• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.686-693
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• 2022

The rapid development of the fashion industry in contemporary society has also caused various problems such as environmental pollution, material excess, and spiritual poverty. Accordingly, traditional Chinese Taoist aesthetics can solve the spiritual poverty that people are facing today, and the spiritual pursuit of returning to innocence. This study focuses on the works of first generation Chinese designer Ma Ke as an example to discuss the embodiment and application of Taoist aesthetics. The results are as follows: First, Ma Ke's works emphasize the value of handicraft through traditional handcrafting and natural fibers, which reflect the beauty of simplicity and the non-action of Taoist aesthetics. Second, the works acknowledge nature by using natural materials and retaining their original appearance, which embodies Taoist aesthetics of the beauty in non-action and living in harmony with nature. Third, the collections reflect a critical attitude toward the fashion industry and consumer culture by rethinking consumerism and advocating environmental protection, thus propagating the beauty in simplicity and the harmonious life with nature in Taoism aesthetics. In conclusion, Ma Ke's designs incorporating sustainability and handicraft exhibit the core features of Taoist aesthetics, including the beauty in simplicity, non-action, and living in harmony with nature while exploring the relationship between modernity and tradition, man and nature, and handicraft and fashion. This research can contribute to understanding Ma Ke's works in promoting critical thinking about the fashion industry through Taoist aesthetics.

• Journal of Fashion Business
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• v.6 no.6
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• pp.56-67
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• 2002

Fashion designs reflect the trend of the times embedded within the cultural structures of eastern and western civilizations as well as the traditional styles. However, the motives in fashion designs fundamentally come from human beings' willingness for creation through deep understand of nature or using symbolism and artificial esthetic appreciation. Mankind has expressed their willingness for creation through speculation not with the attitude of conquering nature but by acknowledging the flow between their lives and nature. The purpose of this paper is to investigate human beings' transcendental and embracing attitude toward the natural environment and the human environment in fashion design. In natural environment factors, sublimity toward nature's marvelous powers and the transcending state of mind within happiness and delight or the extreme fear or unavoidable coerciveness and the consequential daunting feelings and smallness, and sorrow all stimulate the will of mental speculation and cause a transcending sublimity. A sublime state of mind does not exist in a superficial framework of enjoyment. It is rather an act of transcendence and embracement residing in a sublime object and leading man's spirit into a state of philosophical thought. Also, in man-made Environment factors, we found from magnanimity we were ability to see the true nature of an era's culture.

• Journal of Wetlands Research
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• v.9 no.1
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• pp.31-46
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• 2007

In this paper, the nature-based tourism is described as one of the tools to achieve sustainable development in small islands. The study was carried out at Ayer, Bidadari and Onrust Islands of Kepulauan Seribu chains at Jakarta Bay, Indonesia. While the historical records show that previous uses of such islands have started at sixteen century, tourism uses was started at the beginning of 1970s. Among nature-based tourism destination in Kepulauan Seribu chains, these islands are the famous destinations and received a lot of tourists. Tourism growth at these islands has stimulated development of numerous tourism facilities and infrastructure to meet visitor satisfaction. It is observed in this study that island's site-plan destination design has contributed to the successful and sustainability of tourism in small island. The key success lies on the successful integration and implementation of three substantial perspectives into practices, namely economic, ecosystem and social perspectives. First, in order to enhance economic benefits, a site-plan design allowing floating cottages establishment to extent room availability, to build strong images as tropical paradise islands, and to enhance tourist satisfaction with the objectives of improving income and sustaining tourist loyalty to the destination. This design is also reducing land risk from tourism impact and it becomes the significant key of second perspective, the ecosystem perspective. Moreover, the ecosystem perspective has been implemented through native vegetation preservation that led island's wildlife conservation and became potential tourism attraction. The design also develops effective mechanism to manage and regulate visitor flows by establishing visitor track corridors. In implementation, such corridor plays an important role to reduce tourist density in single places and therefore become instrument to reduce severe visitor impact to wildlife, vegetation and heritages of islands. Third, the social aspect of development allowing heritages to conserve and furthermore serve numerous benefits for education, socio-political, culture, and historical studies. Through this study, it is clear that the success of these islands to continuous tourism growth lies on the island's vision to integrate economic, ecosystem and social perspectives on tourism development.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.2
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• pp.35-42
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• 2012

This research intends to find the concept of eco-village in suburban area which various people can experience. For this, we established general ideas through theoretical reflections, and found an objective of suburban eco-village through functional practices. According to the research, a composition of eco-village to reduce the environmental load consists of three major functions. First, by forming traditional meanings of eco-village community, it creates eco-friendly life through energy saving and resource recycling. Second, it functions as relieving the stress of the urbanites and healing their mind and body in the nature of formed eco-village community. Finally, the implementation of eco-village is an idea of group of people who tends to live with nature. Thus, by recovering the nature and by preserving the nature with eco-friendly concept, it will be developed by a place where people can experience the importance of nature. However, these three functions should reflect regional characteristics sufficiently, and through saving and utilizing the history, culture and ecological resources of the regions, it gives positive support to local natives' sustainable life. Consequently, it will show the right direction of development of suburban eco-village through each case analysis of these three functions.

