• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.260-269
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• 2013

This study verifies the direct and indirect causal relationship of sociocultural values related to appearance effect appearance evaluation, body area satisfaction, appearance orientation, and self-esteem that are variables involved in body images. This paper is expected to empirically support the information regarding the path and the relative influence among related-variables and their relational structures. A survey was conducted on 230 women from the ages of 20 to 29 who live in Daegu and Gyeongbuk areas. The data analysis was performed through programs such as AMOS 19.0 and SPSS 19.0 for Windows. The findings are as follows: First, Sociocultural values relating to appearance affect directly body image - appearance evaluation, body area satisfaction, and appearance orientation. Appearance evaluation and appearance orientation were influenced positively; however, body area satisfaction received egative effects. In addition, sociocultural values related to appearance exert relatively stronger influence on appearance orientation. Second, among body images, appearance evaluation and body area satisfaction directly effect self-esteem; however, appearance orientation did not show any direct influence. Appearance evaluation influenced relatively higher on self-esteem. Third, it appeared that appearance evaluation directly affected Appearance orientation. Forth, sociocultural values related to appearance affect self-esteem through body images-appearance evaluation, body area satisfaction, and appearance orientation - as mediators. This confirmed the mediator role of body image between sociocultural values related to appearance and self-esteem.

• Fashion & Textile Research Journal
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• v.22 no.3
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• pp.287-295
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• 2020

This study examined body perception, body design behavior and clothing style for women in their 20s according to the period of body design experience. Body perception was analyzed from the two viewpoints of seeing the body as the subject of social suppression and as the means of self-expression. This could lead to understanding how modern women perceive their bodies based on experiences of body design. In-depth Interviews conducted through semi-structured questionnaires among women in their 20s were divided into body design experience less than 24 months and the group of body design experience more than 24 months. The results of this study are as follows. First, both groups did not feel satisfaction in terms of body perception. Women in the less than 24 months group showed their eager for firm body as well as skinny body influenced by social media, while the group with more than 24 months, felt a strong suppression to have a perfect body as a professional due to the expectations of others. Second, the group with less than 24 months conducted body designs to satisfy themselves, while group with more than 24 months focused on the body shape changes through systematic exercise and a strict diet plan that indicated a strong desire to show their perfect body to others. Third, the two groups showed differences in their clothing style.

• International Journal of Advanced Culture Technology
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• v.5 no.1
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• pp.17-25
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• 2017

The purpose of this study was to investigate the effects of self-identity on body shape management for college students. This study used descriptive research to analyze the effects of self-identity, which has contained factors of Subjectivity, Self-acceptance, Future Confidence, Goal Orientation, Scrupulous. The subjects were 404 college students located in C province who were voluntarily agreed. Multiple regression analysis was conducted to verify the effects on self - identity and body shape management. As a result, self - acceptance of self - identity' subcomponents had no effect on body shape management, but future confirmation, goal orientation, Scrupulous, intimacy affects body shape management(P < 0.001). Based on these results, in order to manage the body shape of college students, it is considered effective to present the visible goals and apply the programs that students can do themselves. In addition, it can be seen that it is effective to start body shape management during college group life to enhance intimacy.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.133-145
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• 2010

The study used four basic formats classified based on the four principles on costumes discussed in the paper 'Human Beings and Arts Phenomena' by Oskar Schlemmer who studied the relationships between stage space and the human body as an analysis tool with regard to analyses on the abstraction of human body in contemporary dance costume. Abstraction of human body expressed in costume for contemporary dance is as follows: Expansions caused by unclear boundary between spaces and costumes, and the principles of three-dimensional abstract spaces based on a geometric cube change heads, trunks, arms and legs to achieve expansions. Similar mechanical shape is a type of shape made in a succession of functional principles of human body in relationships with spaces. As mechanical mechanism is added to the geometric transformation of a specific part of human body, mechanicalness is contained in it. Motion organisms are geometric simplification of moving traces in a space based on conversion into mechanical organisms based on principles of motion, and as mechanical rotation, consecutive speed caused by refraction and directionality are suggested, mobility is achieved. Immaterial shape is based on change into a metaphysical form, and it is converted into animals, plants or a third life that symbolize body parts. It has metaphysical significance in each body part and extends sensibility. As a result of the study, development into abstract succession and a techno art mode has been confirmed. Combination of geometric cubic figures with the organic human body and configuration of the human body pursued by Oskar Schlemmer's geometric abstraction through the proactive accommodation of mechanical aesthetics has been succeeded and expressed in the contemporary dance costumes.

• Fashion & Textile Research Journal
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• v.22 no.5
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• pp.650-659
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• 2020

The present study provides reference data required for the design of clothing for the elderly by analyzing the body surface area during fitness motion based on 3D scan data of Korean elderly women. This study was conducted with the procedures of (1) survey of motions and main muscles for fitness, (2) acquisition of 3D scan data, and (3) analysis of rate of change for body surface area during fitness motion. Acquisition of 3D body scan data was obtained from seven elderly females (age: 64-77). We selected 66 anatomical landmarks (40 upper body and 22 lower body) by referring to previous studies. Body surface was segmented by connecting the landmarks marked on the 3D scan data acquired. Analysis of body surface area was conducted in terms of the change rate of surface area in 9 postures of elbow 0°, 90° and 180° for flexion, shoulder 90°, 180° for flexion, shoulder 0°, 180° for abduction, hip 90° for flexion, and knee 90° for flexion compared to the those in the standing posture. The amount of changes in body surface area were 12%-62% in the upper body, 15%-77% in the arm, and 10%-51% in the lower body. A future study on the rate of change of body surface length is needed; in addition, a study on how to apply the results of body surface area and body surface length analysis to clothing pattern design is also necessary.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.49-66
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• 2003

