• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.41-57
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• 2004

The purpose of this study was to analyze the 20th century＇s makeup according to aesthetic categories. On the basis of aesthetic theories, four category pairs were determined as inter-confronting aesthetic categories: beauty of utility vs. beauty of social aptness : beauty of decoration vs. beauty of construction : sublime vs. grace : classical beauty vs. romantic beauty. 20th century＇s makeup was analyzed at the interval of 10 years referring to the images of actresses in the films produced in Hollywood and European countries. It was identified that 20th century＇s makeup had changed from decorative and dramatic makeup to natural makeup as the century proceeded. Consequently, beauty of social aptness, beauty of decoration. sublime, and romantic beauty were emphasized in the early 1900s while beauty of utility. beauty of construction, grace, classical beauty were emphasized in the later 1900s. In the whole 20th century, grace is the most dominant beauty among eight aesthetic categories due to it connote femininity. As the variety of fashion increases. the makeup patterns has become more diversified in recent years.

• Journal of Fashion Business
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• v.18 no.5
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• pp.15-24
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• 2014

The aim of this study is to examine the patterns of expressing contemporary beauty from the perspective of Laotzu's philosophy in order to suggest its concept and characteristics and to suggest specific cases through cosmetics advertisement. In doing so, the study attempted to understand that contemporary beauty is more humanistic and liberal in terms of expression patterns than in any other time period. The research results are as below. The frame concept of Laotzu's philosophy includes 1. Naturalness, 2. coexistence in Conflict, and 3. Non-otherness. The characteristics of contemporary beauty are natural and healthy, People can foresee changing beauty by the cycle of life and, by admitting this philosophy, people can understand one's individuality and discover self-esteemed beauty. Also, the results from the cases of cosmetics advertisement are as below: 1. Naturalness was remarkable. Such phenomenon was common in representative brands of the research subjects. Expression pattern was based on soft, natural make-up and hair style. 2. For conflict and coexistence, they introduced the ancient image of the situation, and the situational image using food and herbs demonstrated a functional, situational image, which was used for the cosmetics advertisement based on the mutual coexistence concept instead of dichotomy of period or material. 3. Non-otherness advertisement, of which there was none, we expected that maximized marketing effect would be achieved if non-otherness cosmetics advertisement expressed the contemporary beauty because it could solicit sympathy form many consumers.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.409-417
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• 2011

This study aims to investigate makeup images shown in the beauty trends and analyzes the characteristics of makeup colors depending on the types of facial makeup. This survey's collected data includes a total of 365 makeup colors which have been shown in the beauty trends for the last three years. The pictures and vocabularies shown in such data were analyzed and thus we could have classificatorily six kinds of makeup images. In addition, makeup colors were divided into two subcategories: eye makeup and lip makeup, both of which have the most significant impact on the makeup images. As the results, the types of makeup images shown at beauty trends were classified such as natural image, gorgeous image, elegant image, sophisticate image, and romantic image. If analyzing yearly changes, active, romantic, and elegant images were common in 2008, and natural image displayed a certain strong tendency amid pro-environmental trends in 2009, and gorgeous images were appeared apparently in 2010, while natural image showed a bullish tendency yet. Regarding to color characteristics by makeup images shown at beauty trends, YR color in eye makeup and R in lip makeup looked bullish generally, and a lot of changes were shown in color tones. This fact gives help in grasping fashion colors and color tones of yearly makeups. Based on these results, this study examines makeup colors for expressing makeup images closely, and then suggests that it could be utilized in makeup color planning.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Journal of the Korean Home Economics Association
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• v.44 no.11
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• pp.171-178
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• 2006

Recently more than ever, interest in Korean tradition has been on the increase, with an active movement to follow tradition. There are various merits for expression with the use of Korean paper as a clothing material. The purpose of this study was to assess the aesthetic characteristics of men's shirts fashioned using Korean paper (Hanji). The following conclusions were obtained from an analysis of the aesthetic characteristics of Hanji shirts. First, Hanji has a peculiar texture, with natural characteristics due to the direct use of naturally handcrafted materials. Hanji shirts have the natural beauty of pure Hanji, without artificial treatment or other subsidiary materials, with the exception of thread. Secondly, Hanji shirts with decorative details and trimmings, such as frills, pin tuck, embroidery and spangles, express an ornamental beauty. Thirdly, Hanji shirts with frills or a fringe have real movement when worn and spangles give the illusion of movement due to changes in color or twinkling caused by light giving the beauty of rhythmical motion. Fourthly, Hanji shirts produced using the application of various techniques, such as crumple, painting and dying, express artistic beauty. Fifthly, Hanji shirts can express traditional beauty, even if created whit modem designs, but using traditional materials.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.1
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• pp.77-87
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• 2008

