• The Journal of Natural Sciences
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• v.4
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• pp.233-244
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• 1991

This study was counducted to identify a relationship between the aesthetic costume arising from an and-social minority movement towards the end of 19c, England on the one hand, and bustle and crinolette style which were in fashion at that time, on the other. The aesthetic comstume is studied with articles and cricatures in the magazien "Punch" which was famous for its harsh criticisms of society. Aesthetic elements from various sources were praised or sometimes cricatured by Punch. Aesthets pursued naturalness as is found in Greek costume in reaction to the gross modernised Victorian costume. To be specific, the aesthetes pursued 1)loose robe instead of corset with bustle or crinolette, 2)2nd/3rd dimentionally-coloured dyes instead of anyline in the costume. Liberty Department Store in London has planyed a very important role as a major supplier or aesthteic articles to the aesthetes.

• Archives of design research
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• v.15 no.3
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• pp.73-82
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• 2002

This research suggests relative perspective against to the existing researches which consider balance as mere one of aesthetic elements that balance could lead different consumer aesthetic response according to product characteristics. From the results of this study, we can suggest that higher level of balance encourage positive consumer aesthetic response in high involvement products and contrary, lower level of balance encourage positive consumer aesthetic response. It's expected for the results of this study to suggest more useful design approach in theoretical and practitional fields. In the future researches, more profound studies with more number of stimuli, more levels of balance distortion and more number of moderating variables should be peformed to withdraw more useful results.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.639-656
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• 2018

The term fashion sense is used in everyday conversations by consumers to refer to the ability of people who dress well in attractive ways or to refer to the competencies or expertise of fashion professionals. Despite the frequent use of the term, its concept has rarely been explored systematically. In this study, we performed in-depth interviews with 14 fashion experts to clarify the concept of fashion sense. The core elements of fashion sense were explored based on the interview results. As a result, twelve core elements were identified that included visual ability, aesthetic experience, aesthetic recognition ability, intuition, self-consciousness, self-efficacy, fashion experience, involvement in fashion, creativity, innate sense, environmental support, and development due to education. In addition to these twelve core elements, 42 supplementary elements were identified. This study is to help initiate an academic discussion of the concept of fashion sense as a competency that fashion experts should develop. The findings of this study can provide practical and educational implications for the fashion industry and academia.

• Archives of design research
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• v.20 no.1 s.69
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• pp.21-32
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• 2007

To quantitatively measure or evaluate aesthetic factors is not easy in comparison with physical, functional, behavioral or economic factors. Yet aesthetic factors essentially play an important role in design modeling process. Despite its importance, research on aesthetic assessment or the interaction of aesthetic influential elements is insufficient. Therefore, this study is intended to find the relationships between visual preference and aesthetic variables of perceptual-cognitive dimension and affective dimension in commercial space design. According to the result of this substantiation research, aesthetic variables that give a positive effect on the preference of commercial space design are unity, order, and clarity in perceptual-cognitive dimension and 'pleasant', 'relaxing' in affective dimension. On the other side, aesthetic variables that give a negative effect on the preference are contrast, complexity, and ambiguity that is a contrary concept of clarity in perceptual-cognitive dimension and 'exciting', 'arousing' in affective dimension.

• Archives of design research
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• v.12 no.3
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• pp.129-140
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• 1999

Few would disagree with the idea that product aesthetics can be a powerful design tool, because it is important strategic variable not only for design research but also for product design. Surprisingly, however, academic literatures in design field are relatively silent of empirical research on how product aesthetics may be assessed and how its influence measured on consumer response. This study explores the role of the aesthetic elements of product design in influencing consumer response. Specifically, The study reports a psychometric scale to measure consumer perceptions of the aesthetic dimensions of a specific class of product. (the perfume bottle) Although the present effort focused on perfume products, the role of aesthetics in the design of various product and packaging extends beyond the studied product categories.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.272-273
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.144-145
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• 2004

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.3
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• pp.537-547
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• 2001

The purpose of this study was to develop the measurement of the fashion sensibility. The stimulus were 91 photos selected in fashion magazines and had dominant visual power under detail, color, texture and pattern in the elements of fashion design. The semantic differential scale was constructed bipolar 25 pairs. The obtained data were analyzed by cluster analysis, factor analysis, ANOVA and t-test. The results were as follows; 1. The hierarchical structure was combined a natural and interesting, sensitive and lovely fashion sensibility. 2. The constructing factors of fashion sensibility were found out as aesthetic value, maturity, character and femininity·masculinity.(total variance: 55.7%) 3. Fashion sensibility by elements of fashion design was significantly different regarding all factors. 4. Fashion sensibility by demographic variables sex, age, marriage, education, occupation and expenditure was significantly different regarding partial factors.

• Journal of the Korean housing association
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• v.15 no.3
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• pp.11-19
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• 2004

The purpose of this study is to explain the tectonic characteristics of 'Kan' which is an unit of composition in the head residence of Uisong Kims. Here, the 'Kan' is assumed as a conceptual framework to organize a house and also a maneuvering tool to control the spatial order with relationship between the whole and the part. Not limited to the simple conceptual aspects, but the interrelated elements such as the site conditions, modules, functions, structure and aesthetic factors. Through the process of the study, the role of 'Kan' is proved to be a tectonic tool for self-regulating architectural order by relation matrix of elements. 'Kan' is not only a fixed measuring tool for functions and material of a house but also a flexible device to control the building composition. 'Kan' is certainly a relative subject for measurement of form, space and aesthetic quality.