• Journal of Korean Medical classics
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• v.23 no.4
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• pp.35-37
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• 2010

The Medical Beauty in "Hwangjenaegyeong(黃帝內經)" is characterized by the establishment of the unity of man and nature, human and social unity, the unity of human body organs and meridians, Gi-Blood[氣血] human essence unity, the unity of body and spirit. The harmony of Jang(臟) and Bu(腑), blood and Gi(氣), Eum and Yang and mental and physical health are essential to the beauty, and the harmony of internal and external environment must not be overlooked. In a word, the Medical Beauty in "Hwangjenaegyeong(黃帝內經)" is the thought of strong and handsome which based on cultivating health to prevent disease and aging.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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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.

• Journal of the Korean Society of Costume
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• v.42
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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.

• 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.

• 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 Clothing and Textiles
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• v.30 no.6 s.154
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• pp.851-858
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• 2006

The human have constantly pursued the beauty through the history. Especially, the pursuit for the beauty of the human's body means that the subject is at one with the object pursued by Ire subject, which so called as the most active behavior of searching far the beauty. However it sometimes shows that human have tried excessively to search for the beauty of the human's ideal body in the history, and to the degree of hurting the body. For example, the corset was eagerly worn by women with the hope of a satisfied silhouette because the slender waist and the busty bosom were demanded as the woman's ideal body at 18C and 19C(the age of Victorian). The purpose of this study was to investigate the corset fashion in 18C, 19C, one of the most aggressive fashions out of the unreasonable fads, using narcissism that Freud mentioned as inside energy called libido. And the reason why to use the theory of narcissism in this study was that fashion as social outcome is thought to be influenced by the environment but the wearing behavior is considered totally private, it is particularly when focused on the excess ive energy, and the scope was limited to the investigation into the source of the energy binding the own body to hurting. The analysis about this craze of a corset with the view of the theory of narcissism as follows. First, women could mold the ideal concretely in surroundings that ideal woman was constituted just to focus on the appearance, moreover, the mother reinforced the narcissism of their offsprings. Also, the society demanded women to be chaste, and did not allowed for women to reveal libido to the external. As a result of this, libido should be ended up concentrating on ego. With this process, it to be difficult for 'ideal ego' impossible for attainment to transfer to compromising product, ego ideal. That is, women did not think entirely to be out of the question to reach the ideal ego, which meant the energy to tight waists was given women.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.52-67
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• 1999

A Study on the Drapery Presented in Costume The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider indesigning. Fabric falling in folds in the garment as seen on statues of ancient Greece ; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the vest esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -el-egance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human\`s lives and recurring humanity.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.1-19
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• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.87-103
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• 2020

This study investigates critical fashion and discusses its critical messages, as it challenges the existing system of the fashion industry. This study reviews the literature on critical art and critical design and analyzes exhibition catalogs, magazines, and websites related to critical fashion practices. Thereupon, this study assumes the two distinctive messages of critical fashion design: materiality and experience, and the redefinition of the ideal body. First, materiality and experience pursues a change in perceptions of clothing materials by way of deconstructing clothes and exposing the process of production. This type of critical fashion breaks away from the traditional sartorial conventions and articulates new structures and experiences through dematerialization. Second, the redefinition of the ideal human body attempts to subvert the stereotypes of ideal beauty and introduce a variety of beauty in the human body. This type of critical design reconstructs the human body through transformation, expansion, and deconstruction and is often liberated from the dichotomy of gender norms.