• Title/Summary/Keyword: beauty make-up

Search Result 278, Processing Time 0.022 seconds

A Study on the Changes of the Form of costume related to the recognition of the beauty of the body -from prehistorical period to Ch'ing Dynasty in Chinese female costume- (인체미 인식과 복식형태의 변천 - 선사~청대까지 중국 여성복식을 중심으로-)

  • 김민지
    • Journal of the Korean Society of Costume
    • /
    • v.32
    • /
    • pp.225-242
    • /
    • 1997
  • This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

  • PDF

The Figurative Characteristics of Traditional Chinese Jumoni (pouches) (중국 전통 주머니에 나타난 조형적 특성)

  • Jang, Hyun-Joo;Kwon, Su-Yeon
    • Fashion & Textile Research Journal
    • /
    • v.12 no.6
    • /
    • pp.723-735
    • /
    • 2010
  • The purpose of this study is to analyze the types of Jumoni (pouches), which takes the most quantity of traditional women's handicrafts in China, and examine figurative characteristics of them through demonstrative study focusing on collections of literature and museums. Traditional Jumoni of China included Dae, Nang, Hapo, Tu, Hap, and Chimeui. Its types included a pleated type, a covered type with a lid, an opened type without a lid, and a type that was stitched up after putting objects in it. The Jumoni had various shapes such as a polygon, a circle, and shapes imitating objects. It was used to store cosmetic utensils, sewing supplies, everyday household utensils, valuables, medicinal ingredients, flavoring materials, and so on. It had various figurative characteristics which were different from those of women's handicrafts in Korea. Based on the findings, it aims to provide basic information for developing Korean traditional accessories that make the best of Korean traditional beauty as well as add modern esthetics have both Korean traditional beauty and modern esthetics.

Analysis of Advertisement for Men's cosmetics on Magazines (잡지에 나타난 남성화장품 광고 분석)

  • Park, Kil-Soon;Park, Su-Jin
    • Journal of the Korean Society of Fashion and Beauty
    • /
    • v.3 no.1 s.4
    • /
    • pp.39-49
    • /
    • 2005
  • The purpose of this study is to analyze the consumption value and characteristic of content in cosmetics & perfume advertisement in men's fashion magazines in order to understand the changes of men's cosmetics market which is recently getting great attention along with the craze for 'florally handsome men', and 'eolzzang'(=gorgeous face), and examine the changes of the culture of men's make-up. I selected Esquire which had firstly produced men's fashion magazine in Korea, and implemented the content analysis, the quantitative analysis method, by separating linguistic elements ken visual elements. The results are as follows: In the analysis of consumption value revealed in the linguistic elements of cosmetics advertisement, emotion value was the highest in both cosmetics and perfume, while function value was the second highest in cosmetics and rarity value was the second highest in perfume. About the changes of content characteristics of visual elements, in both cosmetics and perfume advertisement, there were a lot of visual advertisements focused on figures without the mixture of linguistic expressions. Between advertisement in 1990s and that in 2000s, there were meaningful differences only in types and object of meaning of used symbols.

  • PDF

Hair Management Behavior and Hair Care Products Satisfaction of Women (성인 여성들의 모발관리행동과 모발화장품 만족도)

  • 김용숙;이지영
    • Journal of the Korean Society of Costume
    • /
    • v.52 no.8
    • /
    • pp.99-107
    • /
    • 2002
  • The purpose of this study was to identify the hair management behavior and satisfaction of hair care products of women. A self-administered questionnaire developed by researchers was used. The subjects were 500 women who were residing in Chonbuk province from Aug. to Sep. 2002. Frequencies, percentages, means, and standard deviations were calculated. And One-way ANOVA and t-test were done. The results were as follows : 1. Most women were satisfied with the condition, gloss, and thickness of their hair, but unsatisfied with their hair color. As they were getting older, their satisfaction were lowered about their hair condition and gloss. 2. Most women went to beauty shops once or twice a month to have their hair permanent waved or cut. and some for dyeing or dry Few women went to beauty shop for make-up and peticures. 3. Women did frequent hair management behaviors such as cleansing, style, and providing nutrition, but caring dandruff and preventing alopecia were relatively less. Older or married women did more frequent hair management behaviors such as caring dandruff, preventing alopecia, dyeing, styling, and providing nutrition. Women used cleansing products to manage their hair, and styling products and nutrients to provide their hair with nutrition. 4. Specially price and efficiency satisfaction of dandruff care products, alopecia preventing products, dyeing products were very low.

