historical materials and present a unified and historical opinion about Han-bok to the academic world and industry of Han-bok by the consideration. Han-bok is a traditional costume with a long skirt and long breast-tie based on the later Cho-sun and is emphasized a virtue and manner on it. Gae-ryang Han-bok is an improved Han-bok that is include with a Tong-Chima and Jeogori for making a movement and function better. Saeng-hwal Han-bok is originated by the movement of wearing Woo-ri Ot in 1984, is interpreted the traditional Korean beauty from the modem view and is a practice Han-bok for popularizing intodaily life. After investigating the 33 of previous studies, the characteristics and transitions of Han-bok are followed. First, the reason of fail about the reform of dress is a loss of traditional beauty. Second, the yes or no of the establishment of law about the reform of dress, it influenced on a reforming or wearing speed of costume. Third, after 8.15, a modem girl and girl student can not impact on a system of Korean women anymore because, the number of the group that means a high educated and active woman, was growing. So, the elevation of women's education matured the system of Korean women's costume. forth, western style clothes are popularized after the Korean War and it is set down in the system of Korean women's dress.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.63-83
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• 2011

This study aims to prove the changes, development and social background of Korean male cosmetics over the period of 2000-2010. There were total 574 articles written about male make-up and cosmetics in Chosun Daily, Joongang Daily and Donga Daily, which are the top three Korean local daily newspapers in terms of sales revenue for that period. These articles were analyzed together with social background research from various books and daily newspapers. The analysis of articles was divided into different categories; such as foundation cosmetics, color cosmetics, hair, and the social background. It was found that the articles related to foundation cosmetics were written the most, the articles related to male appearance management were second, articles on other items including how to manage the skin being the least. As for the social background of Korean male cosmetics, first of all, a change in social recognition can be pointed out. The traditional understanding of gender roles has changed, men's appearance management has started to be regarded as a competitive talent, and at the same time, the esthetic viewpoint for men also has changed. One example is the newly made popular term, "flower-handsome man", which shows the new trend of favoring males with nice skin. Second, the expansion of mass culture can be pointed out. As consumers can get information and fashion trends easier and faster, the fashion spreads fast, and this has led to the generalization and popularization of the sense of beauty. Third, the development of scientific technology and medical science can be pointed out. Thanks to the progress in those areas. the extension of youthfulness has become possible and the cosmetics industry was also affected greatly, as shown in the market spread of functional products for anti-ageing and wrinkle control as the interest in anti-ageing has grown. There are benefits from the development of scientific technology, but the problem of environmental pollution has appeared due to machinery and industrialization and thus the issue of well-being has been raised. Rising interest in naturalism, pro-environmentalism and organic cosmetics has influenced the cosmetics industry. In addition, the quantity of ultraviolet rays exposed to our skin has increased due to the air pollution caused by the destruction of environment, leading to increased usage of sun block lotion. Lastly, the influence of consumer society and the expansion of consumerism culture can be pointed out. In the modern society, consumption acts not only as the use of products and services but it also has an important role of mediating individuals with others and the society. The market for male cosmetics has been expanding and the number of men putting on make-up has been increasing rapidly. Therefore, this study is meaningful in that the analysis of the mode of change and the social background are an essential process in order to provide a direction for the future market for male cosmetics.

• Journal of the Korean Society of Costume
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• v.29
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• pp.5-22
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• 1996

the present thesis aims to contribute to the further development of the men's wear indus-try in Korea which now confronts the need to adjust itself more actively to the conditions of the coming age of internationalization and free trade. To achieve this this thesis suggests the trade should provide for the changing domestic needs on theone hand and refine its wares as high value-added products in compe-tition with those from the advanced countries in fashion industry on the other, The history of the 'suit' the standard men's attire dates back to 1850 when the 'Ditto suit' was introduced composed of coat waist coat vest and trousers to remain virtually unchanged till the end of the nineteenth cen-tury and the modern men's wear originated in Britain. In Korea since the introduction of western clothes from 1876 custom-made suits had been dominant until 1944 while western clothes earned popular currency between 1945 and 1964 and ready-made suits began to spread with their advantages recognized in terms of practicality convenience and functionality The next phase from 1965 to 1985 witnessed the establishment of a number of ready-made brands although custom-made suits stayed in their height of prosperity until 1975. The turn-ing point for the men's wear industry came in 1975 when high-calss ready-made brands be-gan to turn up with the arrival of large companies in the market matching the change in consumers' life style. The men's wear market went through further diversification and specialization dur-ing the years between 1985. and 1990. Around the year 1990 however the expansion of the business suit industry came to slow down ac-companied by an oversupplied market. The fashion of pragmatism in the 1990s called for the growth of the casual wear department and as consumers' life style became more and more individualized conscious dressing in accord ance with T.P.O established itself as an important branch of culture, Such casual boom is likely to aid in promoting Korea's men's wear indus-try to peer with that of advanced countries. Consumers' fashion sense is now ahead of the trade's as well as being shortcycled highly individualized stylized and diversified. To meet consumers' demands under such circum-stances each company is required to develop its unique soft Know How based on accurate information and strategically specialized plan-ning. The trade should convert its hithero producer-oriented strategy to a new consumer oriented one and actively lead the needs and purchasin g pattern of consumers by providing an efficient and reasonable price policy with optimum supply of merchandise and also by presenting 'our' trend suited to our circum-stances.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.3 s.3
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• pp.11-18
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• 2004

