• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.588-594
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• 2008

Lookism is spread largely because many people think beautiful people are treated better and receive more favors. This trend has been influenced by mass media and impacted by commercial marketing strategy. The expectation for the beauty have risen higher than ever. People expect beautiful body and beautiful face which are more difficult to meet the standard of beauty. People desire tall and skinny body. The purpuse of this study was to find out body image from college females in the age which they are very sensitive to appearance. This research focused to find out how they perceived their own body shape and their perception of the most ideal body shape. Measuring tool for the research was 9 pictures of body silhouette from very skinny to very fat. To analyse the respondents' objective body image, Body Mass Index were employed. The result of this research indicated that there were distinct differences between their subjective body images and ideal body images. This result indicated that they were not satisfied with their own body shape and hence they were not confident towards their body images. Even though their objective bodies were normal or under weight, they still felt they were over weight. This meant their body images were misrepresented. They preferred thinner bodies even though their bodies were perfectly normal and healthy. But these misrepresented body images could be unhealthy physically, psychologically, or socially. These results showed that college females were overly obsessive with superficial appearance rather than improving ones capability to be more competitive in the society. From this research, I tried to find out perception of body image and it's distortion which was debated a lot in our society. I also want to provide basic reference material for establishing the body image study.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.35-50
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• 2011

In this study, repression of the body is defined as a restriction on natural developments or movements and a modification either temporarily or permanently of the human body in shape, color, texture and odor. In addition, it involves physical and (or) mental pain. Chinese foot-binding and the Western corset are extreme examples of female body's being repressed in the history of fashion. The analysis of this type of repression will be based on historical research and theoretical concepts such as Darwin's (1809-1882) survival condition, Freud's (1856-1939) renunciation of desire, Weil's (1909-1943) privilege, and Foucault's (1926-1984) L'Usage des Plaisirs(the use of pleasure). Chinese foot-binding symbolically represents ideal beauty, the distinction of an ethnic group, and a desire for improved social status in the struggle for political power. It also represents psychology and a esthetics of eroticism and fetishism that originate from a man's desire and his individual taste. Symbolically, the Western corset represents abundance and fecundity, obedience and devotion to religion, the sanctity of God and ideal beauty as defined by political power. It also represents psychology and aesthetics of eroticism and fetishism as man's desire and a fashion icon. In conclusion, Chinese foot-binding was pursuit of power in male ideology but Western corset was a power struggle between God and mankind.

• (The)Study of the Eastern Classic
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• no.62
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• pp.145-176
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• 2016

