• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.151-165
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• 2007

Appearance matters in society today. Women want to feel good and look their best. They do make-up, wear garment and accessory for their good looking. Doing make-up, we have to know how we are look and to consider face shape. But it is difficult to recognize face shape. Because there is no standard face shape of adult women of quantitative analysis. The purpose of this study was to offer standard face shape of adult women in Korea. Furthermore, the study was to determine and differentiate face shape of each age group to set the basic data for the Korean beauty industry. In this study, photographs of 600 Korean women, age between $20{\sim}50's$, were indirectly measured in Venus face2D program. The measurements were analyzed by statistical methods. As a result of basic statistical data analysis, the average lengths of face were 196mm, lengths of forehead-hairline between eyebrows were 62mm, lengths of eyebrow between noses were 68mm, length of nose between chin were 66mm, and width of face were 150mm. By comparing to each age group's face using ANOVA, the statistically noticeable differences were found in measurements.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.33-45
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• 2013

This work developed the basic motive design utilizing the physical beauty of the traditional ornaments used uniquely by Korean females and suggested some textile designs and fashion cultural product designs. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as well as literature examination. The motive was mainly based on the dwiggoji and ddeoljam, which are female ornaments. The formative shape in woman ornaments was classified into four kinds: plant, animal, geometry, and hybrid. The hybrid type was divided further into such combinations as plant, animal, and geometry, which came up with 8 fundamental motives for design development in total. With regard to the basic motive design, the coordinated concept was adopted with a combination of traditional taste and contemporary taste in harmony for the expression of delicate image on the condition that the basic format in female ornament is maintained. Textile design was processed with symmetry, rotation, repeat, and overlap as fundamental motive. As to the design for fashion cultural products, design mapping was proposed for neckties, handbags, clutches, shirts, and one-pieces. Utility and beauty in the traditional ornaments unique to Korean women could be recognized once again through this work. This work also assured the possibility for the endless improvement as a design development motive with originality.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.87-99
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• 2014

This study aims to suggest a bag design focusing on the symbol of Bo patterns by developing a pattern-based textile which forms a Korean design with a modern sense of beauty as well as following the conventions of traditional cultures, a design which is based on the previous study on formative characteristics of Bo patterns. That is, seven pieces of motifs are considered as proper patterns that have a symbol suitable for the materials of bags, showing their individual beauty well. This includes Horomum (longevity and prosperity of desendants), Banjangmum (eternity and samsara), Jeonbomum (treasure and luck), Seobomum (innate good fortune), Bangseungmum (it means that things don't break in harmony with one another), Bomum (embroidered patches for royal family representing justice), and Seogakmum (blessed life). With these seven motifs, we developed textile patterns and printed them through DTP. Then, we created a fashion bag design with a high quality using durable canvas fabrics. Therefore, a fashion bag with the Bo patterns symbol has a propitious symbol designed with a propitious shape, not to mention its formative beauty. It is expected to have value as a fashion art item by being redesigned for benevolent patterns with a modern image.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• Journal of Fashion Business
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• v.13 no.2
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• pp.30-49
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• 2009

This study was intended to research how such Japonisme affected the western fashion and to consider that the unique Japanese fashion was implemented in the western mode as the traditional aesthetic sense got jointed with the western culture together and was expressed as the modern Japonisme beauty. The beauty of 'Date' was the aesthetic sense created focused on the noble culture of public family. On the contrary, 'Iki', 'Wabi', 'Sabi' and 'Shibusa' is the Japanese lower middle class's universal living aesthetics. 'Kawaii' is influence on an animation, cartoon and character industry as well as the whole world’s fashion style as one of the common aesthetic sense of the world people in the modern time. That is, Japanese fashion designers expressed the human body with such the aesthetic sense by the design of shape, space, fusion, amusement through clothes. It could be concluded that they created an autonomous amusement’s design world over the visual beauty of human body.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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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.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.4 s.10
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• pp.7-15
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• 2006

Japan's modern fashion, which already became distinguished in the world fashion market, creates originality by identifying its own color as well as shape and details from its tradition. The purpose of this study was to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of Heian period in Japan and searching them in contemporary Japanese fashion. The scope of study was the perceived meaning of color in Heian period and Japanese contemporary fashion. In the methodologies, the literature and the empirical study focused on Heian's culture, including art history, ethnology, and the history of clothing and the contemporary fashion collection. Japan's original middle colors and intermediate colors began to be created in Heian period. The color aesthetic characteristics of Heian period appeared the beauty of compound color, layered color, overlapped color in Japanese contemporary fashion.

• Journal of the Korean Society of Costume
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• v.28
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• Journal of Fashion Business
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• v.10 no.1
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• pp.20-30
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• 2006

Aprons are popularly used among women for domestic work. They also protect clothes from filth and at the same time become an ornamentation for fashion. Despite their important use at homes and restaurants, beauty parlors, and hotels, little study has been done on aprons. Commercialized aprons do not come in various forms, rather they use the same simple shape with different patterns. There has been no independent study done on aprons, however aprons have been studied as a part of uniform studies in the dining industry by Park and Na(2003) and uniform studies in the airline industry by Lee(2001) and Chung(2001). In this study, the author looked into aprons in accordance to the change of housing space and life style. Not only to be worn in the kitchen, but also to greet guests or for a walk in the neighborhood, the apron needs to have various functions and a trendy fashion. Designs to persue personality and high quality along with functionality and esthetical beauty were developed to present various functions of the apron.