• 복식
• /
• 제32권
• /
• pp.225-242
• /
• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• 패션비즈니스
• /
• 제18권2호
• /
• pp.54-65
• /
• 2014

This study developed basic pattern for competition figure skating wear for school girls. Figure skating wears are difficult for making basic patterns based on standard size chart, because girls' body size are slimmer and more slender compared to the general girl's and the competition wears such as, swim suit with sleeves are, closely in contact with the player's body. The competition wears for school girl was made with consideration of changing of the body shape, physical exercises, and various specificities according to stretch material. To raise artistic effect while doing beautiful motions, and to assist in facile technique motions, competition wears need to have enough ease on the side line from waist to armpit, from armpit to wrist, and in trunk girth including crotch girth. Also, to stand out in beauty, a costume designing has a proper skirt position, length, flare width, and a tight bodice according to the player's body proportion. Most of the customers are displeased at the high price, unfitness of size, insufficient design, and difficulty in access, since they are not sold in sporting goods store. Therefore, a competition wear's basic pattern was made through scientific and emotional process including concerns on material properties, room for activities, and ideal body proportion. Systemizing the basic patterns of production method will solve high repairing expenses, unsuitable sizing, and improve accessibility for purchase.

• 대한두개안면성형외과학회지
• /
• 제13권2호
• /
• pp.95-98
• /
• 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.

• 한국의상디자인학회지
• /
• 제7권2호
• /
• pp.75-85
• /
• 2005

This study analyzed the factors of change of women's underwear in the Renaissance, which had a sudden change of shape. First, the spirit of the Renaissance was focused on human-attached importance to glamorous beauty of the body and pursued the glamorous well-proportioned figure as the ideal of the human body. This expressed a woman's beautiful curved lines by reduction of their waist size and emphasis of breast and hip lines. It also created and emphasized one's physical figure, which is a characteristic of sex. Also the materials and size of underwear cleared up the classification of class. Second, through the development of weaving techniques, more textiles were produced, from linen, the most common material used, to silk in underwear and stomacher, and chemise, which was made more splendid be devising elaborate embroidery techniques. Third, as we know that the farthingale was devised in Spain and transmitted to France because of the prevalence of printing and trade, where it changed and developed to more convenient style, this shows that information interchange was active, and we can see the phenomenon that it is developing continually through the prevalence of printing and trade.

• 복식
• /
• 제54권6호
• /
• pp.101-117
• /
• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body