This paper aims to define the leadership of Gunja (君子, translated into prince, gentleman, or ideal man) based on Confucian Classics which offer the general values and norms of individuals' virtue and social virtuous acts. Thus, humanitarianism is regarded as true value, and the values of a virtuous person who properly practices social human relationships are discussed. The real worth of Gunja image is discussed as a true human image of "self-completion and completion of all things" (成己成物) which involves the convergence of truth, good and beauty where there is a sense of harmony and balance, where there is stern self discipline and self cultivation and where win-win values of human relationships are created. Confucian saint (聖人), wise man (賢人), great man (大人), and gentleman (君子) mean social leaders. They practice human morals, enlighten and beautify society with teachings, and are indicated as equipped with mental and material harmony, good character and competence, and economic power and morality. People today pursue their own personal growth according to their material preferences rather than pure intellectual cultural values, and are engrossed in visually beautiful external unlimited competition. In this digital age, we are supposed to demonstrate our individuality, but many people are obsessed with appearance, go on severe diet, and lose their health beauty, and consequently suffer mental stress. This trend fuels obsession with appearance and the sick practice of valuing appearance. As an alternative method to overcome this phenomenon, we need a leader image with the convergence of truth, good and beauty, which is characterized by internal self cultivation, external professionalism, and handsome and solid character. Confucian thoughts consist in practicing the Way of disciplining oneself for governing others (修己治人). Self discipline involves developing personal virtuous ability for cultivating a virtuous character, and governing others involves interacting to work together in society and to have right human relationships. Thus, leaders should impress not only themselves but also others. Self discipline for governing others means cultivating virtue for oneself and leading others. A true leader has self introspection and establishes himself through self discipline so that he can govern others or reach the realm of settling others where people live together. As all things have a value and a virtue, humans endeavor to cultivate character and virtue by learning and studying for securing their professionalism, reliability, character and ability, so as to create their own brand value. Personal character does not come from a high position, wealth and power. Character is a personal virtue, and is cultivated as immaculate and fresh through self discipline. As such, it well matches with a clean and clear spirit. This offers the ideal leader as the Guja image who has an extremely humane character, as well as being equipped with inherent virtues of intellect, benevolence and courage. Self development can foster virtue and self management through self leadership and self discipline. The leader in the relationship area can practice his virtue through virtuous acts, in other words, even think from another person's perspective. Such leader is mentioned as the principle of measuring square in the Great Learning. In our viewpoint, the beauty of character can breed the seed of virtue through intellect, benevolence and courage, the beauty of win-win can realize the right virtue by showing exemplary acts to others through considerateness, and the beauty of harmony can love and care for others like me through the principle of measuring square, thereby realizing the universal principle of virtue and harmony, which is like my mind. As such, the ideal leader, when his virtue and mind of being considerate of others all blending well, can exercise his ability to the full, can live together and coexist with many people, and can grow again into a triumphant relationship.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.577-589
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• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

• Journal of the Korean Home Economics Association
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• v.44 no.4 s.218
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• pp.1-9
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• 2006

This study examines the esthetic characteristics in the haute couture work of Jean Paul Gaultier, who represents the fashion in France and is famous for avant-garde and experimental works through dismantling, from the first haute couture collection in 1997 to the present. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in domestic and international fashion journals. Three characteristics are revealed in his works. First of all, he provided a transcendental fashion different from the established wearing or ornamental ways by dismantling the dichotomies between male and female, time and space, and beauty and ugliness. Second, he reflected the decadent beauty recognized as representing women's sexual and provocative expression based on exposure, suppression, perversion, and grotesque manifestations by shaping an esthetic value within a different point of view. Finally, he was characterized as being transcendental with an eclectic fusion of intercultural differences or dynamics, items in costume formation, time and space, and eastern and western. This transcendental expression, Gaultier's desire for creativeness, can be an ideal characterizing this era.

• Journal of the Korean Society of Food Culture
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• v.24 no.1
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• pp.23-32
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• 2009

This study was conducted to generate fundamental data required by food coordinators and food space creators for planning and directing table settings. The results of this study were then used to suggest an ideal model of table settings for Korean-style food equipped with simple, sophisticated, and practical characteristics. Specifically, this study evaluated the importance of hygiene (safety, cleanness, arrangement), decoration (dignity, form, stylishness, presentation of food on plates), naturalness (seasonal beauty, comfortableness, natural beauty), and modernity (modern style, chic style, urban style). These factors were evaluated according to the preference of the table setting and the characteristics of the meeting, which fit various meal cultures, times, places, and objectives. The results of this study indicate that people prefer hygiene and decoration for family meetings (bansang setting), hygiene and modernity for friendly meetings (simple buffet setting), hygiene and decoration for company meetings (simple buffet setting), and hygiene and decoration for academic meetings (tea party). Hygiene and decoration were highly evaluated in most cases, which indicates that individuals at meetings for special purposes give weight to the meeting's atmosphere, but also consider the hygiene and cleanliness of the food.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.4
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• pp.13-24
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• 2003

