• 한국의류학회지
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• 제17권1호
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• pp.103-117
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• 1993

The purpose of this study is to clarify the adaptation of beauty of traditional dress depicted contemporary Korean fashion design. For this purpose, the external form and the internal meaning based on 'the double roots' proposed by W$\ddot{o}$lfflin were analyzed in Korean traditional dress. Documentary studies and objective studies were done with descriptive and content analytic methods. And homospatial process was devised in order to develop the traditional identity in contemporary fashion design. The results were as follows: 1. As the external form, H. O. A silhouette, chogori, ch'ima, paji, and po concerning internal type, kaftan, flat form related to structured type were represented. Traditional color sense were love of white, contrasting as well as analogous color harmony shown often in nature phenomena, and temperate achromatic color harmony. Texture were characterized as rough and coarse expressing vividness, fine and smooth expressing delicateness and tenderness. As the internal meaning, the beauty of purity related to nature, tragedy, and symbolism were represented. 2. Since 1980's. Korean fashion designers frequently applied unstructural kaftan form and H silhouette to Korean fashion design, and sought natural and pliable line in whole dress. Use of white and achromatic color harmony as well as use of linnen were prominent. Designers' aesthetic consciousness was pursuit of the beauty of nature. Representative designers who concentrated on expressing traditional beauty were Lee Shinwoo, Sul Yoonhyung, Jin Taiok and others. 3. A homospatial process could be a method in the creative design which enables to express Korean identity in fashion design, and could suggest ideas of new designs full of Korean identity by superimposed and fused imaginery.

• 패션비즈니스
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• 제21권4호
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• pp.90-104
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• 2017

In a rapidly changing fashion design world, creative ideas are always required. Knowledge has been created as an art, exhibiting a new imagination that surpasses reality, while being visualized from the past. The purpose of this study is to derive types of visualization of knowledge for continuous creation of fashion design. The study consists of literature and empirical studies. ATTA, a creativity evaluation method made by Torrance applied for analyzing of Gucci fashion design collections from 2016-2017. Creativity of the Gucci collection by ATTA evaluation items are that first, a vivid idea was revealed through collection history, myths and animal and plants, second, conceptual incongruity is in the composition of the garment, third, provocative questions are the symbolism of the meaning of the text, fourth, different perspectives derive a new formative beauty through the synthesis of twisted elements, fifth, abstraction is a symbolic expression of animals and plants, sixth, synthesis is a mixture of various materials and techniques by plural inspiration, seventh, context, it is developed as a design accompanied by stories of history and myth and eighth, fantasy is fictitious animals and animals and detail. In addition, formativeness of fashion design by visualization of this knowledge was extracted with contamination, symbolism, enjoyment and fabrication. Visualization of the knowledge is expected to be used as a strategy to attract ongoing ideas for creative fashion designs.

• 한국의류학회지
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• 제35권11호
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• pp.1285-1296
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• 2011

This study examines the effects of fashion and beauty consumption behavior on self-satisfaction. A questionnaire method was used for the study method and the subjects of the study were females in their 20s- 50s. A total of 580 sets of questionnaires were distributed and 554 sets were used for the final analysis; in addition, SPSS 12.0 statistics program was utilized for factor analysis, reliability analysis, correlation analysis, one-way ANOVA, Duncan test and multiple regression analysis. The results of this study were: First, the factors of fashion consumption behavior are composed of physical supplementation, social symbolism, appearance styling, sexuality and conformity and those of beauty involvement consisted of hair styling, skin management, make-up and body shaping. Self-satisfaction was divided into living satisfaction, appearance satisfaction, economic satisfaction and interpersonal relations satisfaction. Second, (because of the examination of the effects of fashion consumption behavior on self-satisfaction) fashion physical supplementation and appearance styling of fashion consumption behavior influenced living satisfaction and interpersonal relations satisfaction for females in their 20s. However, fashion consumption behavior did not influence satisfaction for those in their 30s. It was shown that the social conformity factor of fashion consumption behavior influenced appearance satisfaction of self- satisfaction for those in their 40s and the conformity factor of fashion consumption behavior gave a negative influence on life satisfaction and economic satisfaction of self-satisfaction for those in their 50s. It was found (for beauty consumption behavior) that the body-shaping factor influenced economic satisfaction and interpersonal relations satisfaction of self-satisfaction for all age levels.

