• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.73-85
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• 2001

The human body is a subject to represent one's thoughts and feelings more easily. Historically, the women's body has become a implement to express an ideal of beauty with the changes of the times and it has created some ideal boy by various means.We have been influenced consciously or unconsciously by the ideal body made artificially. As fashion dolls and mannequins came out with various style in he 19th century, the fashion and the ideal body of those days were expressed completely. In the 20th century, it took as a matter of course that commercialization of fashion made persue the ideal body, so mannequin as a transmitter of esthetic presentation were used to express the ideal body. Mannequin is a implement to express an ideal body of that times, because mannequin, when it is made, is exactly embodied fashionable images of that times which include a ratio of the human bodys curve, a pose, an ample bosom, a fashionable dress and so on. This study considers changes of the ideal body and the fashionable clothes in each generation from the 1920's to the present time, and, on the basis of this, the correlation of the ideal body with the form of mannequins. And this study examines what kind of mannequins, that is, realistic mannequin, sculpture mannequin, and abstract mannequin.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.98-115
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• 1999

As sports infiltrates each field of modern society and becomes familiar, sports wear was changed functionally and was introduced and enveloped into everyday dress. Modern sports wear has been the settled in everyday life deeply and become the clothes of life which are worn regardless of place, time and age. The aim of this paper was to clarify what kind of fashion of sports style would be given to the modern people. In this study, sports wear which has become everyday dress classified from a gender point of view. It was divided into masculine image, feminine image, and neutral image. Sports wear of masculine image generated a silhouette which emphasized the shoulder with the aspiration for youth and health. Wide shoulder was considered as the symbol of masculine beauty and the expression of healthy beauty. It was reflected well in body conscious look. And owing to the development of up-to-data materials, innovation of design, and the study of human body technology, the functional character was settled in the sports wear which showed masculine image. Sports wear of feminine image was represented fashion of body exposure, body feet with body conscious look, and romantic mode. This image was expressed fashion as comforts, pleasant, active design, materials, color, and romantic feminine beauty. Sports wear of neutral image was expressed into unisex clothes. This cloths have no difference in gender, age, and class. It was used as casual sports wear. In the 1960s, young generation participated in such street sports as street basketball and skate. They usually sore the sports wears of neutral image such as cycling, skating, and ski. In the materials of sports, the development of up-to-data material like lycra made the sayings lifelike, “up-to-data material is the second skin” It show that glamorous feminine image and strong masculine image coexisted. The contemporary concept of sportswear is no longer limited to those clothes for sports found in such places like tennis court or swimming pool. Now, the sports wear become more like casual activity wear all classes of people can enjoy in their life regardless of where they are, when they wear, and even how old they are.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.1042-1055
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• 2006

The purpose of this study is to consider the formative characteristics of dance sports from such points of view as shapes, colors, material and decorations, and to examine artistic characteristics that are expressed through those elements. As a result, this study shows five artistic characteristics as follows; First, rhythmic characteristic is expressed with repeat of lines that is formed by pleats, shirring or gather, with duplication of ruffle's wave, with gradation of colors, with Moire-effect that is generated with overlap of see-through material, with glossy material that reflects lights to a great extent, with fringe. Second, bodily characteristic emphasizes the beauty of human bodies through direct or indirect body exposure by way of cut-and-open, see-throughness or close adhesion. Third, decorative characteristic is shown with beads, fringe, ruffle, embroidery, shirring, binding, or feather. Fourth, the beauty of female body is manifested to express eroticism, which is culminated by body exposure, body consciousness, use of illuminating or see-through material or colorful trimming. Finally, elegant characteristic is revealed through feminity, sophistication, and harmony that are expressed with black and white colors, see-through material, or bead trimmings.