The modern landscape architectural profession and education of Korea was established in the early 1970s. The former president Park Chung-Hee was a main axis in this process of establishment. This paper critically examines Park Chung-Hee's thoughts on landscape architecture. It can show us the functional relationship between his thoughts and the beginning of the history of modem landscape architecture in Korea. The close relationship between Park Chung-Hee and Korean landscape architecture can be interpreted as double sides. First, landscape architecture was a matter of great interest for Park Chung-Hee. His involvement of landscape architecture went well beyond that of an amateur. Second, landscape architecture was a strategic instrument for practicing his political policy of economic development and nationalism. There are three remarkable tendencies in his thoughts on landscape architecture. First, he regarded that the main role of landscape architecture was to cover and to decorate damaged sites. Second, he had a contradictory notion of tradition and history. Last, the European pastoral ideal was his criterion for the beauty of landscape. His thoughts on landscape architecture were an amalgamation of these three contradictory ideas, and it has left some controversial inheritances for contemporary landscape architecture.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• Journal of the East Asian Society of Dietary Life
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• v.17 no.4
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• pp.463-473
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• 2007

This study was carried out to investigate perceptions of body image, body satisfaction, and dietary habits of beauty art major and non-major college students in Gyeonggi province. A total of 312 self-administered questionnaires (beauty art majors=145; non-majors=167) were analyzed. The means for height, weight, and BMI were 161.7 cm, 51.4 kg and 19.7, respectively. There were more majors who were underweight according to BMI classification than non-majors. Sixty-six percent of the subjects had previous weight control experience, and there was no significant difference between the majors and non-majors. The mean score for current body image was 4.61 out of a possible 9 points in the majors, which was significantly lower than 4.95 in the non-majors, and their perception of an ideal body image was thinner than their current body image. Those with more weight control experience had currently heavier perceptions of their body. The mean score for body satisfaction was 2.60 out of a possible 5 points, which was lower than the mean score for their attitudes toward the importance of their bodies. The mean score for dietary habits was 2.80 out of a possible 5 points, and there was no significant difference with dietary habits according to weight control experience or BMI classification. In both the majors and non-majors, there was a significant positive correlation between BMI and perception of current body image (p<0.001, p<0.001), and a negative correlation between BMI and body satisfaction (p<0.01, p<0.001). In the major students, there were significant positive correlations between dietary habits and body satisfaction (p<0.01), and attitudes toward the body importance (p<0.05); therefore, the greater their body satisfaction and body importance, the higher their scores for dietary habits.

• Archives of Craniofacial Surgery
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• v.13 no.2
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• pp.95-98
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• 2012

Nowadays, plastic surgical operations are increasingly being performed in Korea. We have gained added interest in this because some professional pictures contain plastic surgery in their venue. In the films, we intend to see the recognition of society for plastic surgeons and which field of plastic surgery. The list of movies for analysis were 'Plastic Beauty (1975)', 'Penthouse Elephant (2005)', '200 Pounds Beauty (2006)', 'Cinderella (2006)', and 'Time (2006)'. The TV dramas were 'She is looking (2005)', 'Lovers (2006-2007)', and 'Before & After Plastic Surgery Clinic (2008)'. Films were analyzed according to the following: the chief complaints and names of the operations, character of plastic surgeons, result of the operation and its possibility in reality, and its effect of plastic surgery on the life of the patients. Most of the film contained facial transplantation or the change of the face or body different from the original shape. Character type of the plastic surgeons was mostly medical realism, rather than ideal humanism. Most of the plastic surgeons have capability as a doctor; however, some of them had extramarital affairs. The surgery was successful in most of the cases, but were the patients happy with the results? This was not the case in the movies. In only one movie, '200 Pounds Beauty', the patient became happy; rest of them were eminently unhappy with the outcome. Why the discrepancy? It is difficult to analyze the minds of the people in the films, but considering that the majority of the characters in the films were rather unsavory, one may deduce that a crooked mind functions differently. Perhaps it is too much to hope for a day that will come when we will see a film that portrays the mental anguish that accompanies each and every procedure the Korean plastic surgeons make.