A Study of the Symbolic Meanings and Characteristics of Makeup in Beijing Opera (경극분장의 상징적 의미와 특성에 관한 연구)

  • Moon, Jung-Eun
    • Journal of the Korean Society of Costume
    • /
    • v.59 no.1
    • /
    • pp.29-46
    • /
    • 2009
  • Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

Borderless Phenomenon in Modern Men's Fashion (현대 남성복식에 나타난 Borderless현상)

  • Kim, Byong-Ok;Lee, Sang-Rye
    • Fashion & Textile Research Journal
    • /
    • v.5 no.5
    • /
    • pp.470-480
    • /
    • 2003
  • This study looks upon the borderless phenomenon of genres and at the disintegration of boundaries in fashion, the current 'borderless trend', and analyze modern men's fashion having borderless phenomenon under social changes and disclose current men's fashion. The borderless phenomenon of men's fashion declines traditional image of gender and expresses modern men's images strongly in accordance with social changes: Thus, in modern days, men's images have changed from muscular men having show-off and superiority to women-like men having pearly skin and slender figure. Men's fashion also looked for feminization to let men like make-up, beauty salon, cosmetic surgery and women-like hair style, etc. Men have been also given women's sexy and sensual beauty to put on innerwear as an outerwearization. The Influx and mixing of mutually different cultures is expressed in Hippie, Ethnic, Oriental trends. Mutually opposing country's factors mix so that a new culture is established. Also, the sharing of fashions amongst younger and older generation has occurred for reasons that are similar to the reasons above.

The Study of Hair Art about the Symbolism of the Pine (소나무 상징성에 대한 헤어아트 연구)

  • Chae, Seon-Sook;Lee, Jung-Min
    • Fashion & Textile Research Journal
    • /
    • v.9 no.5
    • /
    • pp.538-544
    • /
    • 2007
  • We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

A Study of the Personal Ornaments and Make-up of Maroccan (모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究))

  • Lee, Soon-Hong
    • Journal of Fashion Business
    • /
    • v.5 no.2
    • /
    • pp.15-34
    • /
    • 2001
  • Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

  • PDF

Analysis of Heavy Metals in Dyes and Pigments Used in Make up Tattoo (화장용 문신으로 사용되는 염료 및 색소의 중금속 분석)

  • Jeong, Mi-Ra;Lee, Hui-Seong;LEE, Ji-Young;Lee, Sun-Hwa
    • Journal of the Korea Convergence Society
    • /
    • v.9 no.4
    • /
    • pp.321-329
    • /
    • 2018
  • This study was attempted to provide data for establishing appropriate guidelines and control standards for accurate information and production of dyes and pigments through the analysis of representative heavy metals and other metals used in cosmetic tattoos. A total of 30 tattoo products for cosmetics were selected from among the representative heavy metals such as arsenic, antimony, cobalt, cadmium, copper, lead, zinc, barium, tin, selenium, chromium and magnesium, manganese(15kinds) were analyzed. As a result of examining the contents of heavy metals in dyes and pigments used in cosmetic tattoo products, it was found that the total of 20products(66.7%) exceeded the reference value and found to be unsuitable for safety standards. It is suggested that the guidance of the specialized agency for safe procedures, appropriate control controls and standards for the dyes and pigments used, and the potential risks of heavy metals are needed.

A Study on the Aesthetic Sense of Flapper Fashion (플래퍼 패션의 미의식에 관한 연구)

  • Kim, Kyung-Jin;Geum, Key-Sook
    • Journal of the Korean Society of Costume
    • /
    • v.61 no.2
    • /
    • pp.1-19
    • /
    • 2011
  • As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.