• 복식
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• 제62권2호
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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.

• 복식
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• 제55권1호
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• pp.43-58
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• 2005

The objective of the study is to understand the characteristics of modernistic spatial design and, based on the understanding, to interpret fashion in terms of its spatial relationship with society, culture and human body, thereby looking into unique spatial characteristics fashion has. The main results of this study include : First, the rational space emphasizes geometric symmetry and harmony among each of design elements and is expressed by pursuing a perfect formative beauty that indicates an eternal formal beauty of a physical space. In addition, functional beauty is also pursued, making clothing convenient for activities. Second, the abstract space is characterized as a kind of purity by emphasizing simple patterns and colors and materials of purity for clothing, and it is sometimes expressed as being extremely abstract so that human body can be shown to be distorted. Third, for the uniform and neutral space, mass-production and production at home was made possible with clothing of simple patterns and of standard. In addition, it showed a tendency to become blurred in gender distinction for clothing with women wearing men's clothing, or borrowing design elements from men's clothing. Forth, the space as means of domination and control was shown to be segmented based on place, function and purpose. In addition, control on physical beauty was shown by promoting slim figures that are suited for lineal silhouette of clothing and circumstantial restriction on clothing occurred during war, serving to limit the styles of and purchase of clothing.

• 복식
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• 제42권
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• pp.69-90
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• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.

• 복식
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• 제54권2호
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• pp.95-104
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• 2004

The purpose of this study was to identify benefits sought and use of the cosmetics. The results were as followes ; 1. Most women spent less than 40.000 won monthly, used basic cosmetics most frequently but used functional cosmetics least when they went out. 2. The factors of cosmetics benefits sought were self-confidence, individuality, beauty, saving appearance. and supplement defect. The respondents were segmented into the beauty pursuit, the supplement defect pursuit, the individuality pursuit, and the self-confidence pursuit. 3. The beauty pursuit used all kinds of cosmetics more than other groups, but the supplement defect pursuit used functional cosmetics more. The individuality pursuit used color cosmetics more, but spent cosmetics expenditure least. The self-confidence pursuit used all kinds of cosmetics least and spent cosmetics expenditure least. 4. The beauty pursuit was found among the older, the less educated, and jobless married women. The supplement defect pursuit was found among the late-teenagers. The individuality pursuit was found among married or unmarried working women. and the more educated. The self-confidence pursuit was found among college women. 5. The use of basic cosmitics was affected by cosmetics expenditure. age, supplement defect, and saving appearance. use of color cosmetics was by cosmetics expenditure, supplement defect, age, self-confidence, and individuality, and use of functional cosmetics was by cosmetics expenditure, supplement defect, and age.

• 복식
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• 제40권
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• pp.51-65
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• 1998

In this study the features expressed by the Korean dresses and its ornaments have been examined through the objects of this thesis, the concept of the pair, under the basis of Korean myths, from which esthetic and spiritual values have been derived. At first, the beauty of the balance pursuing the neatness. Since the pair is made with two piecess, at the time of the placement, the sense of the balance is obtained by the arrangement acccording to the dichotomous principle such as up and down or left and right. Sometimes, the pair could yield the natural pictorial composition, but almost of the time symmetrical composition. This kind of composition is made symmetrical like the structure of the human body, and it is resulted in a neat beauty, which visually presents a harmony, stability and intimacy. At second, the beauty of the harmony in the spirit of the oneness. From the dualistic combination basing on Korean myths, the common features and the significance of the co-existence, obtained from the combination of the pair of the pieces, could be found. By the oneness of the both elements, the creation principle, which is the basic one for a new life, could be established, and the mystery of the creation and the sense of the harmony could be found in it. At third, the wholeness of the completeness concept. The completeness could be felt rather by two than by one, and is provided with a room to be filled with the other one. Consequently, the outer dress is completed with the under dress, and its own beauty could only be made out when the two elements are harmonized. So, it is called as the pair. Like this, the concept about the pair taken roots in the ground of Korean emotions, is basing on the creation principle of the dualistic elements formed from the tradition of Korean myths, and the fact that the mental meaning pursuing the harmony dwells in Korean dress and its ornaments could be confirmed.

• 복식
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• 제51권2호
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• pp.169-180
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• 2001

This paper is intended to explore femininity, the ideal beauty of body and the features in fashion pursued in the fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and tole ideal beauty of body are referred to. On the part I of this paper, the femininity and the ideal beauty of body implied in the fashion system in the Victorian period will be reviewed. following are the conclusion : First, in the Victorian period, the value of femininity is put on the body of female by the discrimination of sex divided in two. Consequently, the characteristics of femininity mainly include dependence, passiveness, emotion, beauty, maternity, innocence, and purity. To emphasize the function of reproduction as primary duty and nature of female, the ideal beauty of body is represented in the form of Venus Naturalis, which symbolizes the fertility. And the external form of this body is expressed in slum waist line, ample busom and hip in fashion. Second, the features of this fashion are classified into three categories by their internal value : images of subordinate female, sensual female and maternal female 1) The image of subordinate female is expressed by concealment of legs, tightening the upper part of the body in corset and restriction on action by the crinoline 2) The image of sensual female is revealed in brazing colors and decoration, excessive exposure of the upper part of the body and hip by means of bustle. 3) The image of maternity is expressed in swollen skirt of crinoline, oval bustle silhouette metaphoring the extended womb resulted from pregnancy.

• 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.

• 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.

• The International Journal of Costume Culture
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• 제4권2호
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• pp.94-114
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• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.56-57
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• 2004