• 복식문화연구
• /
• 제9권1호
• /
• pp.19-32
• /
• 2001

The purpose of this study is to determine aesthetical characteristics of the Korean traditional wedding dress for women by analyzing such dresses'aesthetical senses. For the purpose, the study showed four types of the dress, jukyee, whalot, weonsam and private weonsam and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows; Aesthetical senses shown in the Korean traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, whalot adpated revelation as its main factor while the remaining three types, or jukyee, weonsam and private weonsam were found having dignity as their main factors. Adjective words which largely accounted for aesthetical senses included uncomfortable, warn, chaste, intellectual, bright, unique, regular, luxurious, classical, ornamental and beautiful suggesting that the Korean traditional wedding dress for women is somewhat unfunctional, but high in attractiveness and aesthetic beauty and has a better classical harmonization of dignity and revelation. Aesthetical senses were most different according to nationality(Korean and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization. Japanese people had unique and interesting senses while Korean people, chaste, calm and delicate aesthetical senses. According to gender, men revealed free senses and women, classical ones. According whether of specialization or non-specialization those who specialized in a related field had more unique, straight, regular, luxurious and interesting aesthetical senses that those who did not specialize.

• 복식
• /
• 제51권7호
• /
• pp.5-20
• /
• 2001

The purpose of this study is to determine aesthetical characteristics of the Japanese traditional wedding dress for women by analyzing such dresses' aesthetical senses. For the purpose, the study showed four types of the dress, Zunihidoe, Iro-uchicake, Chiromuku, Hurisode and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows : Aesthetical senses shown in the Japanese traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, its main factor while the remaining four types, were found having dignity as their main factors. adjective words which largely accounted for aesthetical senses included uncomfortable, unique, bright, dignity, classical, ornamental and beautiful, suggesting that the Japanese traditional wedding dress for women is somewhat unfunctional, high in dignity and aesthetic beauty. Aesthetical senses were most different according to nationality (Korea and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization.

• 농촌계획
• /
• 제14권4호
• /
• pp.11-19
• /
• 2008

The layer technique is to produce many memorable scenes by generating layers of new experiences on the existing ones as it is adding the cognitive layers on to the visually seen landscape. Its need is high for places whose landscape itself influences perception, value or expression and which determines the spatial and quality standards. The existing floor plan-based design methods have failed to be useful in generating complex visual experiences. In order to maximize the aesthetical landscape experiences in landscape planning, cognitive layers are needed which complement the input of adequate cognitive elements and the inter-element relationships. Here, layers are utilized to change the arrangement of the landscape elements and coordinate the cognitive flow so that the images could be connected and imagination could occur. A case in point is Anhyun Village in Gochang where physically distinctive layers are additionally set to make a visual experience enriching. The new landscape layers discover the fact that it provides diversity in experiencing the village landscape and forming the sense of beauty and that it is deeply immersed into the daily life of the village. Meanwhile, Guwau Village in Taebaek is an example showing the usefulness of various-layer setting in landscape planning in setting effective circulation planning. That is, the bottom line is the spacing-starting where and making it stay where for a few seconds, and the visual layers. It is also critical to encourage inducing circulation so that layers of the senses stimulating five senses could intervene. Lastly, Mulgeon-ri in Namhae is a case which directly made a parallel of the physical layers of the landscape composition and the cognitive layers of the landscape experience. Artificial landscape planning is mostly about manipulating of visual traits that people feel beautiful, but the layer technique is linked to how to make experiences enriching and renewed.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2004년도 춘계 종합학술대회 논문집
• /
• pp.449-455
• /
• 2004

영상콘텐츠 디자인 분야에서 합리적이고 이성적인 미의 구현에 있어서 일반적으로 수행하고 있는 구체적인 실체가 있는 가시적 영역의 디자인에서 벗어나 탈물질화 시대의 가상 공간인 비가시적 영역의 연구를 통하여 가시적 디자인으로 구상해내고, 전자공간에서 만들어지는 영상그래픽 들의 내포 의미와 새로운 감각을 얻을 수 있는 계기를 마련하고자 한다. 특히 물질 사회에서는 전자기파와 같은 눈에 보이지 않는 현상은 공간에 실존함에도 불구하고 개념적인 대상으로 다루어지곤 했는데 이러한 기존의 제한된 관점에서 벗어나 비가시적인 영역에 대한 디자인의 물리적ㆍ시적ㆍ미학적 경험에 대한 디자인 방안을 모색하고자 한다. 이러한 이론적 근거로 프랙탈디자인 분야에서 사운드와 리듬, 칼라와 이미지의 적용으로 인한 새로운 디자인에 대한 가능성을 확보하고자 한다.

• 복식문화연구
• /
• 제19권6호
• /
• pp.1302-1319
• /
• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.