• 한국의상디자인학회지
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• 제8권3호
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• 패션비즈니스
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• 제1권2호
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• pp.1-19
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• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.

• 한국의류산업학회지
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• 제9권4호
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• pp.431-440
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• 2007

The study of the awareness on DM, the degree of satisfaction, and intention of word-of-mouth has found that when the confidence factor is stressed, intention of word-of-mouth is seen to rise, and when the perception factor is placed emphasis on, intention of word-of-mouth is also seen to be on the rise. The 790 questionnaires collected were analyzed by frequency, factor analysis, confidence degree, and regression analysis. This means that the higher the degree of satisfaction by means of the recognition, attention, trust of DM advertisement, the relationship reenforcement of DM advertisement and transmission of information is, the higher intention of word-of-mouth is. Beauty art business is characteristic of visits being connected with sales. The awareness has an effect on the degree satisfaction, and it affects intention of word-of-mouth. Therefore, it is thought that Beauty art business requires systematic, analytic and unique DM advertisement.

• 복식
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• 제53권2호
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• 복식
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• 제51권6호
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• 한국의류산업학회지
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• 제8권2호
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• 한국의류산업학회지
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• 제13권6호
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• pp.856-865
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• 2011

This paper intends to examine how Fringe, which is in an inseparable relationship with modern fashion, has been changed and what characteristics it is expressed to have in fashion on the basis of its formative property expressed in modern fashion. In order to empirically analyze Fringe, this paper analyzed a total of 346 Fringe of every type that were generally found in the worldis four biggest collections, from 2006S/S to 2011S/S. This paper found some methods Fringe is made, which are: using a snagged fabric or knit as it is; intentionally snagging or tearing a fabric to make the effect of being snagged; knotting the tail or the edge of clothes, and then, macram$\grave{E}$; and cutting leather or suede, which canit be snagged easily, and making Fringe strands. Fringe strands which are made in the above ways are made into a band and then, attached, or Fringe strands, a feathers, a comb, or beads are attached one by one. Or a tassel is independently or consecutively applied to clothes or ornaments, which are expressed in the form of fringes. Threads, strings, leather, suede, metals, plastics, raffia, horsehair, paper, beads, pearls, crystals, or felt were used for rich texture or unique visual effects. Colors of various brightness and chromas were used in consideration of materials. Through the effects of sameness, similarity, contrast, harmony and gradation with colors of clothes, emphasis or unified harmony was expressed. The expressive characteristics of Fringe, which were found in the modern fashion through those formative characteristics, were organic rhythmical beauty, handicraft decorative beauty, and folksy natural beauty.

• 한국조경학회지
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• 제18권3호통권39호
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• pp.11-22
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• 1990

Culture has long been associated with and advanced by stone as observed in prehistoric dolmen, menhir, megalith monuments, memo-rial stones, and others. The closs association of monuments is seen even in an earlist form of culture and is witnessed to evolve with human history. Korea, with its large quality granite repository, has been active with granite-based monuments in various forms of towers, bridges, and larterns. These stone structures are so abundant throughout Korea that Korea has been called the country of stone tower in Asia. With this historical background, we survey these Korean memorial stone and monuments, found at roadsides, momerial buildings, village entrances, scenic places, schools, sermon halls, public pleasure ground, and other common places. Based on installation orientation, location, and size, a particular emphasis is on the structural value, meaning, beauty, and function of these momnuments coupled with trees, shrubs, water and appropriative landscapes.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.6-14
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• 2006

The purpose of this study is to examine how the Chanel Collection, a famous brand acknowledged for it's modern style, was influenced by post-modernism. The scope of research includes initial concentration on 1920's boyish style of Chanel as well as its relative influence on modernism. Secondly, the research concentrates on Chanel Collections that Lagerfeld's designs were best represented. The results were as follows: The tendency to eroticism for fashion business, tendency to retro-fashion, tendency to popularization of sub-cultural group's fashion, tendency to no-match-mix, tendency to androgynous style, tendency to emphasis on ornaments in clothing.

• 한국의류학회지
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• 제46권2호
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• pp.272-291
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• 2022

The purpose of this study is to analyze the external characteristics of the clothes formed from the culture and worldview of Goryeo women and to identify the aesthetic characteristics. This paper posits the following: First, that the practice of Buddhism contributed to gender equality between Goryeo women and men; second, that Goryeo had a worldview of unified as in with the East and Korea differentiating from the dichotomous thinking of the West; and third, that the aesthetic characteristics of Goryeo women's clothing included (a) color contrast and an emphasis on patterns based on Pure Land Buddhism and Esoteric Buddhism; (b) The beauty of unitary convergence is the beauty of freedom as an expression of various cultural exchanges and the free and open ways of thinking of Goryeo women; (c) an expression of rhythmical beauty, with the shape of line led to straight to curve line and the change of line through human body's movements; and (d) a perfect balance of proportion and symmetry based on Pure Land Buddhism.