• 복식문화연구
• /
• 제15권5호
• /
• pp.749-759
• /
• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.

• 대한치과교정학회지
• /
• 제18권1호
• /
• pp.127-139
• /
• 1988

Esthetic is one of the prime goal of the orthodontic treatment. It is represented by the word of harmony or balance. There is no absolute esthetic norm but it is important to study about it in orthodontic and orthognatic surgical treatment planning. The purpose of this study is to obtain the norm of Korean female adolescents who were candidates of 1986, 1987 Miss Korea Beauty Contest. The 77 individual samples were selected and studied by cephalometric analysis. Obtained results were as follows: 1 Korean esthetic norm was obtained. 2. Simple correlation coefficient was obtained between each measurements. 3. Holdaway ratio of Korean beauty was 3.3 : 1. 4. To compare with caucasian, profile of Korean beauty had less prominant nose, more prominant lip and deeper sulcus depth.

• 복식
• /
• 제53권2호
• /
• pp.57-70
• /
• 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
• /
• 제54권5호
• /
• pp.95-107
• /
• 2004

Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been Ignored the Idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress hut also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness. decency. modesty. and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity. matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.

• 융합정보논문지
• /
• 제11권11호
• /
• pp.304-311
• /
• 2021

연구목적은 불량고객 행동지각이 감정부조화 및 직무열의와 경영성과에 미치는 영향을 실증적 연구 하였다. 표본은 뷰티종사자327명이다. 연구방법은 빈도분석, 요인분석, 신뢰도분석, 상관관계분석, 단순회귀분석을 실시하였다. 연구결과 첫째, 불량고객 행동지각이 감정부조화 및 직무열의가 상실되는 것으로 확인되었다. 둘째, 불량고객 행동지각이 감정부조화에 통계학적 유의한 영향을 미치는 것으로 확인되었다. 셋째, 불량고객 행동지각이 경영성과에 통계학적 유의한 영향을 미쳤다. 넷째, 감정부조화가 직무열의에 통계학적 유의한 영향을 미쳤다. 다섯째, 경영성과가 직무열의에 영향을 미치는 것으로 보아 통계학적 유의한 영향을 미치는 것으로 확인되었다. 따라서 불량고객 행동지각은 뷰티종사자의 감정부조화로 인해 직무열의 및 경영성과에 부정적 요인을 주는 것으로 사료된다.

• International Journal of Costume and Fashion
• /
• 제4권
• /
• pp.63-80
• /
• 2004

Elegance in dress has been mentioned as an important term for explaining a beauty of dress and a fashion image through the times in the history of dress. Nevertheless, it has been spoken indeterminately without analyzing the accurate meaning. In addition, almost all the scattered discourses of it were very limited to womenswear. The purpose of this study is to provide a framework for a better understanding of the concept of elegance and its aesthetic characteristics expressed visually on dress from the holistic viewpoint, focusing on male elegance in dress. To obtain the purpose, the documentary study and the practical analysis were carried out. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. Its aesthetic values consist of luxury, nobility, refinement, femininity, harmony. Though male elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed ‘studied elegance’ for the first time. On the grounds of both the classification of periodic styles and the periodic values, they can be defined and categorized into Mannerism Elegance, Salon Elegance, Modern Elegance Since Dandyism, Aestheticism Elegance. In the late 20th century they can be recognised as Classic Dandyism Elegance, Soft Casual Elegance, Elaborate Heroic Elegance. Although male elegance in dress has been visualized in different ways depending on periodic values, it has essentially been a refined beauty of high class which was valued until recent years. Its common plastic features appear as soft shapes, subtle colors and delicate fabrics modulated with exquisiteness and well-adorned appearance, graceful behavior make elegant styles completed. All of elegant styles have m common with refinement, harmony as main aesthetic values.

• 복식
• /
• 제25권
• /
• pp.5-20
• /
• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• 패션비즈니스
• /
• 제11권1호
• /
• pp.38-47
• /
• 2007

In the modern society that is advancing rapidly, the hair art is also advancing and subdividing. The purpose of this study is to investigate unique field of formative as characteristics and forms of copper wire, focused on such a harmony of hair art, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the five pieces which includes balance, composure, flying, harmony, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.

• Architectural research
• /
• 제4권1호
• /
• pp.7-16
• /
• 2002

In order to examine theoretical underpinnings of preference for built forms, 129 subjects are asked to rate a series of 9 slides of residential houses depicting a wide range of architectural styles on a 5 point scale, for coherence, complexity, excitement, familiarity, and natural harmony, respectively. Based on Lee's (2002a, 2002b) two previous studies addressing the issue of aesthetic beauty evaluation for man-made creatures (e.g., residential housing scenes), this study summarizes several meaningful findings. As reported by all the subjects, first, both "desire to visit" and "desire to live in" turned out to be a good predictor of preference as the two measures are highly correlated in statistically significant levels (99.9%). People who desire to visit a spot are more likely to desire to live in it. Second, Pearson's correlations showed that coherence is the opposite end of complexity. The more likely a housing setting is hanging together, the less likely it looks to be complex. Overall, though, it is not clear that the two variables work directly in that way, as weighted on preference ratings. That is, coherence and complexity are likely to be totally two independent systems that affect the ratings of preference. Third, both excitement and environmental sensitivity (e.g., harmony of a house with its surrounding nature) most highly account for the preference for various housing scenes, while familiarity has only a little effect on preference ratings. Possibly, people like or dislike a visual thing, no matter how much they are familiar with it. Finally, this study suggested that design professionals could communicate effectively with their clients if sets of visual standards as an appropriate communication tool for better design are properly established.

• 복식
• /
• 제55권1호
• /
• pp.43-58
• /
• 2005

The objective of the study is to understand the characteristics of modernistic spatial design and, based on the understanding, to interpret fashion in terms of its spatial relationship with society, culture and human body, thereby looking into unique spatial characteristics fashion has. The main results of this study include : First, the rational space emphasizes geometric symmetry and harmony among each of design elements and is expressed by pursuing a perfect formative beauty that indicates an eternal formal beauty of a physical space. In addition, functional beauty is also pursued, making clothing convenient for activities. Second, the abstract space is characterized as a kind of purity by emphasizing simple patterns and colors and materials of purity for clothing, and it is sometimes expressed as being extremely abstract so that human body can be shown to be distorted. Third, for the uniform and neutral space, mass-production and production at home was made possible with clothing of simple patterns and of standard. In addition, it showed a tendency to become blurred in gender distinction for clothing with women wearing men's clothing, or borrowing design elements from men's clothing. Forth, the space as means of domination and control was shown to be segmented based on place, function and purpose. In addition, control on physical beauty was shown by promoting slim figures that are suited for lineal silhouette of clothing and circumstantial restriction on clothing occurred during war, serving to limit the styles of and purchase of clothing.