• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.127-137
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• 2014

The following are summary and result of this study. The purpose of this study was to research into TV makeup types focusing on Korean aesthetics with recognizing importance of Korean thought amid what the global interest pays attention to South Korea thanks to the recent influence of Hanryu(Korean wave). The humorous beauty reflects Korean people's optimistic attitude dubbed the realization of joy, anger, sorrow, and pleasure through opposition and convergence in ambivalent emotion with the superb attitude available for escaping from a stoic life. This is being indicated in the shocking form of embracing the avant-garde experiment through transforming and distorting by positively accepting humor and ugliness, which are the form of distortion and exaggeration, which strive for departing from sorrow through TV entertainment programs. This trend is being shown similarly to the tendency of giving mental satisfaction to human being with amusement while accepting ugliness as new beauty with the de-centralized recognition in the late 20th century. Accordingly, as the makeup of focusing on presenting character begins to be noted even in makeup, the similarity was being shown to the recent trend. This study is expected to contribute to continuous development in our country's makeup and TV broadcasting art field by being expanded the atmosphere of more systematic and in-depth research.

• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.811-819
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• 2004

The purpose of this study is to examine orientalism in Korean modem fashion by Korean fashion designers. Orientalism in fashion has been widely known to people by the efforts of many researchers, but that in Korean fashion wasn't. We thus study the aesthetic meaning of Korean orientalism, and extend it to oriental fashion as well as meaning of modem orientalism shown in Korean fashion. For this study, we categorized the orientalism in Korean fashion as follows: 1) mix orientalism; 2) natural beauty with non technical skill; 3) humorous beauty; 4) color beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.29-42
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• 2012

Historically, the pattern and technology of Copts' textiles, who were a minority in Egypt, have been studied a lot in the textile sector due to its unique characteristics. Unlike ones in other regions that appeared around the same time, the overall configuration ratio of the patterns looks exaggerated or distorted because they expressed it plainly by interpreting the world with ordinary people's eyes. Also, because it had used mixed linen and woolen yarns, harsh expression way and the use of various colors have been one of the features in Coptic textiles. Coptic textiles, which have been developed along with the historical development of continued domination from neighboring countries, have expressed the effects of the Roman Empire, Christ, Christianity, and Islam on the pattern of its fabric. This study analyzed its characteristics which make people smile by the way of expressing a simple and humorous representation of the textiles and categorized them as Humoristic Beauty - the aesthetic category of humorous feature. In this study, the Humoristic Beauty in Coptic textiles has been analyzed in terms of the following three smiles; the smiles coincidental with the flow of time, the smiles made by the shaping of distorted proportions and appearance, and the smiles like folk-paintings made by a rustic expression way. This study shows the possibility of the further studies on the textile patterns history from a different angle. I look forward to more detailed analysis in the follow-up studies in the future.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.452-466
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• 2013

The Silla Dynasty was an open society and was an independent, creative, brilliant culture built on diverse cultures and values. Transforming from the Silla Dynasty to the Unified Silla, it unified the culture of the Three Kingdoms into one. It also displayed unique clothes that adapted new foreign elements into rich clothes forms unlike previous styles. This study first classifies the aesthetic consciousness of the Silla Dynasty by exploring the beauty of the Silla Dynasty realized through artifacts, books, and records in the Silla Dynasty and defines the each characteristic of the aesthetic consciousness. Second, it highlights the independency of Korean beauty through an investigation of how the aesthetic consciousness form appeared through these new appearances in the aesthetic consciousness of Silla Dynasty clothes. The results of the study show that the aesthetic consciousness of the Silla Dynasty can be inferred through Silla Dynasty artifacts, literature, sensuous beauty, and records that were classified into random natural beauty, humorous beauty, and decorative technical beauty. The Silla Dynasty aesthetic consciousness and aesthetic consciousness appeared in Silla Dynasty clothes based on the aesthetics of authenticity that created the honest and simple aesthetic moving of the early natural aesthetic sense of the Silla Dynasty. Silla Dynasty clothes are found to have transformed into an ornamental aesthetic consciousness of a sensual and decorative aesthetic consciousness in a Unified Silla.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Journal of Fashion Business
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• v.8 no.5
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• pp.144-154
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• 2004