Modern fashion industry creates complex and multiple fashion by amalgamating and mixing all elements that emerged in fashion without limiting them to a specific genre. The results of study are as follows: First, with regard to the conceptual differences among poor look, anti-fashion, and resistance fashion and the background. second, As aesthetic categories of poor beauty, its image with the feeling of poorness, beggar-likeness, worthlessness, poorness, and uncleanness is divided into the beauty of moderation, deconstruction, unfinished beauty, natural beauty, and ostentatious poor beauty based on the formative characteristics and poor look. Third, Oriental and Western poor images are comparatively analyzed. The poor beauty found in Oriental fashion, which is based on Zen aesthetics, seeks loneliness, poorness, and simplicity as an empty origin and features internal meaning that expresses the purity of poor beauty itself and external form that is visualized through no decoration, no color, and asymmetry in material and composition. The poor beauty in the West features non-form of no shape, asymmetry and disharmony and the characteristic in its contents is "distortion", and the characteristic in its expression features external form of "incorrectness" and internal meaning implying modem humans' frustration, resistance to materialism, and skepticism about mechanicalism.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.231-242
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• 2003

This study was aimed at analyzing how the dualism of hippie style in the modern retro-fashion, namely, the neo hippie style and the hippie chic style were expressed. For this study, domestic & foreign fashion magazines, preceding theses, literatures, an encyclopedia, and Internet sites were reviewed. The results of this study could be summarized as follows; 1. Silhouette : The neo hippie style was expressed in slim and long silhouette to show the natural beauty. The hippie chic style was expressed in various silhouettes depending on designer's tastes. 2. Color : The neo hippie style was expressed in strong color and analogous color coordination to show richness of human nature. The hippie chic style was expressed in psychedelic color, multi-color, and fluorescent color to show an unconventional and a future oriented idea. 3. Material . The neo hippie style used such soft, thin, and flexible materials as chiffon, satin, silk, knit, etc. to show the natural beauty The hippie chic style used expensive and luxurious materials, high-technological materials, harmony of different materials, etc. 4. Pattern . In the neo hippie style, it was generally used various patterns including plant, animal, insect. In the hippie chic style, it was widely used the natural pattern as well as the ethnic pattern. The neo hippie style was characterized by the natural beauty, purity, elegance as style symbolizing the social problem, on the other hand, the hippie chic style was characterized by designer's identity suggesting an idea of new style rather than a symbol of the social problem.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.99-104
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• 2007

The most extensively used synthetic antioxidants are butylated hydroxyanisole (BHA), butylated hydroxy toluene (BHT) and tert-butylhydroquinone (TBHQ). However BHT and BRA have been suspented of being responsible for liver damage andcar cinogenesis. Therefore, the importance of the search and exploitation of natural antioxidant, especially of plant origin, has greatly increased in recent years. Plant contain a wide variety of chemicals that have potent biological effects. As a result, there has been a growing interest in the use of herbs as a source of therapeutic drugs. The aim of this study was to assess the antioxidant and cosmeceutical of natural materials. The antioxidant and cosmeceutical activity of natural materials were investigated by hydroxyl radical scavenging, superoxide dismutase (SOD) -like, xanthine oxidase inhibition, tyrosinase inhibition, anti-microbial and astringent.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.452-466
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• 2013

The Silla Dynasty was an open society and was an independent, creative, brilliant culture built on diverse cultures and values. Transforming from the Silla Dynasty to the Unified Silla, it unified the culture of the Three Kingdoms into one. It also displayed unique clothes that adapted new foreign elements into rich clothes forms unlike previous styles. This study first classifies the aesthetic consciousness of the Silla Dynasty by exploring the beauty of the Silla Dynasty realized through artifacts, books, and records in the Silla Dynasty and defines the each characteristic of the aesthetic consciousness. Second, it highlights the independency of Korean beauty through an investigation of how the aesthetic consciousness form appeared through these new appearances in the aesthetic consciousness of Silla Dynasty clothes. The results of the study show that the aesthetic consciousness of the Silla Dynasty can be inferred through Silla Dynasty artifacts, literature, sensuous beauty, and records that were classified into random natural beauty, humorous beauty, and decorative technical beauty. The Silla Dynasty aesthetic consciousness and aesthetic consciousness appeared in Silla Dynasty clothes based on the aesthetics of authenticity that created the honest and simple aesthetic moving of the early natural aesthetic sense of the Silla Dynasty. Silla Dynasty clothes are found to have transformed into an ornamental aesthetic consciousness of a sensual and decorative aesthetic consciousness in a Unified Silla.