• Journal of Fashion Business
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• v.20 no.1
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• pp.127-141
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• 2016

Korea traditional dresses are making news everyday through popular media and a number of exhibitions and fashion shows that have been held as a way to activate the use of the hanbok. This study intends to examine the current status of handbook brands and analyze the aesthetic characteristics of the hanbok. This study defined the terms related with the hanbok and examined the chronological changes in the hanbok through a literature review, an examination of the aesthetic characteristics of Korean traditional clothing, and an analysis of the aesthetic characteristics by dividing currently available hanbok brands in to the traditional hanbok. According to the results of the study, hanbok brands were divided into Traditional Hanbok, Life Hanbok, and New Hanbok. The Traditional Hanbok brands represented traditional beauty, the beauty of formality, symbolic beauty, and the beauty of nature. The Life Hanbok brands represented symbolic beauty, natural beauty, the beauty of blending, and the proportional beauty. The New Hanbok brands represented natural beauty, unproportaional beauty, the beauty of line, and the beauty of moderation. Therefore the New Hanboks gave changes to the traditional clothing and the unique clothing of our nation. Its formative elements coexist according to their characteristics.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.946-955
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• 1997

The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.99-108
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• 2017

In modern society, the succession and development of tradition can be an enabler of the state in the flow of culture, and the process of modernizing traditional costumes is meaningful work. Neckties are essential in modern Korean men's wear, and they are an important part of men's ornamentation. Accordingly, this study aims to present a necktie design that applies the traditional men's ornaments such as the Ip, Ipyoung and Manggeonsik. The research method is based on a literature review and presents four Korean necktie designs via Adobe Illustrations. As a result of analyzing the beauty of the traditional Korean men's ornamentation, it was categorized into rhythmical beauty, emphasis beauty, and natural beauty. Applying this to necktie design, Design 1 imagined the silhouette of a man wearing a Got and Durumagi. This applied emphasis beauty. Design 2 applied the shaking images of Got and Got-kkeun to apply rhythmical and emphasis beauty. Design 3 applied a man's upper body silhouette and the shape of wearing a Got. This was to apply natural beauty and emphasis beauty. Design 4 applied the shape of Got-kkeun and Gwanja to rhythmical beauty and natural beauty. The significance of this study is that the development of necktie designs using formative Korean elements can be a part of efforts to recognize the possibility of traditional Korean culture and to explore developmental directions under the current situation in which Western clothing is accepted without thought. It is a good idea to suggest the possibility of the modern use of Korean men's ornaments.

• Fashion & Textile Research Journal
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• v.14 no.6
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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.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.57-66
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• 2010

Currently, the nature and ecosystem's destruction by human beings and science is appearing as a serious problem. The possibility of ecological aesthetics is being sought as one of operations for new society in the contemporary society that the nature and ecosystem are getting attention, The present research aims to examine the characteristics and its expression method by setting the ecological aesthetics as an alternative of the future design. The history, meaning, mental image and image of Korean traditional Space forming the balance and harmony with the Nature, etc., which are important design concepts, were deduced as the beauty of emptiness, the beauty of a gap, the beauty of harmony and the beauty of changing and the beauty of simplicity as characteristics of experiencing space. If the deduced expression is examined through a case analysis of traditional housing, the characteristics trying to unite with the Nature while seeing ecology and aesthetics as one root, which the ecological aesthetics regarding as a root. The ecological arts based on the ecological aesthetics enters inside the universal life of human beings by examining the ecological and aesthetic characteristics appearing in Korean traditional Space, and the arts will move forward in a direction that its function and role link with maintenance of total ecosystem. The space application possibility and expression characteristics of ecological aesthetics should be continuously researched.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.