• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.28-44
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• 2012

The aim of this research is to examine the tendency of national tastes reflected in global SPA brands based on the theories of Gans' taste culture and Bourdieu's cultural capital. In this study, the leading global SPA brands such as H&M, ZARA, GAP and UNIQLO can be considered as a representative taste culture as well as an icon of popular culture in the $21^{st}$ century global fashion and also the aesthetic taste of each brand differentiated from their national aesthetic values based on socio-cultural backgrounds. H&M represents fashionableness, practicality and environmental friendliness based on naturalism, democratic humanism, and functional practicality of Sweden. ZARA emerges as the most trend oriented brand as well as customer centered on the basis of cultural diversity, passion and glamorous artistic sensibility of Spain. GAP shows American iconic style, which is the functional sports casual wear, originated from American leisure culture and mass production. Lastly, UNIQLO represents high-tech functionalism and practical simplicity based on Japanese delicate workmanship and simple, concise lifestyle while relatively does not much follow the fashion forward trends. Consequently, the national taste has been proved as a solid foundation to identify each global brand. This should be the key component also applied to Korean global brands for developing their concepts and strategies more successfully based on our own national aesthetic taste.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.26-39
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• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.

• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.363-372
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• 2007

T-shirt has changed into advanced and stylish outwear by new paradigm, taste of consumer, awareness of recycling, spread of subculture, DIY culture, refusal of standardization and pursuit of high quality goods, etc. The purpose of this study was to analyze aesthetic characteristics of t-shirt designs that changed into diverse designs in world fashion college since 2000. The method of this study was to analyze documentaries, fashion magazines and internet fashion site. Aesthetic characteristics of t-shirt designs were expressed in deconstruction, mixture, integration and imitation. And each of external expressions and internal meanings was as follows: First, deconstruction was expressed in partial cutwork and three dimensional texture by sewing and construction drape. It means breaking the conventional structure and break-ing the boundary of t-shirt and another item and possibility of multi-vocal analysis. Second, mixture was expressed in collage of diverse ornaments, diverse fabrics and diverse patterns. It means exceeding the limit of material, elaboratenes and high quality of handwork, reflection of self-identity, brand image, fashion trend, consumer's psychology and mind of experimentation and couture. Third, integration was expressed in extension of length, width, use and style. It means unification of functions, deconstruction of items and extension of meanings and images. Forth, imitation was expressed in stain of dye, irregular and ripped sign, cut out, rough warp, drawing and washing, etc. It means subculture, rarity value, monopolization, diversity, familiarity, yearning and uniqueness.

• Journal of Fashion Business
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• v.5 no.2
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• pp.73-86
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• 2001

This study aims at reviewing the Kitsch aesthetics, grasping the relation between the Kitsch and consumption culture, and pursuing the intrincis meanings and expressive characteristics of Kitsch in the hair style and head dress in the 1990s. Kitsch generally implies a vulgarity, and a bad taste, and can be considered to be a kind of vicarious experience, the aesthetic deception and self-deception. In spite of these negative inplications of Kitsch, the aesthetic categories of Kitsch have been spread to public and been accepted by the public, with the help of the powerful promotion of the modern day mass media. 1. The intrincis meanings of Kitsch convey 1) escapism, 2) conformity, 3) amusements, 4) identification. 2. The expressive characteristics of Kitsch represent 1) aesthetic inadequacy: hair style and head dress showing the imperpectness, accumulation(superfluous ornaments), vulgarity, untidines. 2) resistance: hair style and head dress featuring deconstructional and violent forms revealing the uneasiness, and unsatisfaction of the given regularity. 3) humor: hair style and head dress featuring the innocence, humor, and fun for a relaxation and diversion. 4) hedonism: hair style and head dress with the erotic and sexual feelings. 5) retro, romantism: hair style and head dress featuring the elegance, femininity, folklore, ethnic, and nostalgia.

