• 한국응용과학기술학회지
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• 제40권4호
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• pp.797-810
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• 2023

본 연구는 수염에 대한 호감도 측정을 위해 선호 및 비선호 선택지와 함께 호감/비호감 사유 판단 문항 및 인구통계학적 특성 문항을 제시한 설문지의 최종 응답 300부를 표본으로 하여 인구통계학적 특성을 알기 위하여 빈도분석을 하였고, 선호도의 차이를 분석하기 위하여 Cross-Tab(교차분석) 분석을 거쳐 T-test와 일원 분산분석을 하였다. 연구 결과, 남성의 수염 조형별 선호도 및 비 선호도에는 차이가 있었으며, 그 차이 수준은 남녀 집단 및 연령대 집단 간에 통계적 유의성을 보였다. 추가로, 각 집단 범주마다 수염 조형별 호감/비호감 판단 사유에서도 차이를 보이는 것으로 나타났다. 또한, 남성의 수염 조형에 따른 선호도와 비 선호도는 차이가 있으며, 그 판단 근거인 호감도와 비호감도의 주된 이유에서도 지각자 특성별로 다양한 차이가 있음을 확인하였다. 이러한 결과를 통해 이용 및 미용 학문 연구에 시사점을 제시하였다.

• 한국의류산업학회지
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• 제8권6호
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• pp.627-633
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• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.

• International Journal of Advanced Culture Technology
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• 제12권1호
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• pp.51-59
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• 2024

Qiang ethnic group is one of the fifty-six ethnic minorities in China, and Qiang embroidery, as an important achievement of Qiang's intangible cultural heritage, is the precipitation and testimony of the history and culture of the Qiang ethnic group. However, with the development of the times, traditional and ancient Qiang embroidery is facing a dilemma due to the problem of a single form of communication. Therefore, it is necessary to add new communication media for Qiang embroidery to help it spread and develop better. In this paper, we extract the core representative patterns of Qiang embroidery, use the "shape grammars" as the rules of morphological changes, and generate new decorative pattern patterns with the characteristics of Qiang embroidery by adding, deleting, mirroring, rotating, and other relevant rules of changes, and combine the new patterns with the rules of formal beauty to combine the layout, which is then applied in the design of different cultural creations and products. The new patterns are combined with the rules of formal beauty and applied in the design of different cultural and creative products. To provide a quantitative method for the digital protection of Qiang embroidery in the new era of Chinese traditional art, and also provide new ideas for the industrialization application.

• 한국의상디자인학회지
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• 제24권3호
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• 한국의류산업학회지
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• 제26권1호
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• pp.99-109
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• 2024

This study aimed to assess the satisfaction levels of adolescents with beauty programs, investigate the factors influencing them, and present foundational insights for designing cosmetics and beauty education initiatives tailored to adolescents. Specifically focusing on the "Safety and Use Education for Youth Cosmetics" program implemented in Gwangju Metropolitan City, it examined the satisfaction of participants, including students, instructors, and school teachers involved in the education. The study was based on action research, a qualitative methodology. The conclusions are as follows: First, participants gained knowledge and information encompassing various aspects of cosmetics, such as types, expiration dates and usage span, face wash and skin types, shampooing methods, scalp care, role and significance of sunscreen, skin trouble management, and identification of skin type, through cosmetic education programs. Second, participants learned about techniques such as eyebrow trimming, eyebrow shape correction, facial contour correction, skin blush supplementation, color makeup, personal color, and tattooing. Third, there is an urgent need to develop different educational teaching resources suitable for implementation across elementary, middle, and high schools. Fourth, it is necessary to cultivate higher-quality instructors in this digital age. Fifth, it is crucial to explore new methods of delivering beauty education to adolescents. We hope the insights gleaned from this study will serve as useful foundational data, albeit modest, fostering new beauty trends amidst the challenging landscape of youth education.

