• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.161-175
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• 2016

Sensitivity has become more important in relation to design in a changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China the discussion had begun. In Korea where the first scholarly discussion on aesthetics had begun around 1929, more and more rigorous and theoretical discussions emerge nowadays. Korean beauty consists of unplanned Beauty and unplanned planned Beauty. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes the nature as it is and Japan values the artful decorative elements. In modern Korean fashion, the characteristic Korean aesthetics of unplanned Beauty appears in the various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and simplified silhouette. Also, there are plays on balance and proportion using straight and curves lines and variegated colors and creative printing, intentional asymmetry, and destrution.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.71-85
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• 2003

In the turn of the century, fashion designers have not just drawn upon one or two subcultural styles but have extracted elements from many subcultures to use in a single collection. In true postmodern style these are freely combined with historical, cross-cultural and futuristic influences to create new fashions. The process could be explained by bubble-up phenomenon, retroism. pastiche and pursuit of pleasure. In the course of illustrating subcultural styles transformed into mainstream fashion, the case of Punk was studied as a turning point of modernist and postmodern period which have been introduced by high fashion designers since the birth in 1976. The following cases have continued to appear entering upon the third millennium and the aesthetic value of those can be summarized as ambiguity, eclecticism, and deconstruction. In other words. the energy and authenticity of Punk has been considered to be desirable in high fashion, however designers focus on clothing and adornment rather than ideology and lifestyle. The aesthetic property of subcultural style defeats the established notion of standardized fashion and stimulates new consciousness. which allows a room to be diversified and subdivided.

• Journal of Fashion Business
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• v.8 no.1
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• pp.91-106
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• 2004

This study focuses on the sportism expressed in the modern fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time, new fashion materials resulting from new technologies, youth culture and postmodernism. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding, skiing, rock-climbing and fitness. While the sportswear is the term whith stemmed from the need for functionally in sports, the Sportism is the style inspired by the formative elements, that is, the details, the silhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look more popular. It can be categorized into three aesthetic values, i.e., the functional sportism, the street sportism, and the futuristic sportism. The functional sportism is expressed with the details of function, simplicity, and no useless ornament, the street sportism with fun, androgynous and unisex mode and the image of hip-hop look and traditional look, the futuristic sportism with new high tech fabrics and cyber style. The characters of these are a sence of unisex, sensualness, ostentation, renovation.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.6 s.154
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• pp.880-891
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• 2006

This study is to be focused on the sportswear combining common wear with the design elements of activewear. The objectives of this study are four designers in compliance with the book of Ann Marie Fiore and Patricia Anne Kimle; Calvin Klein, Donna Karan, Ralph Lauren and Anna Sui and the times to be studied are limited to the early 21st Century from 2001 to 2005. Main results are as follow. This research divides sportswear into four groups; 'Function oriented style', 'Sensible style', 'Retro American sports style', and 'Street sports style'. Comparison of four designers' sportswear shows that Calvin Klein is function oriented, Donna Karan is function oriented and sensitivity driven, whereas Ralph Lauren focuses on retro American sports style along with function oriented characteristics. Anna Sui places emphasis on youth oriented street sports style. In terms of color, Calvin Klein and Donna Karan use White & Black and natural tone while Ralph Lauren uses pastel tone, and Anna Sui uses mostly vivid colors. In terms of material, Calvin Klein and Donna Karan use mostly elastic and synthetic materials whereas Ralph Lauren and Anna Sui use natural materials.

• Journal of Distribution Science
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• v.17 no.11
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• pp.47-52
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• 2019

Purpose: This study specifically discusses why coffee shop customers want to revisit coffee shops. In addition, we would like to verify the mediated effect of the emotional reaction in relation to the influence of the experience values of the Chinese coffee shop on the re-visit of the coffee shop. Research design, data and methodology: Regression and reliability analyses were conducted. Simple regression was used for stock price verification, and the bootstrap method of model4 of Hayes was performed for the intermediate hypothesis verification. Results: This study confirmed that the experience values of coffee shops (entertainment, aesthetic, economic efficiency, and service excellence) have a significant influence on customers' intention to revisit coffee shops. Conclusions: Managers can check that the level of revisit by customers is increased by increasing the elements of experience value. In addition, studies have shown that the customer's emotional reactions play a significant mediating role in the relationship between the value of the experience and the customer's intention to revisit the coffee shop. This suggests that the coffee shop operator should focus on the emotional response of its customers and devise strategies to ensure that the value of the experience is connected to the intent of revisiting.

• Fashion, Industry and Education
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• v.14 no.2
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• pp.60-69
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• 2016

Visual literacy, a key element of a design portfolio, is achieved by communicating a consistent visual aesthetic with respect to design elements, design principles and individual style. Yet, students often feel challenged in articulating their personal aesthetic or design philosophy in order to create a unifying design identity within a body of artifacts. This paper shares some best practices on overcoming this challenge through students' engagement in self-reflection and identity formation processes. The implemented innovative strategy in a senior-level portfolio development course for apparel designers involved four different phases: 1) one-on-one meetings to self-reflect on previous design work, 2) selection and revision of artifacts, 3) peer-review and critiques of revised portfolio artifacts, and 4) development of a final ePortfolio to showcase a unified design identity. It was evident that recording students' initial self-reflection in the form of a metacognitive oral report encouraged and motivated identity development in their portfolio. Further, students expressed their satisfaction in the ability to participate in the selection process of artifacts by self-reflecting about what they wanted to highlight about themselves and why. Overall, student outcomes from this strategy exceeded expectations and the portfolios developed were successful in creating a cohesive design identity.