The purpose of this study is to consider the characteristics of character's body-image throughout the on-line games and with this study we researched the symbolic meaning reflected by the character's body-images throughout the fashion. The characteristics of the body-images presented in modern fashion is expressed in 4 features on Lineage II game. First, it adopts the ways in which modern fashion expresses the erotic image and represents various sexual stimulation, which can not be represented in the real world, in cyberspace. Second, it expresses the beauty and taste in sensitivity by exchanging the items, which are the features of body-image, each other as the neutral body-image and pursuits for the double side feature between males and females by dismantling the point of view to sex. Third, it shows the new value system different from the existing one by using extraordinary items and materials that you've never seen in real fashion as the abnormal body-image expressed in informal and inaccurate principal of deformation. Fourth, it show the body with the items which induces more interest and curiosity than the real world do as the humorous body-image accompanying with childish amusement and pleasure.

• The Journal of the Convergence on Culture Technology
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• v.4 no.4
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• pp.161-166
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• 2018

Sojeon, Son Jaehyung(1903~1981) was interested in the composition of the classical writing style of Han-gul and its merits in the operation of the brush. And a genius, modern sense of sculpture and ingenious ideas applied to the calligraphy. Thus, he succeeded Tonggukjinche by sublimating it into a unique Handwriting pure and humorous. Sojeon Hangul Calligraphy is exaggerated in consideration of the change of direction, thickness and length of the stroke. There is nothing strange about law and organization and express the great beauty of the great art of harmony and change. Sojeon's contribution is significant in that it has not only become a model for the development of Han-gul calligraphy, but also created a new area of space in modern calligraphy.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.27-39
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• 2004

Since around 1990. some experimental and shocking ugliness images have been expressed in Fashion and Make-up as well as Fine arts. The purpose of this study is to investigate the trends of ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the expressions through formative elements and to anticipate the prospect of Make-up in the future. Ugliness is the most negative aesthetic value which is lack of beauty. The 20 century art trends representing the ugly shape have been distorted or deformed or destroyed and extremely exaggerated with yellow, red, black, blue, white, green. The image and color of ugliness can be summarized as historical, avant-garde, decadence, de-constructive, humorous, futuristic trend and Most of colors are the achromatic ones like black, white, dark gray and red. blue, dark brown and so on. These colors cause some negative attributes such as fear. anger, death, devil, Pain, bad, ill omen, sorrow, despair and the like. At the turning Point in 21C are to be extended the range of color according to the experimental attempts such as informal, collage, graphic and the forth. Lastly, The characteristics of ugliness images expressed in the color of Modern Make-up have been analyzed into formlessness and inaccuracy and deformation by Karl Rosenkranz＇s theory.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.167-185
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• 2013

Among korean traditional culture, TalChum(mask dance) which bears our unique cultural emotion, is about wearing a Tal(korean mask) and dancing, which express our ethnic feeling. The ethnic feeling was expressed into silhouette of hotel uniform which sightseers at home and abroad most frequently visit. This would be the best and the fastest way to show and deliver ethinic feeling of Korea. Fashion design of an uniform would be the best way to express group's unification and attachment. The purpose of this study was to design uniforms, in order to satisfy the property of function, aesthetic points, symbolism to inhere and to differentiate the group from others by using plastic and creative design. This study was meant to induce people to get near to characteristic of Korean culture, using hotel uniform design. Mask's plastic beauty of characteristic Chosun dynasty and express vividly Tal's image with Korean traditional reality was applied on hotel uniform design. By doing so, visitors can come back to the hotel with longtime memory of Korea. The characteristics and the humorous symbolism of Tal were designed and applied to uniform design on collar, bodice, pocket, and sleeves.