• 복식
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• 제56권5호
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• 대한가정학회지
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• 제44권11호
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• pp.171-178
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• 2006

Recently more than ever, interest in Korean tradition has been on the increase, with an active movement to follow tradition. There are various merits for expression with the use of Korean paper as a clothing material. The purpose of this study was to assess the aesthetic characteristics of men's shirts fashioned using Korean paper (Hanji). The following conclusions were obtained from an analysis of the aesthetic characteristics of Hanji shirts. First, Hanji has a peculiar texture, with natural characteristics due to the direct use of naturally handcrafted materials. Hanji shirts have the natural beauty of pure Hanji, without artificial treatment or other subsidiary materials, with the exception of thread. Secondly, Hanji shirts with decorative details and trimmings, such as frills, pin tuck, embroidery and spangles, express an ornamental beauty. Thirdly, Hanji shirts with frills or a fringe have real movement when worn and spangles give the illusion of movement due to changes in color or twinkling caused by light giving the beauty of rhythmical motion. Fourthly, Hanji shirts produced using the application of various techniques, such as crumple, painting and dying, express artistic beauty. Fifthly, Hanji shirts can express traditional beauty, even if created whit modem designs, but using traditional materials.

• 한국의류학회지
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• 제28권8호
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• pp.1076-1087
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• 2004

The purpose of the study is to give new aesthetic values of black dress one of the important items in contemporary women＇s fashion. Through the work, to give the new aesthetic characteristics that women really needed can be found. This study was processed by fashion books and articles, literal material with fashion photos which were related fashion trend from 1920 to the present. The results are as follows: In early 20th century, the black dress, which had simple form pursuing function like little black dress. In the middle of the 20th century, elegance and minimalism was represented by black dress, expressed erotic images together with see-through fabrics. In the end of the 20th century, body conscious style of black dress expressed sensual images of women. Modem black dress has design characteristics of the form: simple, close, exposure type and of the materials: matte, transparent and dazzling etc. Simple type emphasizes feminine elegance, while close type and exposure type disclose woman body curve to express erotic images. Matte materials made black dress express feminine elegance while transparent materials and dazzling materials made black dress express erotic and sensual beauty. The aesthetic characteristics of black dress were as followings: Sensualism expresses sexual attractiveness of women-close type and exposure type black dress and see-through materials and dazzling materials made black dress. Simplicity of extreme decoration effects are expressed through black dress having temperate and simple form. Femineity expresses traditional femineity to emphasize chaste, modest and elegant women images-the black dress, which is made of simple form, velvet and satin materials. Modernism combines black colour, which is called modem colour, with simplicity and function factors and pursues simple form. Ascetic practice controls mental and physical desire of the individuals, simple form without decoration covering up woman body and box type silhouette of black dress. Therefore, the study on image of the black dress, which have made appearance at modern fashion, is thought to help develop fashion trends and design, through which modern women express themselves and their beauty.

• 복식
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• 제54권5호
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• pp.95-107
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• 2004

Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been Ignored the Idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress hut also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness. decency. modesty. and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity. matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.

• 복식
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• 제53권8호
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• pp.39-52
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• 2003

This study was classified according to types added ‘Seon(선)’ to the dress of Chosun Dynasty and analyzed them into formative characteristics. the results were as follows ; 1, ‘Seon’ is divided into three types of the standard, the decoration and the application. According to three types, the types of the standard are subdivided into Jemul Seon(the shape put the right side into lining) and the different color Seon. The types of the decoration are subdivided into Stitch, Surround, Gild and Embroidery form. And the types of the application are subdivided into Piping, Fur, Braid and Metallic form. 2, It showed as the different color Seon and Jemul Seon in the case of men dress and as the different color Seon and Gild form in that of women dress. 3, Its application showed in the ceremonial dress and ‘Po(袍)’ types of men dress and in the ceremonial dress and as accessories of women dress. 4, It was used as complementary color tone in both men and women dress. 5, It was used as its surface in men dress and as its reverse side in women dress according to Seon of style. 6, It was used as ‘Sa(紗)’ in men dress and as ‘Dan(緞)’ in women dress according to Seon of texture. 7, Seon of an aesthetic characteristics was distinguished according to Seon of forms, that is to say, Jemul Seon standed for calm beauty, Two color Seon standed for dynamic beauty, Stitch, Surround and Piping form standed for delicate beauty, Gild and Embroidery form standed for brilliant beauty and Fur, Braid and Metallic form standed for solid beauty.

