• Journal of Fashion Business
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• v.27 no.1
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• pp.61-76
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• 2023

The purpose of this study was to derive exotic products handled by Bon Marche department store, examine characteristics, and reveal the meaning of exotic taste in the 19th century. The research method is literature research centered on original materials of the time, such as old literature related to department stores, and films, newspapers, magazines, and periodicals as well as books and papers. Commercial catalogs and Agenda-Buvard published by Bon Marché were used as visual materials. Results are as follows. Exotic tastes of products of the Bon Marche department store in the late 19th century showed an oriental style centered on Persia, India, China, and Japan. Products from various regions such as Turkey, Spain, Algeria, Tunisia, England, Italy, and Russia were also accepted. These exotic tastes had the following contributions and meanings. First, they expanded items and product development and activated domestic industry through production of imitations and replicas. Second, before the advent of department stores, foreign items that came to Europe were exclusive properties of a few privileged classes. However, in the late 19th century, as the number of consumers who wanted to have a new status higher than themselves increased, exotic products of the Bon Marche department store became the object of desire for material pursuits toward the upper class rather than sentimental fantasies. Third, exotic tastes gradually spread to the public as production of products imitating foreign products became possible industrially with an easy access to them. From this, it can be seen that department stores were mediators of trends and the epicenter of popularizing exotic tastes.

• Journal of Fashion Business
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• v.22 no.1
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• Korean Journal of Human Ecology
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• v.24 no.2
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• pp.267-284
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• 2015

The purpose of this study is to extract the color chip from the works of Matisse with the exotic tastes, to analyze the characters of adjacent colors, and to suggest the color coordination of artistic character. The research method is based on the literature study which analyzes visual materials. The results are as follows. Considering the colors of Japanese taste, He employs vivid and strong tone in red, yellow, and blue, light tone in pink, purple, and green and deep tone in green, purple, blue and black. His color scheme is very bold and splendid. In his Algerian taste, red is very popular, but an attention should be paid in his development of orange and blue tones. In general, the usage of various tones brings colors into less relief and make the contrast of tones more conspicuous. His Spanish taste, based on red and orange, attracts attentions with strong impressions, but sometimes, dark or adjacent pale tones creates strong, mild and murky atmosphere. The Moroccan taste, based on the development of blue tones which have strong attraction implies the lightness but represents silent and calm. The Rumanian taste, represented in primary colors of red, yellow and blue and achromatic colors is bright and clear. In addition, its light tone in various colors represents peace and romance. The coordination of the exotic colors with the unique adjacent colors created by Matisse is not based on the established color coordination theory, but extracts colors in the aspect of culture borrowing. Therefore, it can double the effects of the color scheme expressed in the existing designs and be used as the global and multi-cultural design sources.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• The Korean Journal of Food & Health Convergence
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• v.9 no.6
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• pp.21-26
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• 2023

Purpose: This study aims to explore how the modern foodservice industry reflects consumers' rapidly changing taste preferences and health consciousness. In particular, it looks at how companies such as Yakult Korea are expanding their business to meet diverse consumer demands and how traditional and exotic tastes are driving the growth of the sauce market. Research methods: this study was conducted through market analysis, consumer behavior research and case studies. Sales data, consumer purchasing patterns and product development strategy case studies of sauce products in domestic and global markets were investigated to analyze the impact of taste and health harmony and storytelling on brand value. Conclusion: The foodservice industry is meeting consumer expectations for health and taste harmony by developing innovative products that satisfy the senses and adopting marketing strategies through strong storytelling. The success of exotic sauce products in particular reflects consumers' desire for diversity. Implications: the findings suggest that the foodservice industry must continue to innovate to meet consumers' health and taste expectations. They also reveal that product storytelling plays an important role in enhancing brand value. This requires a strategic approach to long-term brand growth and market differentiation. Companies need to reflect these changes in consumer buying behavior.

• Journal of Korean Society of Forest Science
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• v.10 no.1
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• pp.41-45
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• 1970

This study was carried out to investigate the identification of the woods of commercially important exotic tree species grown in Korea. The test trees used in this study were selected 21 species grown in Kwangyang and Suwon, Korea. The items of macroscopical features were observed and examined principally on the annual rings, transitions spring to the summerwood, pore types and arrangements, sap and heartwoods, wood colors, odor and tastes, resin ducts, parenchymas, and rays etc. The microscopical features observable in the elements, and their compositions such as vessels, tracheids, wood fibers, ray parenchyma cells, and intercellular cannals were observed and measured. The observed and measured results investigated were synthesized, and accordance with these results macroscopical and microscopical keys were prepared for the wood identification as seen in the text.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.87-98
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• 2001

The purpose of this study is to examine the tattoo look in modern fashion from the aspects of 'expression techniques' and 'aesthetic properties'. Tattoos are one of the body decoration which have been continued for a long time all over the world and have contained various meanings in : invocation. symbolization. solidification, exotic tastes, and body decoration. While tattoos have been progressed for the past time, they have been enlarged into body painting, make-up, and even into body art. Besides, their technical skills and equipments have been also developed. Therefore, tattoos are neither tabooed nor restricted in lower class, such as gangsters, bickers, prostitutes, etc., any longer. They are showed in everywhere of our society, running on the fashion. Specially, in fashion, they are shown through the 'tattoo look' designed by talented fashion designers. Futhermore, tattoos are one of the things which have gotten a new value under the Post-modernism and the turning of the century. The various tattoo looks in modern fashion are classified into four categories, according to the expression techniques, the use of see-through, reappearance of primitive body-decoration, application of tattoo patterns, application of street styles'tattoo patterns, make-up & body painting. And, they are also classified into four categories, according to the aesthetic properties Exoticism, Eroticism, Primitivism, and Grotesque.

• Journal of Fashion Business
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• v.24 no.3
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• pp.1-16
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• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.