• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.53-68
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• 2004

The purposes of this study were to classify the contents of lifestyle of adolescence consumers, to examine the differences of lifestyle, importance of store attribute, preference of fashion store according to demographic variables, to test preference of fashion store and lifestyle, preference of fashion store, and to examine how the preference of fashion store was influenced by lifestyle, importance of store attribute, and demographic variables. Subjects were 317 adolescence consumers(13-24 years) in Seoul, Korea. Preference of imported & brand goods, orientation of fashion & beauty life, and family orientation had a direct effect on preference of department store($R^2$=.129). Sex had an indirect effect on preference of department store through orientation of fashion & beauty life. Search of video media & information and age(-) had a direct effect on preference of entertainment shopping center($R^2$=.150). Orientation of fashion & beauty life(-), sales promotion, sex, and reasonable consumption had a direct effect on preference of discount store(R =$^2$.109). Sex(-) had an indirect discount store through orientation of fashion & beauty life, and sex(-), search of video media & information, age(-), and reasonable consumption did through sales promotion. Sales promotion, preference of imported & brand goods(-), and store atmosphere(-) had a direct effect on preference of traditional market($R^2$=.060). Sex(-), age(-), search of video media & information, and reasonable consumption had an indirect effect on preference of traditional market through sales promotion, and search of video media & information, reasonal consumption, and acceptance of foreign culture did through store atmosphere.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 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.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2014.05a
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• pp.186-187
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• 2014

The principal government building of Kyungsanbuk-do was designed to show korean traditional architecture with tile-roofed house to reflect the image of Kyungsangbuk-do as the province of traditional culture. The roof of korean traditional architecture is the most importanat part that distinguishes the design character of a building and is important to determine degree of completion. As this is so, in the design phase, we reviewes the design documents about the proportional and slope of the roof, durability and sizes of component material and the structure of eaves. In the construction phase, it was required to cooperated with specialists of traditional architecture for realization of traditional beauty of the buildings as designed.

• Korean Journal of Human Ecology
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• v.15 no.2
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• pp.197-208
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• 2006

In this study, we investigated characteristics of sex-role stereotyping on 150 award-winning and traditional fairy tales (42 award-winning and 108 traditional fairy tales). The results were as follows: The depiction that female characters were rewarded for skills and competence, not for beauty, appeared more frequently in traditional fairy tales than in award-winning ones. Women were portrayed frequently as docile and passive in traditional fairy tales than in award-winning ones. Also, it was more frequently shown in award-winning tales than in traditional ones that male and female characters participated non-equally in physical activities.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.71-88
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• 2017

The purpose of this study is to reveal that the deconstructive dis de phenomenon in contemporary fashion beauty design can be interpreted from the viewpoint of Korean aesthetics by having an open mind of coexistence. The typical characteristics of dis de phenomenon are decomposition, decentralization, and discontinuity, and these can be compared with beauty of non-artificialness, unity, and humor, which are characteristics of Korean aesthetics. In other words, the dis de-phenomenon rejects traditional composition and uniformized expression, and seeks various images by accepting the bi-national confrontation concept, this is similar to Korean aesthetics, which experienced atypical diversity by concentrating on the inner spirit rather than the outer form through indifference to technique, form, and honest human emotion.

• Journal of the Korean Applied Science and Technology
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• v.38 no.6
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• pp.1433-1444
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• 2021

This study was conducted for the purpose of developing a curriculum to educate the practical skills required in the industry by convergence with the 4th industry in the beauty field, which has been accelerated since the Corona era. As a result of an exploratory investigation of several literatures and collecting expert opinions, it was analyzed that the field of beauty industry will expand to a personalized service providing industry that combines medical, bio, ICT, and artificial intelligence technologies, rather than providing a single item or service. Based on the analysis contents, the curriculum was composed and subjects were derived by adding digital application skills to have in addition to the basic job skills required in the traditional beauty industry. The post-Corona era will bring changes in various industries based on the Fourth industrial revolution, and in response to these changes, universities should always pay attention to changes in the industry to develop talent for the development and sustainability of the beauty industry.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.