• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.103-117
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• 1993

The purpose of this study is to clarify the adaptation of beauty of traditional dress depicted contemporary Korean fashion design. For this purpose, the external form and the internal meaning based on 'the double roots' proposed by W$\ddot{o}$lfflin were analyzed in Korean traditional dress. Documentary studies and objective studies were done with descriptive and content analytic methods. And homospatial process was devised in order to develop the traditional identity in contemporary fashion design. The results were as follows: 1. As the external form, H. O. A silhouette, chogori, ch'ima, paji, and po concerning internal type, kaftan, flat form related to structured type were represented. Traditional color sense were love of white, contrasting as well as analogous color harmony shown often in nature phenomena, and temperate achromatic color harmony. Texture were characterized as rough and coarse expressing vividness, fine and smooth expressing delicateness and tenderness. As the internal meaning, the beauty of purity related to nature, tragedy, and symbolism were represented. 2. Since 1980's. Korean fashion designers frequently applied unstructural kaftan form and H silhouette to Korean fashion design, and sought natural and pliable line in whole dress. Use of white and achromatic color harmony as well as use of linnen were prominent. Designers' aesthetic consciousness was pursuit of the beauty of nature. Representative designers who concentrated on expressing traditional beauty were Lee Shinwoo, Sul Yoonhyung, Jin Taiok and others. 3. A homospatial process could be a method in the creative design which enables to express Korean identity in fashion design, and could suggest ideas of new designs full of Korean identity by superimposed and fused imaginery.

• Journal of Fashion Business
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• v.21 no.4
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• pp.90-104
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• 2017

In a rapidly changing fashion design world, creative ideas are always required. Knowledge has been created as an art, exhibiting a new imagination that surpasses reality, while being visualized from the past. The purpose of this study is to derive types of visualization of knowledge for continuous creation of fashion design. The study consists of literature and empirical studies. ATTA, a creativity evaluation method made by Torrance applied for analyzing of Gucci fashion design collections from 2016-2017. Creativity of the Gucci collection by ATTA evaluation items are that first, a vivid idea was revealed through collection history, myths and animal and plants, second, conceptual incongruity is in the composition of the garment, third, provocative questions are the symbolism of the meaning of the text, fourth, different perspectives derive a new formative beauty through the synthesis of twisted elements, fifth, abstraction is a symbolic expression of animals and plants, sixth, synthesis is a mixture of various materials and techniques by plural inspiration, seventh, context, it is developed as a design accompanied by stories of history and myth and eighth, fantasy is fictitious animals and animals and detail. In addition, formativeness of fashion design by visualization of this knowledge was extracted with contamination, symbolism, enjoyment and fabrication. Visualization of the knowledge is expected to be used as a strategy to attract ongoing ideas for creative fashion designs.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.11
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• pp.1285-1296
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• 2011

This study examines the effects of fashion and beauty consumption behavior on self-satisfaction. A questionnaire method was used for the study method and the subjects of the study were females in their 20s- 50s. A total of 580 sets of questionnaires were distributed and 554 sets were used for the final analysis; in addition, SPSS 12.0 statistics program was utilized for factor analysis, reliability analysis, correlation analysis, one-way ANOVA, Duncan test and multiple regression analysis. The results of this study were: First, the factors of fashion consumption behavior are composed of physical supplementation, social symbolism, appearance styling, sexuality and conformity and those of beauty involvement consisted of hair styling, skin management, make-up and body shaping. Self-satisfaction was divided into living satisfaction, appearance satisfaction, economic satisfaction and interpersonal relations satisfaction. Second, (because of the examination of the effects of fashion consumption behavior on self-satisfaction) fashion physical supplementation and appearance styling of fashion consumption behavior influenced living satisfaction and interpersonal relations satisfaction for females in their 20s. However, fashion consumption behavior did not influence satisfaction for those in their 30s. It was shown that the social conformity factor of fashion consumption behavior influenced appearance satisfaction of self- satisfaction for those in their 40s and the conformity factor of fashion consumption behavior gave a negative influence on life satisfaction and economic satisfaction of self-satisfaction for those in their 50s. It was found (for beauty consumption behavior) that the body-shaping factor influenced economic satisfaction and interpersonal relations satisfaction of self-satisfaction for all age levels.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.6
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• pp.924-942
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• 2018

