• 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 Korea Academia-Industrial cooperation Society
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• v.19 no.6
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• pp.575-580
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• 2018

This paper proposes an introductory engineering course for investigating the history of technology and the philosophy of technology. Soft engineering, a new engineering field to explore proper technology and appropriate ways of exercising engineering, was explored. Creative cases for technology are presented following the most creative, successful, and proficient periods-ancient Greek technology, the Renaissance, and Silicon Valley era. Ancient Greek technology was investigated in terms "techne" with the origin of technology and/or art, and their equivalence. The Renaissance period was investigated in terms of "Uomo universale (universal man)" with Firenze geniuses. The successful drivers for the Silicon Valley creativeness were based on "entrepreneurship" and continuation and revitalization of modern and near future technological cultures. The factors driving creativeness were explored. To approach the difficult goal to grasp the course subject issues, facts, and/or concepts of the history and philosophy of technology, this paper takes a stance as a tourist guide and tourists utilizing considerable offline onsite experience and online information. Categorized course materials were surveyed at the beginning of each period and presented according to the preference of the students to maintain the students' interests. Team efforts, including group discussions and project executions, have been encouraged to seek the aspects of creativeness and/or technology.

• Asian review of World Histories
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• v.4 no.1
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• pp.35-81
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• 2016

The objective of this essay is to propose a cultural history of cosmography and cartography from the thirteenth to the sixteenth centuries. It focuses on some of the processes that characterized these fields of knowledge, using mainly western European sources. First, it elucidates the meaning that the term cosmography held during the period under consideration, and the scientific status that this composite field of knowledge enjoyed, pointing to the main processes that structured cosmography between the thirteenth century and the sixteenth century. I then move on to expound the circulation of cosmographic knowledge among Portugal, Venice and Lisbon in the fourteenth and fifteenth centuries. This analysis will show how cartography and cosmography were produced at the interface of articulated commercial, diplomatic and scholarly networks; finally, the last part of the essay focuses on the specific and quite distinctive use of cosmography in fifteenth-century European culture: the representation of "geo-political" projects on the world through the reformulation of the very concepts of sea and maritime networks. This last topic will be developed through the study of Fra Mauro's mid-fifteenth-century visionary project about changing the world connectivity through the linking of several maritime and fluvial networks in the Indian Ocean, Central Asia, and the Mediterranean Sea basin, involving the circumnavigation of Africa. This unprecedented project was based on a variety of sources accumulated in the Mediterranean Sea basin as well as in Asia and in the Indian Ocean over the course of several centuries.

• Journal of the Korean Society of Costume
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• v.40
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• pp.171-180
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• 1998

This is a study on the Men's Underclothes of Renassience Ages. The changes associated with the Tudor regime were sufficiently profound to afect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction. In order to attract still greater attention, the edge of the shirt was ruffled at the neck, a decoration which soon developed into a separate accessory, the ruff. The waistcoat, which originally was an under-garment, was shown, when the doublet was taken off, en deshabille. Thus we see that for men in the sixteenth century the undergarment was no longer an obscure drudge, but was promoted to serve in the general mode of expressing what the whole costume so extravagantly announced ; and likewise to share in that extreme degree of the social superior. The pinched waist of both sexes was not so much for sex attraction, but to signify social superiority. In the period under considera-tion, then, from the Tudors to the end of the Jacobeans, the new function of underclothes was much the same for both sexes ; to exploit the grandeur of the costume as evidence of rank, and only by that indirect method to add to the wearer's sex attractions.

• Archives of Plastic Surgery
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• v.42 no.2
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• pp.226-231
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• 2015

The aim of this study is to consider breast imagery in art as depicted through western painting. Twenty western art paintings were collated. Most of the sample paintings were created from the mid-nineteenth century to the late twentieth century and some are from the Renaissance period. Ten anthropometric items were used to measure 15 distances between two landmarks and 3 angles between three points. The distance from the nipple to the sternal notch and to the midclavicular point was the same and they were 0.46 of the distance from the sternal notch to the umbilicus. The shape of the projection of the breast was almost an isosceles triangle and the altitude of the triangle was at a proportion of 0.45 of the bottom length and 0.16 of the distance from the sternal notch to the umbilicus. The distance between the lateral ends of the breasts was 2.14 times the facial width and the distance between nipples was 1.36 times the facial width. Proportions from works of art are more ideal and attractive than clinically measured proportions. The desirable ratios measured from historical paintings might be useful in planning breast surgeries.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.135-143
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• 2006

The definition of the 'Pocket', according to the Korean encyclopedia, is an accessory that a person puts in small belongings or money and carry on waist or holds with a hand. Since the pockets were not attached to the clothes at that period of time, the portable bag or pocket had been used without distinction of age or sex for carrying personal belongings. The pocket in France was also used in a similar manner, where it was used as a handbag to carry purse, comb, or a key by women during the middle ages. The pockets were decorated, made of quality material such as velvet, silk, or satin with splendid embroidery or beads. This study closely examines the history of the pocket from late 16th century around Renaissance to early 20th century in France and during the mid Cho-Sun dynasty in Korea and compares the different kinds of patterns, symbolism, and the purpose of the pockets. In addition, the relationships between the pockets, belongings, and ornament are examined as well by thoroughly investigating the unique characteristics of the pocket of each country.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.3
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• pp.353-360
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• 2000

The purpose of study examined the changes of the man's underclothes from the ancient ages to the early modern ages. The method of study researched literatures and possessions of the museum. In ancient ages, a suit of clothes had the functions of both underclothes and outer garments. In middle ages, underclothes were not exposed and the importance was not recognized while they were worn to show the sense of sin and humility or to punish criminals. In early modern ages, the importance of underclothes recognized as they were exposed. In Renaissance period, the fashion of the day influenced much on the underclothes. In Baroque ages, the functions of underclothes were different according to sexes and men wore underclothes to show their social status. As the outer garments were shortned, shirt wwere also conspicuously exposed. In Rococo ages, drawers were tightened due to the influence of outer garments, men exposed their shirts to show the social status and underclohtes were usually worn to express sexual attraction. Men's underclothes had the functions of class distinction from the ancient ages to the modern ages, except the middle ages and underclothes had the additional functions such as supporting body-shape and sex attraction. The fashion of the day influenced on the changes of the shapes of the shapes of men's underclothes and the changes of outer garments were reflected on underclothes.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.38-50
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• 2009

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in 2000s fashion. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for 2000s fashion. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the similarity and the representation mimesis, the symbol mimesis and the abstraction mimesis. In fashion, the representation mimesis included a natural and a folk, a period that of 1900s and ancient representation mimesis. The symbol mimesis included psychology and fear symbol mimesis. The abstraction mimesis included hard color, a geometric simplification and distortion mimesis. Analysis on the mimesis expressed in 2000s modern fashion may provide an excellent method for understanding human aesthetic in costume.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.