The purpose of this study was to review the origin and background of well-being, the emerging well-being culture, and the phenomenon and features of the hair beauty affected by it. For this purpose, the researcher reviewed dissertations written between 199a and 2002, copies of the beauty journal Short Hair published between 2002 and 2003, beauty newspapers published between March, 2003 and June, 2004, and relevant Internet sites. When we review the well-being hair style tendency, we may be reminded of a light shaggy cut style with a thick wave volume or a natural wave highlighted, or a natural style with a natural color rendered by the braid technique. The well-being hair styles may be inspired by such natural images as the earth, sand, rock, wind, feather and flowers, while using cut, permanent wave or coloring technique for the hairs, in order to create new hair styles. The goal is to make men in contact with the nature. Meanwhile, as people are more concerned about diverse hair textures, natural and healthy hairs, they want their hairs to look comfortable and active rather than luxurious. The well-being cut styles may be categorized into cut style highlighting healthy hairs with a Bobos luxury and soft and light stroke cut reminiscent of a Bohemian freedom. The well-being permanent style may be divided into thick wave, natural wave, and the permanent style using a strong wave to make hairs look bloated. The hair colors reminding us of some natural images are used to highlight a well-being image. In addition, the concept of well-being pursuing a happy and healthy life has been being introduced into the permanent wave material liquids; such liquids made from natural materials, fruits or herbs increase, while environmental-friendly liquids or materials are used more for healthy hairs. The reason why the well-being culture influences hair styles importantly may be that people's desire of healthy body and mind and a comfortable life is reflected in hair styles. In conclusion, as the hair styles or an index for a new cultural current in our modern age are influenced by the well-being phenomenon, more and more people will put priority on healthy hairs. So, it is deemed necessary to apply the well-being hair styles appropriately to render satisfactory hair styles.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.95-111
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• 2008

Now when Wests meet Easts, they approach with a motive of acknowledging Eastern or Asian value, concretizing and sharing philosophy. As the result of this study through comparing Eastern and Western view of thinking, First, East is the cosmic beauty of harmony that pursues the harmony with the nature involving emotional and humane affection, and West has the tendency of proportional beauty of harmony involving order and balance. Second, East pursues the metaphorical beauty of mimesis which implies more in invisible parts, and West has the tendency of pursuing visual beauty of mimesis which has contents in visible parts. Third, East is the sublime beauty of nothingness which suggests a blank is endless infinitude of doctrines and mind breath, and West pursues the sublime beauty of being which desires to fill tangible existence without blank. Fourth, East is the expressive beauty that has the intuition of pleasure, which gives weight on non-clearness, emotional joke, and satire, and emphasizes a comic phase, and in West pursuing clearness of order, the concept of the ugliness of disformation is the intuition of defiance, and close to intuition of sadness.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.963-978
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• 2008

This study examined the images and formative features of female characters portrayed in fantasy films. This study aimed at providing an applicable theory to modern fashion by reconsidering the images of women appearing in fantasy films and arranging fantastical features reflected in costumes of female characters. The followings were the results of the study: The first divine nature that human beings discovered was woman nature. The discovered stone worked of the prehistoric age had a meaning of the great mother of universe and expressed a positive image. Such positive images of the goddess were variously differentiated to negative images or reduced in their roles and meanings in the settlement process of patriarchy as well as sociocultural transition. The foremost examples of negative image were expressed as grotesque, destructive, otherness, sensual, and exotic. The positive image of a goddess in fantasy films was not especially emphasized. On the other hand, the negative images of the goddess and the case of costumes were variously expressed as well as emphasized the typicality of the negative image of the characters. It was reconsidered that the typical features of characters in fantasy films were a result of the image of women following sociocultural transition. In addition, it was confirmed that such result was being reflected in film costume.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.6
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• pp.1094-1105
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• 1997

Balla within Italian art is characterized by the irreducibility of proteiforme work. He was aware of the possibility of abolishing all the barriers between major arts and minor arts and he placed dissemination of art in life: He applied his idea of a lively, joyous art to the world around him. His irruption of art into life appeared in futurist clothing. As a father of Futurist fashion he designed the futurist dress for men and women. It was invented a new type of dress. It was conceived as the realisation of his art-life-festivity and created with an mimic funtion of modern city. In futurist men's out-fit, he eliminated static lines, forms and colors and he used asymmetrical cuts and various strong bright colors. The colors was the determinent of factor of use of clothing. Women's dress was secondary to his reevaluation of the male dress but it was current with other European trend. He made dynamic patterns in textile design, which were the key point in the futurist design. The factors of the futurist textile design were abstract character, dynamic character and asymmetrical character. But the patterns was not related to the dynamic forms. His invention of the new style was simple form with dynamic patterns as a modernizing factor in clothing design.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.49-62
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• 2008

The purpose of this study was to analyze the signification system between color and clothes systematically in black and white clothes. For this purpose, after examining the images of black and white clothes, we selected 55 clothes that represented as black and white and analyzed their meanings and the sources using semiotic framework, based on the work of Saussure and Barthes. The results as follows: First, the meaning in black and white clothes was generated from original color image. White clothes of religious person like Virgin Mary, Angel expressed pure and sacred color image. And black clothes like funeral dress expressed grief and death. Next, the meaning of black and white clothes was regenerated into modern color image by new environment. After industrial revolution, black was considered as a traditional men's fashion color. With diverse leisure activities, white sports wear appeared as active and clean image. Finally the source of the meaning of the clothes was the designer or the wearer. A little black dress by Chanel who was interested in simplicity and function represents an ideal of simple and sexy object. The situation is complicated by the fact that these three kinds of explanation may be found singly or mixed together.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.