• Journal of the Korean Home Economics Association
• /
• v.44 no.11
• /
• pp.35-42
• /
• 2006

A criticism model for dress was developed to offer a methodological insight into research on aesthetics of dress. Concepts from Edmund B. Feldman's art criticism model, James D. Carney's style-relative model of art criticism, and Sung Bok Kim's fashion criticism model were borrowed and integrated to create a criticism model for dress, comprising identification of styles, descriptive features, aesthetic value features, external interpretation, socio-cultural interpretation, and evaluation. Both inductive and deductive approaches for the identification of styles can be made in the process of dress criticism. In the former case, descriptive features and aesthetic features are sequentially identified to locate the styles of dress. In the latter case, styles are identified first, and descriptive features and aesthetic features are identified accordingly. Logical criticisms can be made based on the critics' background knowledge of the history of dress and art.

• The Journal of the Korea Contents Association
• /
• v.18 no.5
• /
• pp.46-57
• /
• 2018

Fashion is a cultural element expressing general and common aesthetic awareness in a relevant region in the relevant times. On the aspect that shoes are also a part of fashion reflecting the unique aesthetic awareness of Korea, this paper aims to analyze the aesthetic awareness contained in the aesthetic features observed in the traditional boots. The aesthetic features in terms of the form were the balanced usage of each element including curves, straight lines, simple shapes, contrast colors and materials, and the application and ideological significance as the symbol of social position and status in terms of the contents. Aesthetic awareness pursues the beauty of moderation through the compromise between curves and straight lines, as both elements accept each other's features and keep balance without inclination to one element. Next, solid and void are naturally expressed by appropriately adjusting the expression on colors, materials and shapes through the harmony of composure and techniques. While traditional boots were used as the sign indicating social position and status as the unity of spirit and a thing, they pursue the value of rhythmic vitality by giving spiritual meaning to a thing.

• Journal of the Korean Society for information Management
• /
• v.21 no.4 s.54
• /
• pp.187-208
• /
• 2004

In this study, aesthetic impressions were used for a high-level feature of image retrieval. The term, 'aesthetic' has been studied in psychology, art, and literature. It means unconscious, instantaneous parts of visual perception and emotion. The literatures related to aesthetic impressions were reviewed and four kinds of aesthetic impressions were defined operationally : strong impression, soft impression, courteous impression, and refined impression. 66 image files of paintings were sampled randomly from 1100 paintings and low-level color features were extracted from them by a using perceptual color model(Lai, & Tait, 1998). The high-level features of an image, that is, four kinds of aesthetic impressions of each painting were measured by 4 subjects and averaged. In CBIR, 2 subjects performed image retrievals using example queries. They were asked to retrieve images by using the aesthetic impressions or the keywords. In evaluations, subjects showed that they were satisfied with the aesthetic impression-based image retrieval system on the average. And R-precision of the image retrieval with both color features and aesthetic impressions was higher than that of the image retrieval with color features only. But further studies with larger test collections and query sets should be followed for generalization of the result of this study.

• Journal of the Korean Society of Costume
• /
• v.51 no.6
• /
• pp.5-24
• /
• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• Archives of Craniofacial Surgery
• /
• v.14 no.2
• /
• pp.124-128
• /
• 2013

Cystadenocarcinoma of the salivary gland is a rare malignant tumor. It was first defined as papillary cystadenocarcinoma in the 1991 World Health Organization (WHO) classification, and it was reclassified as cystadenocarcinoma in the 2005 WHO classification. It is a low-grade neoplasm that features slow growing and predominantly cystic growth. We report a case of cystadenocarcinoma occurring on the parotid gland of a 61-year-old female patient presenting palpable mass on her left cheek. Preoperative examination may not reveal typical malignant characteristics. Such as in our case, the differential diagnosis between cystadenocarcinoma and benign lesion is difficult occasionally. We discuss the clinical and histopathological features of cystadenocarcinoma with the review of the literature.

• The Korean Society of Law and Medicine
• /
• v.9 no.1
• /
• pp.505-534
• /
• 2008

Aesthetic plastic surgery rarely has the lifesaving, the medical necessity, and the emergency, because it was executed in order to acquire personal satisfaction in the external features. In addition, aesthetic plastic surgery has the strong commerciality in that it is based on the attraction of a client through medical advertisement and the range of uninsurance. These characteristics cause whether aesthetic plastic surgery is included in medical procedure and the legal contract between physician and client is controversial issue. Also, attention and explanation in aesthetic plastic surgery are more emphasized than those in general medical procedure. According, this document presents the various characteristics of aesthetic plastic surgery, which differs from that of general medical procedure.

