• Korean Journal of Human Ecology
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• v.24 no.4
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.628-635
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• 2022

This study sought to investigate the relationship between perception, body awareness, and beauty management behavior in the untact era in their MZ generation's, and as a result of the study, it was confirmed that there is a causal relationship between variables. For the empirical analysis of the study, a survey was conducted online(Google questionnaire) in Seoul/Gyeonggi area from June 7 to 26, 2021. Of the 548 questionnaires, 512, excluding 36, were analyzed using SPSS V.21.0. Among the sub-factors of perception in the untact era, it was confirmed that the social environment perception and human relationship perception are key factors that negatively affect body consciousness and beauty management behavior, and so does self-awareness(p<.05). Next, it was confirmed that, among the sub-factors of body consciousness, appearance management awareness and appearance/body care effort were key factors that positively affected beauty management behavior, and that appearance confidence was also an important factor that positively affected beauty management behavior(p<.05). Therefore, through this study, we intend to provide basic data for product development, programs, and marketing strategies that can cope with changes in the beauty consumption market in preparation for the post-COVID era.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.138-145
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• 2001

This study aims to compare the beauty of costume in the Gothic with that of Renaissance periods. By analyzing the beauty of costume which reflects the ideal of the age, this study attempts to provide the insight which can predict the beauty of future costume The characteristics of Gothic costume is the from of the loose enveloping of the body, which can be accounted for from the influence the Christian religion, and the emphasis on the vertical line influenced by the steeple in the Gothic architecture expressing the enthusiasm of the religion. The emphasis on height in the Gothic cathedrals was reflected in the hennin, pointed shoes, and lengthy sleeves of Gothic dress. The beauty of Gothic costume lies in the from of slender, the emphases on the vertical line, the we of heraldry and parti-color, and pointed hat and shoe. The Renaissance architecture shows a broad horizontal appearance. There is the similarity between the Renaissance costume and Renaissance architecture. The beauty of Renaissance costume lies in the form of the exposing body, the exaggerated silhouette, the emphasis on the horizontal line, the use of ruff and slash in order to display the beauty of human body and the beauty of cubic. The ideal beauty of Gothic and Renaissance costume was influenced by the spirit the age and was in contrast.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.15-23
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• 2005

The purpose of this study was to interpret consistently a phenomenon in Korean Women's ideal body with analyzing the change of the body of winners in beauty contests such as Miss Korea and Super Model. The method of this study was to investigate the objective data of body size of winners in beauty contests. The meanings in the change of Korean Women's ideal body are as follows. First, the body have got the commercial value with the start of Miss Korea contest and maximized its commercial purpose with the introduction of Super Model contest. While Miss Korea contestants are evaluated by their body, character, intelligence altogether, Super Model contestants are evaluated by body itself than other factors. So the body of Super Model is accepted as the highly value added commodity. Second, a tall height as a natural gift anions characteristic of the ideal body have become the significant factor of the myth of social and commercial success.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.122-135
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• 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.

• International Journal of Costume and Fashion
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• v.4 no.2
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• pp.18-29
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• 2004

The purpose of this study was to analyze the formative beauty of metro sexual expressed on the 21C men's fashion. in 21C, metro sexual is being accepted as an object to lead the world consumption culture, and it is said to be most appropriate to the definition as a model that can determine the most modern men. Moreover, with well being life style, it shows characteristic that expresses chic sense through fashion. The results of the study were as below. 1. In recent men's wear, sensory feminine that looks young and trendy is being presented through clothes, rather than the image of men who are strong. Therefore, by wearing splendid flower print, bold color and gorgeous accessories, men send off their attractions. 2. The recent body king syndrome gave new aesthetic value on men's body. Therefore, men's body is becoming cultural icon of metro sexual as another face that shows social status and cultural taste. 3. The men's image of metro sexual that is felt from softer skin and hair than women, and well-built body is appealing more through body conscious look. Here, men's body silhouette is being sublimated aesthetically through design with various materials such as see-through and leather etc., and this is body conscious image that can be seen only in metro sexual. Like this, metro sexual fashion sense was expressed by feminine softness sometimes, and beautiful body silhouette sometimes by expressing one's sexiness enough, being away' from conceptual masculine. Therefore, the appearance of metro sexual can be understood that men's body exposure is becoming a social virtue that expresses beauty.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.723-739
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• 2011

This research seeks to analyze western men's costume in the Baroque era in relation to men's physical beauty from its most detailed and interesting perspective to fomulate a plausible reasoning related to the aesthetic sense of body as expressed in men's costume. This research used national and international books, theses and internet data upon which to base a literature review for a correct understanding of Baroque style and at the same time empirical research to analyze the body image expressed in men's costume. The Baroque style expressed in the 17th century costume offered a dynamic feeling through wavy curves, and its brilliant and colorful decorations created a passionate and charming mood resembling a flame. Accordingly, this research studied the body image as it appeared in the form of 17th century western men's costume by dividing it into the contact beauty of the human body and the manner of hiding the architectural beauty of the human body. First, the exposed silhouette by clothing coming into contact with the human body could be found mainly in upper-class men's costume in the first half of the 17th century. The shorter and tighter doublets and knee breeches could be analyzed in terms of erotic imagery that emphasized masculinity, aristocratic imagery that stressed a distinctive status, and geometric imagery that expressed a triangular pattern. Second, the constructive expression by hiding the human body could be found in upper-class men's costume starting in the mid-17 century. The wearing of the justaucorps could be studied in terms of how it came into contact with the beauty of the human body but also how this clothing style the hid the architectural beauty of human body.

• Journal of Fashion Business
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• v.21 no.4
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• pp.44-60
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• 2017

This study is to understand the image of the Korean beauty and rewards to be gained by trying to be a beautiful person and to study differences according to demographic characteristics. It was studied with the purpose of industrializing beauty image and selling it to foreign countries. The survey questionnaire was distributed to Seoul and Kyeongkido. Respondents totaled 301. Collected data were analyzed with frequency analysis, factor analysis, $X^2$-test, and regression. Results are ; (1) The external image of Korean beauty emphasizes round face, white skin, big eyes, double eyelids, round head shape, early twenties, tall, low body weight, thin waist, long neck, long legs, and thin fingers. (2) The inner image of the Korean beauty emphasizes mature personality, social economic ability, but not housework, and cultural artistic ability. (3) Rewards gained by trying to be a beauty are psychological, actual, and social ones. (4) External face and body image of the beauty are different by demographic characteristics (sex, age, marital status, final education, monthly average income, religion). (5) The inner image of the beauty is different by age, final education, and monthly average income. (6) Rewards gained by trying to be a beauty are different by sex, age, final education, and monthly average income.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.