• 대한통합의학회지
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• 제7권3호
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• pp.21-32
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• 2019

Purpose : The purpose of this study was to analyze perceptions of well-being and characteristics of beauty care tendencies among women, in order to provide basic data for the establishment of a well-being and beauty management direction. Methods : The domains examined for perceptions of well-being included spirit-oriented, material-oriented, self-oriented, and appearance-oriented values. The domains examined for beauty care tendencies consisted of appearance interest, social factors, and beauty care behavior. A survey of 320 women was conducted. In the analysis of the data, t-test and analysis of variance were used to examine the relationship between perceptions of well-being and beauty care tendencies based on sociodemographic variables. A multiple regression analysis was used to analyze the factors affecting beauty care tendencies. Results : The analysis of the perceptions of well-being among the participants indicated that they tended to be more aware of the mental aspects of well-being and seldom recognized well-being as having material aspects. Therefore, they recognized the concept of well-being as something mentally oriented. The analysis of the factors affecting beauty care tendencies indicated that the participants were most greatly influenced by spirit-oriented values, and the more appearance-oriented values were emphasized, the more focus there was on beauty care. Conclusion : This study found that well-being is a luxury, and traditional beauty care involving care of the mind and body can be effectively utilized if the beauty care is based on the recognition of mentally oriented well-being.

• International Journal of Costume and Fashion
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• 제11권2호
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• pp.13-24
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• 2011

This study explores the opportunities for new market of traditional Korean costumes, Hanbok, following not only the consumer's needs and wants, but marketing trends of fashion industry. This paper is the exploratory consumer research of fusion Hanbok, it aims at examining how consumers wear fusion Hanbok. Study participants were limited to mothers who wore Korean-fusion Hanbok to their baby's first birthday party once or more. A total of 221 respondents completed online questionnaires. The results of this study are as follows. First, regarding the reasons of wearing fusion Hanbok is a beautiful and traditional dress although traditional Hanbok is uncomfortable and inconvenient. Second, the most satisfactory aspect of fusion Hanbok was found to be its design. Satisfaction with the color, size and length was also high. Third, most female consumers in their 20s and 30s have stronger preferences for and intentions of purchasing fusion Hanbok. Some people criticize that as fusion Hanbok is westernized in its designs and materials, it has lost the classical beauty and impression of traditional Hanbok. However, if no one routinely wears Hanbok, Hanbok will never be popularized or globalized. This study suggest that traditional Hanbok should be improved by developing effective merchandising strategies based on consumer needs for traditional Hanbok such as various product assortment and promotion strategies using traditional Korean beauty. So, traditional Hanbok could be retained and succeeded in the future by improving consumers' dissatisfactions of traditional Hanbok and creating the new market of traditional Hanbok in which fusion Hanbok are produced focused on consumers' needs and market environments.

• 식품기술
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• 제22권3호
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• pp.430-444
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• 2009

• 패션비즈니스
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• 제13권4호
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• 한국패션뷰티학회지
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• 제1권1호
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• pp.143-151
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• 2003

As korean women despised to transform their appearance into totally different shape, and they regarded to enhance a inherent beauty ideal beauty, korean traditional make-up culture was natural. But in modern society, make-up has been developing as one of the beauty industry and it means make-up involves more meanings than primitive period and needs to study its multi-dimensional connotation to understand in the culture. The purposes of this study were to find out what was represented in make-up ad and how it has been changed. The data of this study were collected from make-up advertisement printed in 'Hyang Jang' which is a periodical of amole pacific cosmetic industry from 1972-2001, and qualitatively analysed. As a results of content analysis were: The characteristics of non-verbal expression in make-up advertisements were different by the time. Generally person-appeal advertisements were more than product-appeal advertisements. And in the 1970s and early 1980s, person-appeal advertisements were appeal to the lifestyle, but after that person itself was appealed. And also after early 1980s, image-appeal advertisements were increased.

• 한국의류학회지
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• 제43권2호
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• pp.255-273
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• 2019

Perceptions of beauty change and are shared with others in the media of emotional words. In the modern age, a mix of traditional and modern make-up cultures has changed the standards of beauty. Therefore, an analysis using emotional words (an image that consumers have for certain subjects) and an image scale that intuitively shows them can be an important means for understanding changes in the "beauty of the time". This paper considered changes in typical aesthetic characteristics that women pursued through make-up by analyzing emotional words in white make-up powder advertisement texts from the 1920s through the 1930s. Imported modern technologies changed cosmetic manufacturing techniques and advertising methods to create a momentum that changed women's make-up culture from light to heavy make-up or from white to color make-up. Such changes have led to changes in the perception of beauty and were expressed through sensitive vocabularies such as pure, new, fresh, lofty, lively, healthy, and cheery. Such changes reflect social aspects such as women's aspirations for high status, pursuit of security, or women's roles under the wartime regime to show a change from beauty with an attribute of [+cool] to that of [+soft].

• 패션비즈니스
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• 제13권5호
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• 디지털융복합연구
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• 제12권10호
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• pp.525-530
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• 2014

현대사회는 디자인이 세계를 지배한다고 할 만큼 모든 면에서 새롭고 개성 있는 디자인이 요구되는 시대이다. 이를 뒷받침할 수 있는 것은 그 나라의 민족성이나 전통적 문화의 정체성이 자리하고, 현대 사회가 점차 세계화, 정보화가 되어감에 따라 한국 고유의 전통미를 재해석함과 동시에 계승, 발전시키는 것이 더욱 중요시 되어가고 있다. 조선시대의 여성들이 주로 사용한 장신구에는 수식장신구가 가장 많은 비중을 차지하고, 여인들의 머리모양과 머리장식이 신분이나 사회적 지위에 따라 발달하였다. 하지만 사회의 규범으로 인해 화려한 장식을 절제하고 정교함과 순박한 장신구들이 다수로 그들의 미적 욕구를 표현하였음을 알 수 있다. 문화적 정체성이 중요시되는 현 시대에 부합되는 한국적 이미지의 창출로 현대인의 기호와 접목 될 수 있는 신개념 장신구가 독특한 민족성을 지닌 우리의 문화유산으로, 우리 민족의 고유한 정체성 그리고 전통문화에 대한 새로운 인식과 함께, 한국의 미를 알리는 단초가 되었으면 한다.

• 한국의류학회지
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• 제34권8호
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• pp.1364-1377
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• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.