• Journal of Fashion Business
• /
• v.11 no.3
• /
• pp.133-151
• /
• 2007

The role of fabric now directly related with the expression of the beauty of clothing and it provides new and creative ideas. This study was aimed at reviewing basic data that can be used in systematic design development through fabric expression for today's fashion designers who must study unique, original fashion design development. For systematic development of design technique through fabric expression, fabric expression methods and characteristics, aesthetic characteristics and fabric design of 'art to wear' were reviewed and the results are as follows. First, the highly wrought fabric expression of art to wear was confirmed to be comprehending a message within itself. Second, aesthetic characteristics of fabric expression used in art to wear can be classified as decorativeness, extensity, 2-D pictorialness, handicraft, compounding and rearrangement, and 3-D characteristics. Third, the 6 aesthetic characteristics have unique design features and aesthetic categories. The understanding the fabric expression techniques through study on the classification of the fabric expression in 'art to wear' is expected to be extended to proposition of creative direction and inspiration of modern fashion.

• Archives of Plastic Surgery
• /
• v.46 no.5
• /
• pp.433-440
• /
• 2019

Background Mastectomy in male transgender patients is an important (and often the first) step toward physical manhood. At our department, mastectomies in transgender patients have been performed for several decades. Methods Recorded data were collected and analyzed for all male transgender patients undergoing mastectomy over a period of 24 years at our department. Results In total, 268 gender-reassigning mastectomies were performed. Several different mastectomy techniques (areolar incision, n=172; sub-mammary incision, n=96) were used according to patients' habitus and breast features. Corresponding to algorithms presented in the current literature, certain breast qualities were matched with a particular mastectomy technique. Overall, small breasts with marginal ptosis and good skin elasticity allowed small areolar incisions as a method of access for glandular removal. In contrast, large breasts and those with heavy ptosis or poor skin elasticity often required larger incisions for breast amputation. The secondary correction rate (38%) was high for gender reassignment mastectomy, as is also reflected by data in the current literature. Secondary correction frequently involved revision of chest wall recontouring, suggesting inadequate removal of the mammary tissue, as well as scar revision, which may reflect intense traction during wound healing (36%). Secondary corrections were performed more often after using small areolar incision techniques (48%) than after using large sub-mammary incisions (21%). Conclusions Choosing the suitable mastectomy technique for each patient requires careful individual evaluation of breast features such as size, degree of ptosis, and skin elasticity in order to maximize patient satisfaction and minimize secondary revisions.

• Archives of design research
• /
• v.19 no.2 s.64
• /
• pp.63-72
• /
• 2006

The design in modern industrial society is the core of corporate administrational strategy and a factor that determines the competitiveness of a country. And the process of purchasing products is the matter related to the awareness of design which expresses the desire to own the design product that consumers prefer, implying that the aesthetic feature of product has become a critical characteristics of product design rather than the technical function of product. In this regard, the development of product design with a new dimension is urgently called for, by analyzing and shedding light on the aesthetic features of factors related to the preference of consumers. This study considers the preceding studies on the aesthetic factors and the reaction of customers to the product design to figure out the importance of factors related to the preference of customers, in an effort to shed light on the aesthetic factors that affect the customers' preference of product and the evaluation of product. In addition to that, this study investigated the preference that Korean and Chinese customers display toward the product and assessed the aesthetic features of preferred product in order to come to the conclusion from the experiment and analysis on how much effect the aesthetic factors and the aesthetic factors by product have on the preference of customers. Therefore, this study tries to propose the data that can be useful for the design of product targeted for consumers in Korea and China, by shedding light on what aesthetic factors that products preferred by consumers in Korea and China have and how much effect such factors have on the preference of consumers in an attempt to provide the guideline on the aesthetic factors of the product design.

• The Research Journal of the Costume Culture
• /
• v.21 no.4
• /
• pp.521-534
• /
• 2013

This study aims to identify the formative features of inflatable fashion that has changed its form or fulfilled specific functions by inserting air between fabrics or between clothes and the human body. Images of inflatable fashion images after the 1990s were collected from the literature and internet data and were analyzed based on the formative features of inflatable design. Through this analysis, it was determined that there were four formative features of inflatable fashion: First, inflatable fashion has functionality. General fashion also has functionality, but inflatable fashion has expanded functionalities such as an air bag effect or insulation due to injected air. Second, the formative potential. Inflatable fashion can be changed into different forms depending on the amount of air injected. Light-weighted air holds up the material of the clothes. So new forms that are different from conventional fashion, which gives inflatable fashion its formative potential, can be suggested. Third, aesthetic expansion. Inflatable fashion when its volume is expanded expresses the beauty of scale, or expresses a voluptuous beauty when part of human body is exaggerated. Fourth, it has an unconstructive characteristic. Space that is visible due to the transparent material of inflatable fashion expresses the intention of the designer to fulfill an unconstructive concept. In conclusion, the formative features of inflatable design have formative significances : practicality, aesthetic significance, semantics and technical significance.