• 복식
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• 제53권3호
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• 복식
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• 제57권10호
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• pp.129-141
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• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• 한국응용과학기술학회지
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• 제37권5호
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• pp.1418-1429
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• 2020

본 연구는 라이프스타일 군집유형에 따른 인구학적 특성과 미용실이용 특성 간의 관련성을 알아보기 위해 서울, 인천 및 경기도에 거주하는 10대에서 50대의 남녀를 대상으로 모바일 설문하였다. 수집된 총 522명의 자료를 분석하기 위해 통계처리는 빈도분석, 요인분석, 신뢰도분석, 군집분석, 분산분석 및 교차분석 하였다. 그 결과, 라이프스타일 군집유형은 유행·사교 중시형, 가족중시형 및 가족무관심형으로 분류되었다. 이런 유형들은 인구통계학적 특성들 중 연령, 최종학력과 결혼여부와 높은 관련성을 보였고, 미용실 위치 및 자주 이용하는 미용서비스 같은 미용실이용 특성과도 관련성이 높은 것으로 나타났다. 본 연구의 결과는 미용실 마케팅에 활용될 수 있는 기초자료가 될 것으로 사료된다.

• 복식
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• 제54권8호
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• 한국응용과학기술학회지
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• 제37권6호
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• pp.1605-1618
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• 2020

본 연구의 목적은 중년여성의 뷰티헬스 케어 행동이 신체적 존중감 및 심리적 행복감에 미치는 영향을 알아보기 위한 것이다. 연구대상자는 서울, 경기지역의 중년여성을 대상으로 하여 2020년 10월26일부터 6주간 설문조사하여 334부를 설문 분석에 사용하였다. 분석방법은 SPSS 26.0 프로그램을 이용하여 빈도분석, 요인분석, 신뢰도분석을 처리하였으며, 중년여성이 뷰티헬스케어와 신체적 존중감 및 심리적 행복감의 상관성을 알아 보기위해 상관관계분석 및 다중회귀분석(multi-regression)을 실시하였으며, 통계적 유의수준은 p<.05로 설정하였다. 뷰티헬스케어행동이 신체적 존중감 및 심리적 행복감에 통계학적 유의한 영향을 미치는 것으로 확인되었다.

• 한국응용과학기술학회지
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• 제38권6호
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• pp.1433-1444
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• 2021

본 연구는 코로나 시대이후로 가속화된 뷰티분야의 4차 산업들과 융합으로 산업에서 요구되는 실무능력을 교육하기 위한 교육과정 개발을 목적으로 진행되었다. 여러 문헌의 탐색적 조사와 전문가의견을 수렴한 결과 뷰티산업은 앞으로 단일 아이템 또는 서비스 제공이 아닌 의료, 바이오, ICT, 인공지능 기술 등이 결합된 개인맞춤형 서비스 제공 산업으로 분야가 확장될 것으로 분석되었다. 분석 내용을 바탕으로 전통적인 뷰티산업에서 요구하는 기본 직무 능력 외에 갖추어야 할 디지털 활용능력을 추가하여 교육과정을 구성하고 과목을 도출하였다. 코로나 이후의 시대는 4차 산업혁명을 기반으로 다양한 산업의 변화를 가져올 것이며 이러한 변화에 대응하여 뷰티산업의 발전과 지속가능성을 위한 인재 개발을 위해 대학에서는 산업의 변화에 항상 주목해야 할 것이다.

• 한국응용과학기술학회지
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• 제40권6호
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• pp.1213-1224
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• 2023

본 연구의 목적은 뷰티 서비스 종사자들의 행동 루틴이 서비스수행 및 업무성과에 미치는 영향 관계에서 자기효능감의 매개역할을 분석하고자 하였다. 연구대상자는 서울·경기 소재 뷰티 소비자 311명이며, 구조화된 설문지를 이용하여 자료를 수집하고 분석되었다. 자료 분석은 기술통계, 확인적 요인분석, 상관관계분석, 구조방정식모델 및 bootstrapping 기법을 이용한 매개효과 분석을 실시하였다. 일련의 연구절차를 통하여 도출된 결론은 다음과 같다. 첫째, 뷰티 서비스 종사자의 행동 루틴은 자기효능감, 서비스수행, 업무성과에 모두 통계적 유의한 정적(+) 영향을 미치는 것으로 나타났다. 둘째, 뷰티 서비스 종사자의 자기효능감은 서비스수행 및 업무성과에 통계적 유의한 정적(+) 영향을 미치는 것으로 나타났다. 셋째, 뷰티 서비스 종사자의 행동 루틴과 서비스수행 및 직무성과와의 관계에서 자기효능감의 부분 매개효과를 나타내었다.

• 치과방사선
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• 제14권1호
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• pp.39-50
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• 1984

The aim of this study was to evaluate the dentofacial relationship of the Korean adult females who had excellent profile using roentgenocephalometry. The subjects were 35 females from 19 to 24 years of age selected among the professional models, beauty contest winners and performing stars. And, as the control group, 37 females from 18 to 23 years of age with normal occlusion and acceptable profile were selected. In both groups, each variable was measured and evaluated statistically introducing 24 reference points, 22 reference lines and 17 reference angles respectively. Conclusions from this study were as follows; 1. There was no significant difference between the two groups. But SNA and convexity angle which had indicated the maxillary protrusion were lesser in the professional models, beauty contest winners and performing stars than in ~he control group. 2. In the professional models, beauty contest winners and performing stars, the maxillary and mandibular incisors were more upright than in the control group. 3. The protrusion of the upper and lower lip was lesser in the professional models, beauty contest winners and performing stars than in the control group. 4. Professional models, beauty contest winners and performing stars revealed more straight profile than the control group and were similar to that of the Caucasian. 5. Generally, it was the tendency that the straight profile was accepted as esthetics.

• 복식
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• 제19권
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• pp.29-40
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• 1992

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil's eye. and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories: form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion ; form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active, As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one's own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2004년도 춘계 학술발표대회 논문집
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• pp.186-187
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• 2004