This study is to understand the symbolism and meaning of Yeomim in Korean traditional clothing. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, there are three types of Yeomim for Korean clothing. Various methods of Yeomim use different materials for tying clothes such as straps and buttons. Second, when we investigate how Yeomim of Korean clothing has evolved, left and right type of Yeomim had coexisted in ancient times and Dae had been used mainly to tie clothes. The Yeomim method has used various materials since the Goryeo Dynasty. During the Joseon Dynasty, right type Yeomim dominated with majority using Goreum. Third, Hanbok has consistently evolved with a unique bonding style that uses rectangular strap for Yeomim, from the ancient times. The particular Yeomim method of twisting a rectangular strap represents the circularity of space. In addition, Yeomim with a strap is characterized by the beauty of how its form can be highly flexible depending on the human body or location of Yeomim, which corresponds to an unbalanced and asymmetrical natural beauty unique to Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of Fashion Business
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• v.14 no.1
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• pp.116-131
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• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.117-124
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• 2008

People have used the manner of expression "clothing" to find out and to symbolize the styles that suits one's roles, behaviors or altitudes. Moreover, the symbolic meaning of clothing is important as it reflects the culture of a time period as well at the life style of each classes of society. In the aspect in which clothing is critical data to re-examine a time period as to trace history, clothing is significant for understanding the characteristics of each time periods, and by focusing on women's wedding dress, a costume worn for one of the most essential ceremonies in one's life, this article studies how trends of each period have been symbolized through clothing. Thus, this study aims to set a foundation to understand the cultural features of a time period through the wedding ceremony. The article inquires about the hwalot to also understand its meaning during the period of its existence, and develops designs for modern wedding dresses for women. I. The wedding dress of women expressed the following meanings by using shapes, colors and patterns of the hwalot. 1) The formative art of hwalot is the ultimate beauty. 2) The wedding dress of women emphasized aesthetics. 3) The symbols praying for harmony between red and indigo, or the union of yin and yang indicates that marriage had been considered as a precious ceremony-an important matter of life. 4) The meaning of good auspice such as health, longevity, immortality, good luck and stability had been frequently used since people sought for new and eternal life. 5) The symbols of wealth and fame have been frequently used by those pursuing a wealthy life. 6) Marriage was considered as a union of families, and not a union of two individuals. II. This article presents two types of modern wedding dresses.

• Journal of Fashion Business
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• v.28 no.1
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• pp.36-50
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• 2024

This study aims to explore the potential of integrating traditional Indian motifs into modern textile design that appeals to the MZ generation. The objective is to create patterns that reflect the rich cultural tapestry of India while aligning with contemporary sensibilities. To achieve this, the design process includes a comprehensive literature review on the historical background, symbolism, and structure of Indian textiles and a survey to determine if the developed design suits the preferences of the MZ generation. Digital design tools such as TexPro, Photoshop, and Illustrator were used to create the designs based on the theme 'Cosmic Dream,' with sub-themes inspired by nature and Indian symbolism. 'Blooming Cosmos' focused on the structural beauty of the lotus, combined with paisley and rangoli patterns, for a vintage yet modern appeal. 'Cosmos in Blossom' is drawn from the rangoli technique of using varied materials, resulting in a romantic pastel-themed pattern that aligns with the 2023 Youth Trend. 'Cosmic Peacock' presented a lively ethnic pattern by merging simplified lotus motifs with India's national bird, peacock along with a paisley backdrop. A questionnaire was conducted to check the MZ consumer responses, and the most preferred design was the peacock and rangoli mixed design, ground colored in cream. These findings indicate the potential of the developed ethnic designs to be used for various purposes. By combining traditional motifs of India with modern elements, this study proposes ethnic textile designs that are suitable for MZ generation consumers.