• 한국의류산업학회지
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• 제9권6호
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• pp.595-602
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• 2007

This study examined the aesthetic characteristics of Grecian style which is being considered as the representative classic of Western fashion and the transformations of those Grecian styles on the fashion of the twentieth century. This study used positive research method using literatures on art history and clothing history, fashion related publications, and magazines and websites to understand the trend of fashion designer's collections. The study results are as follows. The aesthetic characteristics of Grecian style was considered to be the ideal beauty combined with symmetry, the functional beauty combined with non-construction, and the sensual beauty combined with natural body. The ideal beauty combined with symmetry appears as a style that shows idealistic proportion of a body emphasizing high-waist based on the golden ratio and the body as a whole rather than details. The functional beauty combined with non-construction appears as perfect recreation a body in its original and natural form. The clothing takes a form that does not have any structural design and has simplified cutting and sewing. It uses pins and strings to fix up the form of clothing which is flexible and naturally draped. The sensual beauty combined with natural body is found in natural silhouette dress alluding naked body in connection with Rousseau' naturalism in neoclassic period. Throughout the twentieth century, the desire for Grecian style was conveyed by a single detail or through an array of allusive effects.

• 복식
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• 제54권5호
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• pp.109-123
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• 2004

The purpose of this study is to examine features of parts of Jikryung and relations among the features. Results of the study can be described as follows. 1. The short front and long rear of Jikryung was changed into the long front and long rear of the dress in the late 16th century. Kalgit of quasi-square style as double collar was changed into that of common collar in the late 16th century and then into common semi-circle collar in the early 17th century, when double Sup was also changed Into single Sup. Narrow sleeves of Jikryung were replaced by bean chaff-shaped in the late 16th century and then by wide ones in the early period of the next century. The shape of the side hem of Jikryung was changed from rectangle into trapezoid in the early 17th century Triangle-shaped Moo was changed into trapezoid-shaped one in the late 16th century and then again into triangle in the late 17th century 2. Changes in shapes of the parts of Jikryung were made with them correlated. The collar of Jikryung saw change in its form from double to common as its width was reduced. Double Sup was changed into single one and the narrow, short coat string into the long one as Jikryung became a dress needing less adjustment. The sleeves widened as the length of whajang increased. The side hem of Jikryung saw change in its shape from rectangular to trapezoidal one as its position was changed. Trapezoidal Moo was replaced by triangular one as the sleeve of Jikryung was changed in shape. 3. Changes in shapes of the parts of Jikryung influenced the aesthetic beauty of the dress itself In its first period, Jikryung was simple with long, slim silhouettes. In its second period, the dress was rich with increased volume. Finally in its third period, the dress was characterized by the harmony of simpleness and richness.

• 복식문화연구
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• 제15권5호
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• pp.749-759
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• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.

• 복식
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• 제52권8호
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• pp.123-135
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• 2002

The purposes of this study were to observe the influences of Salon culture on fashion, and to understand of 17th-l8th century's costume from a different point of view. The literatures about Salons and costume in 17th-l8th century were considered for this study Salon culture had influenced on women's and men's fashion from 17th 18th century as results. The influences of salon culture on fashion were as follows; At first, it caused radical feminism for women's dress. Women for this period chose their dress to maximize their breast and tight their waist radically to express their beauty. Women were realized as sexual being for the period, then, this caused feminism. The second influence was the Andorgynous of men's dress. Men maximized beautiful decoration, body line on their dress and showed feminine dress style. which caused Andorgynous of men's dress as men and women mutually created new beauty effect. Salon had influences on the birth of new feminine culture and fashion, supplying individual self-control and freedom to women not as aesthetic objects.

• 복식문화연구
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• 제17권3호
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.