• 복식문화연구
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• 제8권2호
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• pp.217-236
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• 2000

The study is on the beauty of the line in the Cho-sun Costume. In the aspect of the Costume Aesthetics and Study of Clothing Design, I try to find the beauty of the line in the external form and the immanent beauty of the external line in the Cho-sun Costume. The results of the study is that : 1) The beauty of the line external form have ① the functional beauty of the line ② the beauty of drape line ③ combination of the line of internal and external structure. ④ the beauty of wearing with the Chi-ma. ⑤ the beauty of sharp line in the ornaments 2) The immanent beauty of the line in the Cho-sun Costume : There are a natural beauty found by the reason of nature, temperate beauty, simple beauty in the Cho-sun Costume.

• 패션비즈니스
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• 제21권4호
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• pp.44-60
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• 2017

This study is to understand the image of the Korean beauty and rewards to be gained by trying to be a beautiful person and to study differences according to demographic characteristics. It was studied with the purpose of industrializing beauty image and selling it to foreign countries. The survey questionnaire was distributed to Seoul and Kyeongkido. Respondents totaled 301. Collected data were analyzed with frequency analysis, factor analysis, $X^2$-test, and regression. Results are ; (1) The external image of Korean beauty emphasizes round face, white skin, big eyes, double eyelids, round head shape, early twenties, tall, low body weight, thin waist, long neck, long legs, and thin fingers. (2) The inner image of the Korean beauty emphasizes mature personality, social economic ability, but not housework, and cultural artistic ability. (3) Rewards gained by trying to be a beauty are psychological, actual, and social ones. (4) External face and body image of the beauty are different by demographic characteristics (sex, age, marital status, final education, monthly average income, religion). (5) The inner image of the beauty is different by age, final education, and monthly average income. (6) Rewards gained by trying to be a beauty are different by sex, age, final education, and monthly average income.

• The International Journal of Costume Culture
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• 제6권2호
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• pp.117-125
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• 2003

Aesthetics of ugliness enlarged aesthetic field and brought back the repressed, estranged things. Hair style is not an exception. So I intended to examine the contemporary(1995-2002) women's hair styles on the basis of Rosenkranz' concept of ugliness. The results are as follows: First, extrinsic aspect contains formlessness and disfiguration. Among characteristics of formlessness, discord means appearing on a stage with a hair style derailed from our common sense or an incomplete hair style. Asymmetry means hair decoration or hair dressing which violates the principles of design. Disharmony means excessiveness beyond the concept of accent. Disfiguration has characteristics of vulgarity, disgust and caricature, and means cruelty, grimness or ridiculousness instead of pleasing beauty. Second, intrinsic aspect has incorrectness. As minority ethnic groups, estranged classes, children and women which in the previous field of absolute aesthetics were never considered as beauty appeared as subject matters of hair styles, the repressed things returned and a new genre was created thereby enlarging true aesthetic field. Like this, 1 cloud confirm that aesthetics of ugliness organized today's characteristic, peculiar hair styles, and enlarged aesthetic field.

• 복식
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• 제51권8호
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• pp.171-183
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• 2001

The purpose of this study was to develop service quality dimension of beauty parolrs in seoul area. The subject consisted of 545 adults with ages ranged between 20 and 30 who had evaluated service qualify dimension on one of the three different types of beauty parlors in seoul. The beauty parlors were classify into three types. Type I is franchised one, type II is located in center of city and type III is close to consumer's residence area. The result was as follows : 1. Four dimensions of the service quality of the beauty parlor were physical aspects(tangibles·accessibility·cleanness), employee aspects(empathy·capability), policy aspects of beauty parlor (management·reputation·credit card), the skill of the hair stylist. 2. To predict comsumer satisfaction. service quality dimensions were as follows : In franchised beauty parlor, the employee aspects(empathy), the policy aspect (reputation), the skill of the hair stylist were should be considered. In beauty parlor in downtown area, Physical aspects(accessibility), the employee aspects(capability), the policy aspects(reputation), the skill of the hair stylist were should be considered. And the beauty parlor in residence area, the employee aspects(empathy), the policy aspects(reputation) were should be considered.

• 복식
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• 제52권8호
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• 패션비즈니스
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• 제9권6호
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• pp.39-55
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• 2005

This study examines closely the relationship between beauty art service quality and value. And satisfaction and purchase action that they do perceive to customers who have beauty art service company's service use experience. Moreover, this study was achieved purposely to present service raising plan of good quality to beauty art company managers and business employees. First, to investigate the concept of beauty art service quality and special quality was with doctrines that have been presented through a virtue aspect to achieve this study. Moreover, the wave and beauty art service, human service relativity is a let down unlike manufacture enterprise. Further more, beauty art service by complex composition of existence and nonexistence style is sold, and it could be known by having personality consumed at the same time production. The concept of quality about beauty art service and quality that became perceived through virtue study of concept and measurement about value. Therefor, value was deduced, and could deduce measurement, the linear measure that is applied to measure this. Large majority virtue study found is measuring quality of service to 22 articles on PZB's theory, and this study corrects measurement, the linear measure that is applied in Morritt's study that is based in PZB matrix and supplements and attempted measurement to 22 items. The result measurement dimension is consisted of functional quality, technological quality, physical quality dimension. To measure this through virtue study about value that become perceive, could confirm that all expense and beauty art companies which the customer is paid, connect with offering general quality of service. Therefor, through measurement, 2 dimension was deduced by monetary value and the non-monetary value.

• 복식
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• 제58권3호
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 한국의류학회지
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• 제40권2호
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• pp.221-239
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• 2016

This research investigates the current state of beauty related curriculums and departments of undergraduate and graduate programs in Korea. The results also compared beauty related programs at selected overseas universities. A comprehensive list of 4-year universities with beauty related undergraduate and/or graduate programs were surveyed using the KCUE University Entrance Information (http://www.adiga.kr) site provided by the Korean Council for University Education. Information on the name of the department, curriculum, and year of foundation were obtained from the websites of individual universities. There were 58 universities which have beauty related higher education programs; 43 undergraduate programs, 12 graduate programs, and 40 special graduate programs. The number of special graduate departments were 3.7 times larger than the graduate departments; in addition, 43.9% of the special graduate departments were located in the Seoul/Gyeonggi/Incheon area. The curriculums of beauty related 4-year undergraduate departments were focused on the 'Beauty care service' area (50.2%), whereas the curriculums of graduate departments were focused on the 'Cosmetic science' area (40.8%). In case of the special graduate programs, there was little difference between the 'Beauty care service' area (24.4%) and the 'Cosmetic science' area (27.7%). Beauty related programs of overseas universities were mostly focused on cosmetic science with some universities specialized in the marketing aspect.

• 복식
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• 제51권6호
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• 한국의류학회지
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• 제19권2호
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.