• International Journal of Costume and Fashion
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• v.4
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• pp.63-80
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• 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.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.1
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• pp.152-170
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• 2023

Although ugliness had long been considered a negative form of beauty, it has become an independent aesthetic category. However, most previous art studies have focused on Rosenkranz's theory, making its application to contemporary fashion analysis challenging. Therefore, it is necessary to redefine ugliness. This study highlighted four modern ugliness categories from a modern perspective following the examination of the historical considerations of the ugliness concept, namely ugliness as a violation of taboo, ugliness as an unpleasant emotion, ugliness as a vulgar taste, and ugliness as an ethical flaw. From this perspective, SHOWstudios for fashion films were analyzed in the present study. The results of our analysis showed that ugliness in the film was related to socially sensitive subjects and stimulating images. Whereas costumes in the film were used as a tool to convey the subject and to enhance the visual effect of the image. In addition, clothing was identified as a core subject element of the video, particularly when considering ugliness as an ethical defect. This study provides further insights into contemporary fashion analysis, expanding the ugliness perspective, which had been limited to the specific perspectives of scholars.

• Journal of Fashion Business
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• v.15 no.3
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• pp.32-50
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• 2011

This study is designed to analyze the effects of demographic factors on children's wear brand preference and their reasons, and brand evaluations. A total of 355 usable data was collected from housewives in three metropolitan cities (Seoul, Daejeon, and Sungnam) in Korea. An ANOVA and crossing analysis were used to determine the strength(percentage) among several dependent variables. Also, regression analysis was used to examine the effects of demographic factors on each factor and component related to fashion brand evaluation. Overall, ANOVA and crossing analysis results showed that the visual attributions (variables) of clothing marked significantly higher scores than others (functional attributions). This result is noteworthy because it is opposite of common stereotypes and prejudices that selectors who first recognize visual information (aesthetic attributions) as a clothing buying criteria should be unsatisfied with them after wearing. Therefore, this research suggests that the chief reason in determining the outcome of success or failure in fashion industry depends on their trend productions with fashion image creation by reflecting the exclusive trends based on consumer's taste and wants.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.8
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• pp.1175-1182
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• 2013

The purpose of this study was to evaluate the functional characteristics of fermented mixed grain beverages obtained using different microbial species and to evaluate their suitability for consumption. Various fermented mixed grain beverages were prepared through fermentation with Aspergillus (A.) oryzae CF1003 (A), A. acidus KACC46420 (B), Rhizopus (R.) delemar KACC46149 (C), R. oryzae KACC45714 (D), R. oryzae KACC46148 (E), A-E mixed strains (F), A. oryzae CF1001 (G), A. acidus CF1005 (H) and A+H mixed strains (I). The visual appearance, flavor, taste, and the antioxidant capacity of each fermented beverage were then assessed. The chromaticity and aesthetic quality of the fermented beverage was measured and all fermented beverages appeared yellow. The C-, G-, H- and I-fermented beverages received scores of 3.319, 3.206, 3.170 and 3.025 points, respectively, following a sensory evaluation, while the others received less than 3 points. The polyphenol content of the different beverages were similar, while the flavonoid content significantly differed. In particular, the flavonoid content of the C- and E-fermented beverages was significantly higher than other beverages. Although the electron donating ability and reducing power of the fermented beverages was very low, the superoxide dismutase (SOD)-like activity of all beverages (except the E-fermented beverage) increased in a concentration-dependent manner. Specifically, the SOD-like activity from the F-fermented beverage at 10,000 ppm was more than 50%. Interestingly, the antioxidant activities of the beverages were unrelated to their polyphenol or flavonoid levels. This study also found that the aesthetic qualities of G- and H-fermented beverages were the highest and that this was completely independent of their antioxidant capacity. Therefore, our results suggest that further studies are required to develop mixed grain-derived fermented beverages that can also fulfill a useful functional purpose.