• International Journal of Advanced Culture Technology
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• 제12권1호
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• pp.128-133
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• 2024

Painting, as an artistic creation with aesthetic characteristics, is inseparable from "shape". "Modeling" is a subjective way of expressing objects, and "black shape" is not only a way of expression, but also a way of composition. "Black shape" is a way of expressing the overall picture of the creator, and "black shape" extracted from the pattern analysis of black and white gray structure is a powerful means to deeply explore the emotions and thoughts of the painter. How to create the expression of subjective intention in the creation of artificial figure painting and to explore the beauty of picture form and the presentation of formal language in multiple dimensions is always sought by painters. Tang Dynasty political stability, economic and cultural development of unprecedented prosperity, "Toujian Diu" as a representative painting of Tang Dynasty, the figure is plump and realistic, colorful but elegant. It not only represents the aesthetic taste of the Tang Dynasty, but also reflects the overall style of the Tang Dynasty's artificial figure painting. The aim of this paper is to explore the value of "black shape" in "Toughen Diagram" and analyze its multi-component form in depth.

• 복식
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• 제48권
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• pp.5-24
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• 1999

The globalization of Korean beauty comes partly from the succession of korean traditional culture and its modernization will be the one of very important issues in 21st century. This paper was done in order to analyze the process of Korean design development in modern Korean fashion in terms of the succession and modernization of Koreantraditional Beauty and based on this analysis also suggest new possibilities for successful globalization of Korean traditional beauty andbased on this analysis also suggest new possibilities for successful globalization of Korean fashion in 21st century. 227 fashion designs which represent typical elements of korean traditional costume were selected from fashion magazines books SFAA collection books and company brochures published from 1986, to 1997. Content analysis was used with 8 variables including 7 design elements(line shape, color, textile, motif, detail, accessories) and year. Results of analysis showed that the process of Korean Design development in modern Korean fashion has in the use of straight lines and simple silhouettes. Diversity could be found in the application of various kinds of outwear items as well as in the variety of materials and details. Symbolic tradtional motifs and accessories were used to enliven the Korean folklore image, These trends became more salient with the turning point of 1993 when a few designers began to participate in Paris Collection. For successful globalization designers should have more active attitudes toward exploiting the essence of Korean beauty and developing them as modern and global styles.

• 복식
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• 제62권2호
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• pp.122-135
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• 2012

The purpose of this study is to figure out what the beauty of the modern body means and symbolizes from the aesthetic, sociocultural, and psychological perspectives and to investigate how it was formed in the modern Korean society. The data were obtained from the magazines and newspapers published from 1920 to 1939 and analyzed by qualitative content analysis. The results were as follows: First, the modern body from an aesthetic standpoint was characterized by the beauty of westernization, healthy body shape, sensuality, curvaceousness, activity, balance and harmony, and artificiality. The beauty of the modern body from a sociocultural perspective symbolized modern culture and implied the value evaluated by visual appearance. Therefore, the modern body became an object of consumption and the physical capital that gave women chances for their social success and happy marriages. The beauty of the modern body from a psychological viewpoint expressed individuality as a modern ego. Second, the formation of modern body esthetics was explained within the context of social comparison theory. The ideal body suggested by mass media was internalized as the aesthetic standard women used to create modern bodies and with which they compared their created bodies.

• 한국의류학회지
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• 제27권11호
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• pp.1208-1218
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• 2003

The purpose of this study is to examine the expressional characteristics and effects of Diabolism image that appeared in fashion illustration. The concept of evil from ancient times is arranged with more basic pain, unhappiness, breakdown, fear, ignorance, sadness, imperfection, death, disease, and ugliness than it can be understandable in modern society. However, as the concept of evil is included in sacred ground of art and is begun to understand by the ugliness of broad sense, the evil and ugliness were recognized as subordinate concepts which fertilizing beauty. Also, image characteristics of Diabolism in pop culture are taking charge roles that remove visual discordance to decadent and mysterious beauty and trying to find new beauty by presentation of bad-tasted style. The aesthetic and expressional characteristics of Diabolism in modem visual media have something in common which is classified into five shapes: Negative image, Symbolic line and color, Transformation, Devilish shape, and Fantastic image. The Diabolism expressions in fashion illustration since 1980 show the possibility of image expression as a new technical field because they differ from existing expression methods and viewpoints of beauty. Therefore, the practical use of devilish image to express excessive aesthetic sense can expand the extent of image expression.

• 복식
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• 제19권
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• pp.29-40
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• 1992

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil's eye. and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories: form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion ; form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active, As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one's own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.