• 한국응용과학기술학회지
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• 제40권2호
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• pp.355-362
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• 2023

영상매체에 등장하는 캐릭터는 성향이나 역할에 따라 상징적인 의미가 다르다. 『산해경』은 B.C. 3~4세기경에 지어진 판타지 소설로 중국의 고대 소설에 등장하는 캐릭터는 유형에 따라 재해를 비롯한 재물, 질환 등 다양한 의미와 상징성을 가지고 있다. 중국인이 생각하는 동물의 상징성과 판타지 소설에 등장하는 캐릭터의 상징성, 그리고 형태적인 분석은 중국의 캐릭터 개발 및 영화 산업에 필요하다. 본 연구는 중국 고전 판타지 소설 『산해경』,『산해경도상전체』, 『산해경도』와 청나라시대의 『산해경존』, 『산해경도록』을 중심으로 캐릭터 이미지를 분석한 결과 첫째, 삽화 이미지에서 캐릭터의 형태가 조금씩 차이를 보이고 있다. 둘째, 산해경의 453개의 캐릭터 중 수해와 관련된 캐릭터는 8개로 '장우', '합유', '화사', '영령', '부제', '승우', '만만', '나어'로 출현만으로도 홍수 및 장마와 같은 수해를 일으키는 캐릭터로 묘사되어 있다. 셋째, 현실 동물과 산해경 캐릭터에 등장하는 캐릭터의상징적인 의미와는 별도로 사물과 동식물이 결합된 창작 캐릭터임을 알 수 있다. 산해경의 지속적인 캐릭터 분석은 영화산업에 광범위하게 활용될 수 있다고 사료된다.

• 한국의류학회지
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• 제42권6호
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• pp.924-942
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• 2018

This study is to understand the symbolism and meaning of Yeomim in Korean traditional clothing. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, there are three types of Yeomim for Korean clothing. Various methods of Yeomim use different materials for tying clothes such as straps and buttons. Second, when we investigate how Yeomim of Korean clothing has evolved, left and right type of Yeomim had coexisted in ancient times and Dae had been used mainly to tie clothes. The Yeomim method has used various materials since the Goryeo Dynasty. During the Joseon Dynasty, right type Yeomim dominated with majority using Goreum. Third, Hanbok has consistently evolved with a unique bonding style that uses rectangular strap for Yeomim, from the ancient times. The particular Yeomim method of twisting a rectangular strap represents the circularity of space. In addition, Yeomim with a strap is characterized by the beauty of how its form can be highly flexible depending on the human body or location of Yeomim, which corresponds to an unbalanced and asymmetrical natural beauty unique to Korea.

• 한국의류학회지
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• 제32권5호
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• 패션비즈니스
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• 제14권1호
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• pp.116-131
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• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• 디자인학연구
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• 제16권3호
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• pp.231-240
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• 2003