In the relationship between post-modern feminism and the body. the body of women, which has been taken as 'other' by dominant arguments, has escaped from the fixed idea at post-modern times and the post-modern feminists tried to escape from the taste of the times about body image that was prevalent in the former times.'The taste of the times' here means the fixed physical form of ideal women's body by the educational custom, and it includes the educational prescription which establishes the docile body of women. This kind of educational custom aims at the perfect and permanent restriction on size, shape, desire, attitude and movement as well as on the overall demeanor and each part of the body. And the custom produces 'dependent and trained'. that is, inferiorized women's body. Hence, this paper points out that the feminity as a fixed Physical form should be overcome in order to move forward, and as one part of the effort, it attempts to analyze the designs which deformed and distorted women's body in 1990s. This research indicates that the work, which tries to deviate the fantasized and casted women's mystery, has been closely connected with the expression of 'non-separate bodies' and 'irregular body shapes' in 1990s, which aims at escaping from the fixation of women's body Image. Therefore, it is concluded that the target design trend of this research, which expressed the deformation and perversion of the body, provides the anti-these against the ideal body image of women and the these of feminity. which have been reproduced in various methods and patterns throughout the public and the culture on the whole by expressing the refusal and deviation of the existing women's body image through the post-fixation of the body pattern.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• The Korean Journal of Physiology
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• v.3 no.1
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• pp.29-32
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• 1969

Skinfold thickness measurement and total body fat calculation were made in summer (July) and winter (December or January) On 70 medical students (age: 20 yr),8 national team basketball players (age: 20 yr), and 9 middle-age men. Skinfold thickness measurements were made on 4 sites, namely, back, arm, waist and abdomen. The mean skinfold thickness (mm) of the 4 sites was substituted into the following formulae. For adult of 20 years old: % Fat=0.911x+8.1, and for middle-aged men % Fat=1.199x+1.41. In young medical students and ball players body weight decreased, mean skinfold thickness increased in winter season. As a result total body fat .(% body weight) increased in winter In middle-aged men both body weight and mean skinfold thickness increased in winter and resulted in an increase in the total body fat. The detailed data are as follows: 1. In medical students summer: winter values were: body weight, 59.7 :58.9 kg; mean skinfold thickness, 7.85 : 8.12 mm; and total body fat, 15.0 : 15.5% body weight (P<.30). 2. In national team basketball players summer: winter values were: body weight, 73.5 : 69.1 kg; mean skinfold thickness, 7.2 : 7.5 mm; total body fat, 11.6 : 12.1% (P:NS). 3. In middle-aged men summer vs winter values were: body weight, 61.5 : 63.0 kg; mean skinfold thickness, 10.3 : 11.8 mm; total body fat, 17.2 : 18.0% (P:NS). 4. Skinfold thickness on back showed no seasonal variation and on abdomen the thickness increased in winter. 5. It was concluded that the predominant factor in increasing total body fat in winter is the decrease in body exercise in the winter time.

• Journal of Fashion Business
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• v.19 no.5
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• pp.175-187
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• 2015

Body painting according to physical types is a method to express the body as it exists in nature or as an active element of nature. There is a need to research physical formation that applies the trend of contemporary naturalism to the types of nature art by emphasizing the artistic value of body painting with natural environmental overtones. Importantly, body painting according to physical types attempts an intact reproduction of natural objects and the reflection of the beauty of natural objects in body painting. Thus, the purpose of this study was to analyze body painting according to physical types based on the types of nature art. The methodology of the study included theoretical and empirical review. Theoretical review examined the characteristics of physical formation in nature art and relevant nature art works and body painting of physical types through previous research and literature. The empirical review applied analyses to works extracted from web sites of body painting. The study included physical type cases extracted from body painting works from 2005 to 2015 in foreign web sites(www.ilovebodyart.com and www.angel cakebodyart.com). Body painting works were based on the characteristics of physical types. As a result, the body painting of physical types based on nature art is as follows. First, organic continuity with nature art through the artists'thoughts and beliefs. Second, the specificity of place that respects the natural phenomenon itself. Third, the creative diversity of formative shapes for the body. Fourth, the social implications of body painting with human empathy. Fifth, immediacy to embody the artistic will of the artist. Finally, the application of physical types according to affinity with nature, as well as an independent artistic entity.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.4
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• pp.718-726
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• 1997

The purpose of the study was to investigate the interaction effect of garment formality, Yin -Yang level, and body type of children on impression formation. The experimental materials developed for the study were a set of stimuli (8 color photographs) and a response scale (34 bipolar adjectives) and the subjects were 267 elementary school teachers in Taejon area who were responsible for the first grade students. Results were as follows; The 3 independent variables showed significant effects on impression of the 4 factors (sociability, potency, dynamics, cooperation) of impression. Since body type had interaction effects with garment formality and subject's gender, the two body types were separately analyzed. For the normal body type, only the garment formality affected on impression of cooperation factor But for the large body type, garment formality affected on impression of potency dimension, garment Yin-Yang level affected on social and dynamics dimension, and subject's gender affected on social and cooperation dimensions. The body type was the most salient variables and clothing effects for the large body type was significantly different for the normal body type. It is concluded that the results support the cognitive categorization theory on impression formation.