• 한국의류학회지
• /
• 제34권8호
• /
• pp.1364-1377
• /
• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• 한국패션뷰티학회지
• /
• 제1권1호
• /
• pp.143-151
• /
• 2003

As korean women despised to transform their appearance into totally different shape, and they regarded to enhance a inherent beauty ideal beauty, korean traditional make-up culture was natural. But in modern society, make-up has been developing as one of the beauty industry and it means make-up involves more meanings than primitive period and needs to study its multi-dimensional connotation to understand in the culture. The purposes of this study were to find out what was represented in make-up ad and how it has been changed. The data of this study were collected from make-up advertisement printed in 'Hyang Jang' which is a periodical of amole pacific cosmetic industry from 1972-2001, and qualitatively analysed. As a results of content analysis were: The characteristics of non-verbal expression in make-up advertisements were different by the time. Generally person-appeal advertisements were more than product-appeal advertisements. And in the 1970s and early 1980s, person-appeal advertisements were appeal to the lifestyle, but after that person itself was appealed. And also after early 1980s, image-appeal advertisements were increased.

• 혜화의학회지
• /
• 제21권2호
• /
• pp.49-61
• /
• 2013

The humans has tried to investigate the fundamental relationship of all phenomena through the eyes. In oriental medicine, inspection is a one way of diagnosing by observing outer shape of patients. Physiognomy is the study which infers characteristics, constitutions, predestinations of one man from his appearance. In other words, the study is about how inner spirit is expressed in the appearance and how we could understand the inner side from appearance. According to it, shapes, proportions and balances of human appearance also reflect the unrecognized characteristics of human. Esthetical beauty is product of seeing, it is considered with judgment of human just like beauty or ugliness, right or wrong, good and bad. In the east, they consider that the beauty is balance of nature, and that balance and harmony is important at human's face. For such a reason, the highest beauty has ideal as agreement ethical and aesthetic level through the harmony of ethical and physical beauty. And Physiognomy and inspection are the same as it.

• 복식
• /
• 제51권6호
• /
• pp.67-83
• /
• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• 복식
• /
• 제25권
• /
• pp.5-20
• /
• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• 한국의류학회지
• /
• 제30권1호
• /
• pp.59-70
• /
• 2006

This study has analyzed females' motives and psychological experiences related to appearance-enhancement seeking behavior(weight control practice and cosmetic surgery). In this study, in-depth interviews were carried out to 11 females who had experienced weight control practices and cosmetic surgery in June 2001. There is social standard in ideal body image. One perceive a physical idea and own body through society(mass media, reference group), others and clothing, and recognize the ideal body and internalize the social standard as own worth. The discrepancies between ideal body image internalized as standards of own worth and real body image became a setup for body dissatisfaction. Increasing in body dissatisfaction, rejection of own body grow, furthermore body is perceived with distortion. In order to remove a negative body image and to reach ideal body image, appearance-enhancement seeking behavior such as weight control and cosmetic surgery is made. By appearance enhancing, one come to closer to ideal image of which one pursuit oneself. Therefore body satisfaction feeling increase, self·esteem rise, manner of life and character change to with affirmation. Otherwise, strengthening of appearance-concern and of appearance enhancement seeking desire has the possibility of developing into bulimia and cosmetic surgery addiction. Also, the standard of beauty in appearance rise by degrees, and that produces motives of appearance-enhancement seeking behavior.

• 한국의류학회지
• /
• 제25권5호
• /
• pp.969-980
• /
• 2001

이 연구의 목적은 사회.문화적 관점에서 한.미 여성의 이상적인 미, 바디이미지, 그리고 외모행동을 비교조사 하는데 있다. Open-Ended Questions에 의한 연구 결과, 이상적인 미로 미국여성이 \"키크고 마른 신체 매력성\"을 추구한 반면, 한국여성은 \"내적인 미\"와 \"서구적인 신체 매력성\"을 추구하는 것으로 나타났다. 이상적인 미를 추구하기 위해 미국여성은 주로 신체의 하체부분, 한국여성은 얼굴부분을 많이 가꾸고 있는 것으로 나타났다. 외모행동으로는 한국여성은 화장이나 피부관리 등에, 미국여성은 excercise나 다이어트 등을 많이 하고 있었다. 사회.문화적 이상적인 미에 비교해 볼 때 두 집단 모두 자신의 외모에 대해 만족하지 못하는 편으로 나타났다. 또한 두 나라 집단의 여성들은 각 나라마다 사회.문화적 이상적인 미가 각각 존재해야 함에도 불구하고 현재에는 이상적 미의 기준이 문화에 관계없이 동일한 편이라고 응답을 하였다. 본 연구에서는 사회.문화적 집단주의와 개인주의 개념을 토대로 이러한 연구결과들이 논의되어 진다.주의 개념을 토대로 이러한 연구결과들이 논의되어 진다.

• 복식
• /
• 제62권2호
• /
• pp.122-135
• /
• 2012

The purpose of this study is to figure out what the beauty of the modern body means and symbolizes from the aesthetic, sociocultural, and psychological perspectives and to investigate how it was formed in the modern Korean society. The data were obtained from the magazines and newspapers published from 1920 to 1939 and analyzed by qualitative content analysis. The results were as follows: First, the modern body from an aesthetic standpoint was characterized by the beauty of westernization, healthy body shape, sensuality, curvaceousness, activity, balance and harmony, and artificiality. The beauty of the modern body from a sociocultural perspective symbolized modern culture and implied the value evaluated by visual appearance. Therefore, the modern body became an object of consumption and the physical capital that gave women chances for their social success and happy marriages. The beauty of the modern body from a psychological viewpoint expressed individuality as a modern ego. Second, the formation of modern body esthetics was explained within the context of social comparison theory. The ideal body suggested by mass media was internalized as the aesthetic standard women used to create modern bodies and with which they compared their created bodies.

• 복식
• /
• 제61권1호
• /
• pp.1-19
• /
• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.

• 복식문화연구
• /
• 제17권5호
• /
• pp.849-865
• /
• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.