• 한국의류산업학회지
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• 제16권6호
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• pp.860-870
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• 2014

This study considers style types and examines aesthetic values by analyzing images expressed through bridesmaid dresses in the movie '27 Dresses'. The research method used was a case study on fashion types from movie costumes. The conclusions of this study are as follows. There are three fashion style types in the movie '27 Dresses' presented by diverse dress type according the bride's dress code, dress style that reflects a country's culture and tradition of how bridesmaids wear traditional costumes particular to each country as well as a dress style that suits the overall wedding's atmosphere and theme. The aesthetic values of the movie '27 Dresses': First, it reflects a complementarity synergy between the bridesmaid and the bride at the wedding. It plays a complementary role in creating synergy through a harmonious presentation at the wedding. Secondly, it represents traditionality. Traditional costumes of different cultures were used as bridesmaid dresses. These costumes play an important role in denoting the bride's nationality and tradition. Third, it represents a sense of amusement using a wedding as concept. The bridesmaid dresses were unique in a way that elicited surprise and unexpected laughter as well as a feeling of pleasure and interest in the audience. The different styles of bridesmaid dresses in movie costumes can help expand more diverse wedding cultures in a modern society.

• 패션비즈니스
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• 제24권5호
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• pp.89-105
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• 2020

This study considers aesthetic characteristics by examining red carpet dress in China film festival. The research methods were quantitative and qualitative analysis of red carpet dress images collected from 2015 to 2019 on websites according to four criteria following previous research on red carpet dresses. The results of the study are as follows. First, the analysis of red carpet dress silhouettes showed that A-line silhouettes, slim silhouettes, and mermaid silhouettes appeared. Second, in terms of colors, one color, black, represented a higher proportion of the dress colors than the combination of different colors. Third, soft texture occupied the highest proportion of material textures, and combinations of materials with different textures were also used. In the case of patterns, the proportion of dresses without patterns was high, and natural patterns were found in the largest proportion. Beads and sequins accounted for most of the dress details, and the analysis showed that various detail types such as embroidery, slits, ruffles, and belts were used in the red carpet dresses. The aesthetic characteristics of the red carpet dresses worn at the China film festival were analyzed as sensual, elegant, decorative, and simple.

• 디자인학연구
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• 제13권3호
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• pp.7-16
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• 2000

디자인에 있어서 심미성은 경쟁요소로서의 중요한 역할을 담당하고 있다. 그 중요성은 경험적 심미학(experimental aesthetics), Gestalt심리학, 디자인 관련 문헌에서도 찾아볼 수 있다. 이러한 문헌에서는 심미성의 중요성 이외에도, 많은 심미적 영향요소들이 소비자 반응(인지적 반응, 감정적 반응, 의미일치)에 영향을 미치고 있음을 시사하고 있지만, 아직 그 연구는 미흡한 실정이다. 따라서 본 연구에서는 어떠한 디자인이 소비자에게 잘 인지되고(사실적인지), 긍정적 감정반응을 주는지, 또한, 이러한 반응에는 어떤 심미적 영향 요소들이 작용하는지를 심볼디자인을 통해 파악, 이를 바탕으로 심볼은 어떻게 디자인할 것인가에 대한 지침을 제공하고자 하였다.

• 복식문화연구
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• 제14권5호
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• pp.739-754
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• 2006

Glamour, which stands for attractive physical feature with certain mystique, has been recognized by its superficiality and ephemerality in recent postmodernist aesthetics. The purpose of this study is to provide a comprehensive literature of glamour and to contemplate glamour look, thereby to establish the styles of glamour expressed in fashion. For such purposes, this thesis first provides the study on the glamour in design studies, film studies and feminist theories, and to inquire aesthetic values of glamour look, which has been reflected in fashion. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. (1) Luxury is an expression of expensiveness, ostentatiousness which can be achieved only after putting in extensive an elaborate handworks. (2) Excess is an expression of bigness, scalelessness or extreme abundance. (3) Masquerade, that is a technique of identity which deal with clothing as a metaphor, is an expression of mysterious attractiveness and theatricality. (4) Appropriation is an expression by way of taking something from different time and space. (5) Sensuality is an expression of indulgence of sexual pleasures. Lastly, (6) decadence implies eroticized violence and demoralization.