• International Journal of High-Rise Buildings
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• v.5 no.4
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• pp.271-291
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• 2016

There is much architectural and engineering literature which discusses the virtues of exterior bracing and diagrid systems in regards to sustainability - two systems which generally reduce building materials, enhance structural performance, and decrease overall construction cost. By surveying past, present as well as possible future towers, this paper examines another attribute of these structural systems - the blend of structural functionality and aesthetics. Given the external nature of these structural systems, diagrids and exterior bracings can visually communicate the inherent structural logic of a building while also serving as a medium for artistic effect. Viewed in this light, the visual appeal of these systems can be enhanced to give a tower a more distinct urban identity. This entails the creation of structural elements that are aesthetically pleasing, geometrically coherent and that demonstrate dexterity of application in regards to a building's composition, while also respecting the laws of physics and mechanics. In this fashion, an artistic approach can exhibit structural systems as not just purely rational features that enable the construction of tall buildings, but as important visual components that afford opportunities for creative expression. This paper, therefore, synthesizes the concepts of structural performance and creative artistry to facilitate a better understanding of the aesthetic developments in skyscrapers worldwide.

• Architectural research
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• v.17 no.2
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• pp.49-56
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• 2015

For more than 100 years, American skyscrapers got along with the change of Modern architecture. However, high-rise building can not be regarded anymore as a monopoly of America. The purpose of this study is to clarify the aesthetic characteristics of Asian high-rise buildings. Basic concepts on the aesthetic and artistic expression of high-rise building have been discussed, emphasizing the importance of artistic characteristic. A brief introduction on the rise of Asian high-rise buildings also summarized in terms of changing trends for decades from 1970s. Among the 75 buildings in Asian countries out of 100 tallest buildings in the world, 10 buildings are selected to clarify the artistic characteristics which can be presented as an Asian trend in 21st century. The results can be summarized as follows; It was from 1990s that the Asian high-rise buildings began to express a specific regional aesthetics as a trend of post-modernism. Conventional ideas, traditional objects, and regional shapes and patterns are good instruments to successfully represent their national prides. Religions in Chinese and Islamic culture are popular motifs in Asian countries as well as feng shui and conventional idea of five primary elements. Traditional objects like pagoda and minaret are good precedents that can provide friendly recognized vertical objects. Many other interesting cases can be found referring to the traditional shapes and patterns like Chinese character, geometric pattern, Islamic sign, etc.

• Journal of the Korea Furniture Society
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• v.27 no.2
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• pp.145-153
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• 2016

Today, furniture design, which is changing and diversified, a movement to search a new formative world while reviving our traditionality is continuously proceeded, that implies a new possibility in our culture. In respect of such diversified materials, Korean traditional paper, Hanji (韓紙), has already been acknowledged with its excellence. Also, Hanji is a material that fully contains aesthetic consciousness of Korean people, accordingly, this research investigated and analyzed mainly with Sarangbang furniture among Joseon antique furniture, in order to study the possibility of Hanji decorated furniture as the objet in our interior space. This research utilized Paper cut technique (剪紙技法) among Hanji Crafts technique of expressive elements of Sarangbang furniture using Hanji, which is to make patterns and attach them by cutting out or engraving colored papers using scissors or graver to the wooden frame (白骨). Through this, this research could investigate production process utilizing Paper cut technique, also, Sarangbang furniture utilizing such Paper cut could be settled down as the objet with functional aspect and aesthetic completion in our interior space. Also, the researcher presents value of our original furniture by suggesting final output and considers that systematic researches should be conducted continuously on furniture henceforth utilizing Paper cut technique.

• Journal of the Korean Home Economics Association
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• v.46 no.8
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• pp.17-26
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• 2008

The purpose of this study was to identify the aesthetic characteristics of modern fashion design use with a particular focus on transparency, and to help create future vision and feature. As part of the methodology for this study, I examined the concept of transparency, its characteristics and how it was expressed through art, architecture and other designs using literature research. Furthermore, I performed justifiable analysis on modern fashion design which used transparency from the 1990s till present. The following concepts were deciphered from information: Firstly, the concept of purity was highlighted. The emphasis here was to enhance the body's natural beauty with simple silhouettes that do not restrict its curves, using light materials such as clear vinyl, semi-clear materials or thin chiffon. Secondly, to express sensuality by exposing the body's curves with tight wrapping using clear materials, or with indirect and symbolic see-through techniques using contrasting clear, semi-clear and opaque materials. Thirdly, to express futurism through cyber and electronic images using high tech or shiny materials such as metal or holograms. Mechanical movements or effects of light are also used. Fourthly, to express playful characteristic by promoting surprises and disharmony that contradict with traditional techniques. This is carried out by intentionally exaggerating certain portions of clothes through disorder elements or confusion, and unsymmetrical shapes which destruct the human body's normal form.