모든 문화가 모두 그러하듯이 옷의 색채, 그 배후에는 그 민족이 몸담고 살아온 자연환경과 그 환경 속에서 화육(化育)화된 인생관이나 근성이 작용하고 있다. 혼례는 두 성(性)이 좋게 합하여 위로는 종묘(宗廟)를 모시고 아래로는 후세를 이루는 것을 널리 사회적으로 인정받는 것이다. 예(禮)에서 기본중에 하나가 복식이다 혼례복에 나타난 색채가 가지고 있는 의미와 상징성은 조선시대의 미(美)와 유기적인 조합으로 잘 나타나 있다. 현재까지도 지켜져 내려오는 전통 혼례복 속에 나타난 오방색의 특징을 찾아봄으로써 통념적으로 알고있는 다섯 가지의 촌스러운 색조화가 아니라 자연환경과 같이 청명하며 화려하고 철학적인 색채임을 분석하고자 한다. 본고는 한국혼례복에 나타난 색채의 특징을 알아보기 위하여 한ㆍ중ㆍ일의 혼례복과 단청을 일 예로써 비교하고 한국 전통 색채의 이론적 배경을 살펴보았다. 이를 통해서 한국색채는 의미론적 상징 색채이며 그 근원은 음양오행에서 출발했으며 도교의 태극도설, 유교의 도참사상과 단청의 색채가 직접 관계가 있음을 알 수 있었다. 이러한 음양(陰陽)의 오채(五彩)가 삼라만상(森羅萬象)을 나타내는 객이고 하나가 아닌 두 가지 색 또는 그 이상의 색채와 연결될 때에 상호작용에 의하여 균형미를 이루는 색채이다. 또한 자연숭배 및 인간존엄 사상이 깃들여 있으며 길복(吉福)을 기원함과 동시에 벽사(僻邪)의 의미를 부여한 것을 알 수 있다. 인간이 복되고 부정함에서 벗어나 우주만물이 조화롭게 이루어지길 기원하는 조형미는 시각적인 만족만이 아닌 정신적인 만족까지도 추구하는 미의식인 것이다.

• 한국의상디자인학회지
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• 제10권2호
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• pp.117-124
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• 2008

People have used the manner of expression "clothing" to find out and to symbolize the styles that suits one's roles, behaviors or altitudes. Moreover, the symbolic meaning of clothing is important as it reflects the culture of a time period as well at the life style of each classes of society. In the aspect in which clothing is critical data to re-examine a time period as to trace history, clothing is significant for understanding the characteristics of each time periods, and by focusing on women's wedding dress, a costume worn for one of the most essential ceremonies in one's life, this article studies how trends of each period have been symbolized through clothing. Thus, this study aims to set a foundation to understand the cultural features of a time period through the wedding ceremony. The article inquires about the hwalot to also understand its meaning during the period of its existence, and develops designs for modern wedding dresses for women. I. The wedding dress of women expressed the following meanings by using shapes, colors and patterns of the hwalot. 1) The formative art of hwalot is the ultimate beauty. 2) The wedding dress of women emphasized aesthetics. 3) The symbols praying for harmony between red and indigo, or the union of yin and yang indicates that marriage had been considered as a precious ceremony-an important matter of life. 4) The meaning of good auspice such as health, longevity, immortality, good luck and stability had been frequently used since people sought for new and eternal life. 5) The symbols of wealth and fame have been frequently used by those pursuing a wealthy life. 6) Marriage was considered as a union of families, and not a union of two individuals. II. This article presents two types of modern wedding dresses.

• 패션비즈니스
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• 제28권1호
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• pp.36-50
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• 2024

This study aims to explore the potential of integrating traditional Indian motifs into modern textile design that appeals to the MZ generation. The objective is to create patterns that reflect the rich cultural tapestry of India while aligning with contemporary sensibilities. To achieve this, the design process includes a comprehensive literature review on the historical background, symbolism, and structure of Indian textiles and a survey to determine if the developed design suits the preferences of the MZ generation. Digital design tools such as TexPro, Photoshop, and Illustrator were used to create the designs based on the theme 'Cosmic Dream,' with sub-themes inspired by nature and Indian symbolism. 'Blooming Cosmos' focused on the structural beauty of the lotus, combined with paisley and rangoli patterns, for a vintage yet modern appeal. 'Cosmos in Blossom' is drawn from the rangoli technique of using varied materials, resulting in a romantic pastel-themed pattern that aligns with the 2023 Youth Trend. 'Cosmic Peacock' presented a lively ethnic pattern by merging simplified lotus motifs with India's national bird, peacock along with a paisley backdrop. A questionnaire was conducted to check the MZ consumer responses, and the most preferred design was the peacock and rangoli mixed design, ground colored in cream. These findings indicate the potential of the developed ethnic designs to be used for various purposes. By combining traditional motifs of India with modern elements, this study proposes ethnic textile designs that are suitable for MZ generation consumers.