• 복식
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• 제54권3호
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• pp.129-143
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• 2004

The beauty of the body could separately be defined from area to area, but there can't be any universal definition of it that is applicable throughout the world. The modern discourses on the body have frequently dealt with that, and the beauty of the body should be studied in light of sociocultural background. In today's world fashion industry, the body is represented in various ways, and how to express the body itself is considered from diverse perspectives. As it's now required to approach to fashion from the sociocultural standpoint of the body. a semiotic interpretation method was introduced. The reason was that from the viewpoint of semiotics, the beauty of the body has different implications for society as cultural sign, and they also could be regarded as sociocultural codes. In order to improve new light on the aesthetic consciousness of the body and how it's represented in modern fashion, earlier studies and existing theories were examined. The semiotic interpretation method was used to find out what the aesthetic consciousness of the body stood for and what implication it had for fashion. And in which way fashion represented aesthetic consciousness, including satire, pleasure, grotesque and decadence, through the body was examined. Fashion creates an artificial beauty of the body, and change in the body is followed by change in fashion.

• 패션비즈니스
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• 제20권3호
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• pp.54-67
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• 2016

The purpose of this study was to investigate the The effect of fashion consumer's need for uniqueness in their clothing purchase behavior and switching intention. A total of 332 cases were included as the subjects of this study and a survey method was used. The data were analyzed by factor analysis, reliability analysis, t-test and multiple regression analysis using the SPSS 22.0 statistical program. The results were as follows. 1. The 3 dimensions (creative choice, unpopular choice, and avoidance of similarity) were extracted from the consumer's need for uniqueness and consumer divided high uniqueness group, middle uniqueness group, low uniqueness group. 2. The 3 factor (esthetic, functional, practical) were extracted from the clothing selection criteria. The three group had a significant difference in clothing selection and switching intention. Aesthetic factor and practical factor were the highest in high uniqueness group. 3. The need for uniqueness has influence on the aesthetic factor and practical factor. The creative choice factor had positive effect on the aesthetic and practical factor, yet unpopular choice factor had negative effect on the practical factor. The need for uniqueness and aesthetic factor has positive influence on brand switching intentions. 4. There was difference in unpopular choices factor by gender. A monthly average expenditure on fashion products had a significant difference in three kind of need for uniqueness. Results of this study provide a basis understand need for uniqueness and their effect on consumer behavior.

• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 한국의류산업학회지
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• 제15권4호
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• pp.493-503
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• 2013

This study analyzes expression methodology and aesthetic meanings in modern hair ornaments that adopt maximalism. Maximalism has appeared in various hair ornaments throughout history. Hair dresses are used for many reasons related to class, social position, religious beliefs, and occupation throughout the Eastern and Western hemispheres. A higher class and social position was often denoted by a fancier and bigger hairdress. In modern society maximalism is expressed in literature, expressionism, maxi-marketing, exaggerative advertisements, and symbolic architecture. Formative expression methodologies in modern hair ornaments that adopt maximalism are transform, overlapping & exaggeration, and mixing & edition. The aesthetic meanings of maximalism in hair ornaments are the reinterpretation of retro ornaments, the exaggeration of internal self-expression, humorous symbolic objects, and the conveyance of a social critical message. The advantages of maximalism help people communicate and co-provide an abundant life. These are expected to create significant and numerous positive impacts in society. In addition, the continued efforts on the investment in hair ornaments that express Maximalism well as a fashion trend shows that further study on the persistence, practicality and recognized design inconvenience in the aesthetic value are needed.

• 디자인학연구
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• 제14권4호
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• pp.47-56
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• 2001

본 연구는 심미적 영향요소 중 전형성과 동시에 중요하게 인지되는 또 다른 속성 즉 비례(proportion)를 중심으로 소비자가 선호할 수 있는 디자인을 창출할 수 있도록 하기 위하여 제품의 범주화와 제품 형태분석을 통해 제품에 대한 이상적 비례를 도출해 냄으로써 비례의 조작만으로도 소비자가 선호할 수 있는 차별화 된 제품디자인을 위한 방법론을 구축하고자 한다. 이에 본 연구의 연구방법으로는 시중에 판매되는 제품들 중 비례가 중요하다고 인식되는 제품을 가지고 전형적 모델을 찾아 치수를 유추시켜 2차 자극물을 만들었다. (즉 전형적 모델에서 일정한 치수 변화를 주어 2차 자극물을 만들었다.) 이후 2차 자극물을 동질성분석을 통해 대표적인 2차 자극물들로 실험을 하여 그 제품에서 가장 이상적인 비례를 찾았다. 이후 황금 비례와 이상적 비례와의 관계를 살펴보고 제품들마다 이상적 비례는 따로 있음을 증명하였다. 즉 결론은 "신제품 개발시 비례는 주어지는 규격이 아니라 찾아내어야 할 선호 요소 중 하나이다"라는 것이다.

• 한국생활과학회지
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• 제24권4호
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.