• 복식
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• 제52권7호
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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 Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time.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.

• 패션비즈니스
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• 제17권5호
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• pp.70-83
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• 2013

This study aims to analyze the physical distortions of fashion design which appear in the 20th century. People have been expressing the hope and beauty by twisting human body since the beginning of mankind. Each period has been showing different forms according to various social and cultural environments. The exaggerated body distortions from the primitive times to the modern are based on human body proportions. Such distortion is to emphasize the inherent beauty within the human body. However, the distortions of the body after the 20th century have been developed with the advent of surrealism which is not affected by reasons but by imaginations. Generally speaking, the reconstruction of the heterogeneous elements is allowed in art. The unexpected surreal elements are creating formative beauty using by distinctly different technique which is unfamiliar and awkward. Physical distortion creates other beauty that is not uniform and absolute beauty but it pursues the diversity of breaking down into categories. Formativeness of surreal physical distortion fashion has the potential for a variety of clothing design, therefore it has intrinsic values for continuous study.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.78-86
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• 2007

One of the latest social trends is to reappear old things under the banner of the revival. It is easily found in the fashion industry because Fashion is not divided into the past, the present and the future thing but coexisting through all ages. The purpose of this study was to pursue the healthy and characteristic beauty of the modem people by understanding the beauty culture of the ancient. The Middle ages were mainly classified into Byzantine, Romanesque and Gothic by historical and cultural factors. In the Byzantine age, the clothing with rich silhouette was worn by the influence of the abstemious religion and it didn't express a specific proportion of human body. The people covered their hair with turbans and veils for the period. The Romanesque era was affected by the religious idealism and the Greek-Roman culture. The ideal proportion of human body could be 8 heads high and the clothes expressing natural silhouette of human body came out. Depending on the feel of the flowing texture, long-braided hair was typical in that time, and also wearing kinds of head dress as personal ornaments was characteristic in the age. In the period of Gothic, the long and weak human body was emphasized. The ideal proportion of human body could be figured with 8.5 heads high and it was expressed with the form of artificial and vertical silhouette such like tight-fitting upper garments, gathered skirts and long hats.

• 복식
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• 제60권3호
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• pp.1-9
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• 2010

The purpose of this study is to develop Blue-Jean Design for Ideal Body Shape. The final aim of Fashion design is looks beauty of people by optical illusion. This study is based on Gestalt therapy and, is blue jeans design using optical illusion of vertical line for ideal beauty body image. Optical illusion for blue-jean design effect to achieve the ideal body shape. We can accumulate the preceding study for modern clothing from design and the related optical illusion effects. Vertical line stitches have all the advantages especially in pants design. I design blue jeans using optical illusion theory. The results of this study are as follows: First, Vertical line helps that jean has the long body shape effectively. Second, Jeans which have two or more vertical lines is more effective than simple Jean in order to make slim body shape. Third, Appropriate position of horizontal lines can be effective to make long body shape. Fourth, Top stitch, pin-tuck and pleats can be applied to vertical or horizontal lines instead of cutting lines.

• 복식
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• 제28권
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• Journal of Dairy Science and Biotechnology
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• 제35권4호
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• pp.232-243
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• 2017

Although several supplementary foods are available for pregnant and lactating women, there is a need for foods able to maintain a woman's beauty without any changes in body shape. In this study, four questionnaires about nutrition management, skin care, body shape, and the intent of purchasing beauty supplementary foods, were prepared for an online survey (http://pms8011.wixsite.com/project). A total of 95 answers from 293 women were classified into four groups, based on age, income, occupation, and skin type. The data were statistically analyzed using SPSS/WIN Program 22.0. The significances of the F-value analyzed by one-way ANOVA and the differences within the groups were verified by Scheffe's method. All groups were shown to have very high requirements for nutrition management and beauty standards. In the skin patterns, the groups of middle-aged women, house wife and the lower income showed high interests, with a high significance (P<0.01) in ages. With respect to body shape, significant interest was found within the groups of skin type (P<0.05) and age (P<0.001). With regard to supplementary foods, all groups showed a strong intention to purchase, but no significant differences were found. This study indicates the necessity to categorize supplementary foods by the intended target group, such as women planning to conceive, pregnant women, and lactating women.

• 한국의류학회지
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• 제34권8호
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• pp.1364-1377
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• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• 복식
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• 제53권5호
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• pp.79-95
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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 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• 한국의류학회지
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• 제21권5호
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• pp.946-955
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• 1997

The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

• 패션비즈니스
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• 제19권1호
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• pp.77-94
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• 2015

Due to the inflammatory of body exposure it did not become popular to the Korean nation but the body painting as a body art is definitely required for it be become a new pure artwork. In this body painting color is the core factor for visual part and expression and coloring obtained from the color is very important in creating effective image. In Korea beauty industry the researches are limited to the study on coloring expression of general beauty makeup. Therefore, this research analyzes color images in recent body painting artworks by defining characteristics of colors and coloring applied by theme. For the research subjects, dominant and secondary colors were extracted from the artworks presented in preliminary and final rounds of year 2012 and 2013 World Body Painting Festival. For the selection of final coloring stimulation the most frequent coloring by theme was first chosen. Among them, 2 individual coloring bands were selected by theme among the high frequency colors. For the analysis of coloring image shown in body painting works total 8 coloring bands were created and they were compared and analyzed by indicating each divided coloring band on the coloring image scale by theme. In this research coloring image analysis was done after examining colors and coloring of artworks presented in World Body Painting Festival by theme. This research has its meaning that it provides information and guideline for coloring design work of body painting by analyzing coloring image used in color and coloring of body painting by theme.