• Journal of Fashion Business
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• v.9 no.6
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• Journal of Fashion Business
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• v.16 no.6
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• pp.1-20
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• 2012

This study aims to define the influences of an individual's talent types and body consciousness factors on high((intense)-level appearance management behavior in 367 adults(female 172 and male 195). The present study is the first to consider both human talent type and the body consciousness on the high level-appearance management behavior correlates to appearance management behaviour. According to the result of the analysis, plastic surgery on body forms or faces are done by few people. However, straightening teeth, ear piercing, removal of spots or imperfections, and eyebrow tattoos are conducted by many consumers without much resistance. It is rather widely accepted, despite the fact that it can cause pain, discomfort, and side-effects. Furthermore, although excessive acts such as muscle training, dieting, weight managing, and oriental treatments can lead to side-effects, the standardized efficient beta value turned out to be high for these treatments. Thus, this study suggests that both the interpersonal talent among 8 talent factors and 2 body consciousness factors contributes to the reinforcement of the self-identity through high level-appearance management behaviors, but except risky plastic surgery. Therefore, this study supports the previous researches that body consciousness composed of self-source, which is desires and efforts to achieve the ideal body, and external-source, which is the internalization of other people's feedbacks.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.193-210
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• 1999

The purpose of this study is to compare the similarity of clothing between Modern and Gothic, and between Post-Modern and Renaissance Period. The results are as followes: The beauty of ideal body was changed from unemphasis of body line to emphasis of the erotic espects of body. The style of clothing was changed from simple and functional in order to give freedom in action, to various and complicated in from, and even uncomfortable in order to emphasize individuality. Decoration on clothing like details, trimmings, and various accessories were not prefered in Gothic and Modem Period, but very popular in Post-Modern and Renaissance Period.

• Korean Journal of Human Ecology
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• v.22 no.1
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• pp.75-88
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• 2013

The purpose of this study was to investigate the effects of appearance instrumentality on body satisfaction and appearance management behaviors by adolescent' sex. The subjects were 750 adolescents in Daejeon and Chungnam province. The research method was a survey and the measuring instruments consisted of appearance instrumentality, body satisfaction, appearance management behaviors, and subjects' demographics attributions. The data were analyzed by Cronbach's ${\alpha}$, factor analysis, cluster analysis, ${\chi}^2$ test, and t-test, using SPSS statistical program. The results were as follows. First, 3 dimensions(the utility of interpersonal relationship, social achievement and sexual partnership) were emerged on appearance instrumentality, and adolescents were divided into 2 groups(unreceptive and receptive group) by appearance instrumentality. Second, appearance instrumentality had significant effects on female adolescents' body satisfaction; receptive group was more dissatisfied with their bodies, especially weight, hip, abdomen, and body shape than unreceptive group. However, it had no significant effects on male adolescents' body satisfaction. Third, appearance instrumentality had many significant effects on male and female adolescents' appearance management behaviors. Especially, female receptive group had higher intention to perform professional care by a sliming club, beauty salon, and dermatology, and face plastic surgery than unreceptive group.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.763-780
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• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• Journal of the Korean Society of Costume
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• v.25
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.173-183
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• 2004

The techno fashion presents the new formative beauty of fashion with a stream of light and dynamic phenomenon on human body. Also it opens the futurism arising from the combination of technology with fashion. The purpose of this paper was to investigate the internal trend and external form that techno-fashion aims at, and to analyze the expressive characteristics in design. The results were as follows. ${\cdot}$ The techno fashion created the new formative artifact through the dismantlement and reorganization of form. ${\cdot}$ The techno fashion used the composition of the geometrical abstraction as an expression of beauty symbolizing the modernity. ${\cdot}$ The techno fashion created the diverse colors by using the light along with colors of gold, silver, metal, intense fundamental colors, and artificial rotor. ${\cdot}$ The techno fashion expressed the dynamism, brilliance, youthfulness, futuristic image by using the sense of dazzling brightness by means of metal. ${\cdot}$ The techho fashion along with the development of science and technology made the atmosphere of silhouette of clothes different by expanding the category of materials more widely, together with the possibility of continual emergence of new material. ${\cdot}$ The techno fashion expressed the dynamic movement on clothes and gave the sense of periodical rhythm by the reflective action of light when they were clad. ${\cdot}$ The techno fashion grafted wearable technology into the fashion and made the information instruments recognized as a concept of clothes. ${\cdot}$ The techno fashion pursued the values of not only the beauty of the simple geometrical design, but also the values of functionality and expressed the image of high quality of life through the harmony of technology with human.