• Journal of Korean Society of Forest Science
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• v.89 no.3
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• pp.356-367
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• 2000

The purpose of this study was to identify the underlying dimensions of push and pull motivators for Soraksan, Kayasan, Naejangsan, and Pukhansan national parks in mountain regions. This study also examined the nature and extent of the reciprocal relationship between the push and pull factors. The result showed that four dimensions were derived from 12 push items, which were cultural and natural experience, escape and rest, health, and socialization and novelty motivators. Three dimensions also were derived from 12 pull items, which were facilities and culture, nature, and accessibility. The push and pull dimensions were correlated and regressed against each other. Given the nature of relationship between the push and pull factors, facilities and culture pull factor was affected by the cultural and natural experience motivation. Nature pull factor had strongly associated with culture and nature, escape and rest, health, and socialization and novelty motivations. Finally, accessible attraction pull factor had a positive relationship with health motivator, however, had a negative with cultural and natural experiencing motivation.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.787-803
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• 2017

The purpose of this study is to reestablish the innovative and experimental designs of Rei Kawakubo by considering and analyzing the flow on the avant-garde nature of her design collection from 1981 to 2017. Design trends such as the art trend, silhouette, color, and expressive technique showcased in Rei Kawakubo's collection from 1981 spring/summer to 2017 spring/summer were examined through precedent studies, books, internet materials, and the avant-garde expressive nature of her designs appearing in modern fashion. Additionally, this study considers the definition of avant- garde and analyzes the expressive nature of Rei Kawakubo's 137 works from the Comme des Garcons collection, exhibited in New York's Metropolitan Museum of Art. As a result of this examination, the avant-garde expressive nature seen in modern fashion was classified into the following themes: historicity, de-structure, exaggeration, intermixture, and surrealism. As a result of reclassifying these characteristics according to historical flow, the historicty, intermixture, and de-structure appeared in the 1980s, while intermixture, exaggeration, and de-structure appeared in the 1990s. More recently, historicity, intermixture, and de-structure appeared in the 2000s, and intermixture, de-structure, exaggeration, and surrealism appeared in the 2010s. The present study is significant in providing theoretical material for the more innovative and various design development in diverse domains while helping to define and understand the avant-garde expression through Rei Kawakubo's collection.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.57-67
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• 2012

This study draws the following conclusions about the nature garden culture with crane that is a dynamic landscaping factor introduced into nature garden by analyzing the literatures on cranes written and landscapes painted in Chosun Dynasty. First, crane symbolizes such Buddhist, Taoist and Confucius media as appearance of Buddha, desire for Taoist hermit world and long life, and a solitary's life of proud loneliness. It has been recorded that crane was raised from the Three Nations Era till the Japanese occupation and Confucius scholars in Chosun Dynasty opened shows concerning crane or formed literature groups enjoying poems of it, and often using crane as their denial of going into government service. Second, in order to introduce crane to nature garden, people caught wild crane and made a fence and some kind of pond for their growth. In addition, crane was strictly managed by appointed slaves and they trained crane for dancing and then tended to allow a crane to play on the yard in terms of abstract meaning or got two cranes free in consideration of their ecology. Third, for more appreciation of crane and the expression of some symbolism matching for it, both plum and pine, which mean a solitary's life and long life respectively, were planted in nature garden. And, Confucius scholars in Chosun Dynasty also enjoyed their refined tastes with appreciation, napping, reading and playing the harp, accompanied by crane. As aforementioned, Confucius scholars in Chosun Dynasty did not only draw the meaning symbolized by cranes and write poems about such symbolic meaning, but also positively introduce crane into nature garden as a dynamic landscaping factor, so that they enjoyed synesthetic senses including looks, motions and sounds of cranes for their refined tastes.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.262-280
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• 2022

The purpose of this study is to analyze the organic forms, expressions, and characteristics of Alexander McQueen's fashion design and to present various materials for understanding and utilizing this organic design style. The criteria for organic design expressions and characteristics were classified through a literature review, and the organic design characteristics of Alexander McQueen's fashion were then analyzed. The results are as follows: First, the morphological characteristics of nature's forms are used as objects in Alexander McQueen's fashions to represent organic characteristics. Second, abstraction through the application of organic forms means creating an abstract representation of the object being represented. Abstracting organic forms occurs by partially modifying the structural features of the human body to show characteristics or by visualizing these characteristics within the surface of the natural object. Third, continuity through the expression of the formation process of organisms is characteristic of the expression of the gradual growth of organisms; this reinterpretation is based on the concept that the internal elements of natural objects affect their external forms. Fourth, the structure of using natural materials, as well as regional and cultural characteristics, is shown in the designs through use of the physical characteristics of expressions and materials that use natural elements. Fifth, symbolism through subjective thinking implies that the element of nature that an object expresses is the element that appears in nature; this includes created organisms along with environmental factors. These characteristics are best demonstrated in fashion designs that express themselves through creativity.

• Iberoamérica
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• v.12 no.1
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• pp.407-439
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• 2010

Growth of researches addressing cross-culture in international business is exponential. This article reviews the extant researches around the national culture and describes the various conceptualization of culture through discussion of some of popular models of national culture. This article presented some of the most important issues in international business surrounding globalization, especially convergence and divergence of cultures and cultural changes. Global rapid changes in international business environment request the reconsideration of the assumption of cultural stability and the simple view of culture, which tends to examine the static influence of a few cultural factors in isolation form other cultural factors and contextual elements. This paper identifies a valid cultural grouping and proposes the following typology of the possible methodologies in international business; Ethnological description, Use of proxies, Direct values inference, and Indirect values inference. Rather than selecting a single methodology, it appears to be more appropriate to use multi-method in the cross-cultural international business research. It has been shown that cultural change is intertwined with socioeconomic-institutional variables, and that these variables may also add to determine culture contemporarily. This paper also explained the dynamics of culture as multi-level, multi-layer constructs. According to this model, we may understand how the dynamic nature of culture conveys the top-down-bottom-up processes where one cultural level affects changes in other level of culture.