• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.128-140
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• 1999

The Psychology of putting on clothes has close relation with sexuality, and eroticism is important in clothing. Present article aims to understand eroticism correctly and to make it evaluated as an art in modern fashion and as an aesthetic to express woman\`s beauty. Modern eroticism in fashion may be divided into direct, indirect and symbolic expression made. The result are as follow: First, direct made, a representation of desire into direct, indirect and symbolic expression of body or physical curve with tight garment. Second, indirect made, a see-though technique using association, represents sexual appeal by imagination on body area hidden by clothes made of see-through material. And third symbolic made express sexual libido by representing body area or clothes which symbolizing woman\`s sexuality using materials like fur or silk. Eroticism in modern clothing, therefore, should be understood as a beauty that is expressed by human artistic desire. Further studies are needed to explain the characteristics of eroticism in every culture because human nature is apt to from diverse kind of cultures.

• 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 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.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.36-50
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• 2011

The traditional masculinity has been gradually diversified towards the 21th century due to a new social environment. Men embrace his feminine side with heightened aesthetic sense using cosmetic products for better skin, hair, and nails. This diversification of male image and his beauty style proves the addition of feminity to masculinity. C. G. Jung felt that we are all really bisexual in nature. The anima is the female aspect present in the collective unconscious of men and it is the archetype through which we communicate with the collective unconscious generally, and it is important to get into touch with it for self-realization. This study analyzes subconscious desire based on the anima archetype in the collective unconscious of men through the diversity of the gender identity shown in men's cosmetic advertisements, and therefore it aim to help developing a marketing strategy of male beauty industry in the future. For this purpose, it conducted an empirical analysis of male beauty style in cosmetic advertisements through the Jungian anima theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was typified as Retrosexual, Ubersexual, Metrosexual, Cross sexual. Second, the anima archetype stimulates feminity in male beauty style. Cross sexual type has the highest feminine tendency. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. Cross sexual type is most similar to the female beauty style. This feminization of male beauty style is the external expression of collective unconscious and affords human being to reach self-realization.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.73-73
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• 2001

• 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.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.122-136
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• 2007

All costumes used for dramatic effect delivers the character's individual data such as sex, age, social position, job, personality, and sense of values in the scene and leads the progress of drama as a media that describes psychological condition and image of the drama etc. symbolically. Therefore, it has a meaning of finding out the importance of film costume, recognizing the traditional culture through the expression and creativity limited to the age in expression, finding out the unique Korean beauty and succeeding it to the future generation. The film is the first costume drama in Korea, which is remake work of Lt;Les Liasions dangereuses, 1782> in the age of the King Jeongjo in Joseon Dynasty. And is comic costume drama that the story goes as a man of the noblest birth debuts as a filthy novel writer. Both films have remarkable grace, elegance and magnificence as having Joseon Dynasty on the background, and treats irregularities and dissipation hidden in the noble society that looks elegance on the surface. There are three aesthetic symbolism in films, naturalism neat beauty, traditionality expressed.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.627-633
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• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.1-14
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• 2010

This study is a discussion of the expressive characteristics of contemporary fashion design with floral images. It aims to help understand the overall trends of contemporary fashion design and textile motif design and expand the potential expression fields of originative design to natural objects such as flowers. Methodologically the study analyzed 976 pieces of data gathered from Haute Couture and Pr$\hat{e}$t-$\grave{a}$-Porter collections of 2005S/S-2009F/W, according to their types of expression. The study results show a share of 42.7% for plane type expressions by printing or weaving and a share of 51.5% for relief type expressions, compared with 5.7% for solid type expressions. However, those expressions represented elegant femininity with emphasis on formative beauty and were applied to fashion accessories or hair adornments. The expressive characteristics found from the analysis were represented by natural images, feminine elegance, and decorative aesthetics of handicrafts. Flowers in the contemporary fashion purify the internal emotions of humankind stand for personality and beauty in many different ways of expression and serve as a means of expressing more artistic values breaking out of stereotype.

• Journal of Fashion Business
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• v.19 no.1
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• pp.77-94
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• 2015

Due to the inflammatory of body exposure it did not become popular to the Korean nation but the body painting as a body art is definitely required for it be become a new pure artwork. In this body painting color is the core factor for visual part and expression and coloring obtained from the color is very important in creating effective image. In Korea beauty industry the researches are limited to the study on coloring expression of general beauty makeup. Therefore, this research analyzes color images in recent body painting artworks by defining characteristics of colors and coloring applied by theme. For the research subjects, dominant and secondary colors were extracted from the artworks presented in preliminary and final rounds of year 2012 and 2013 World Body Painting Festival. For the selection of final coloring stimulation the most frequent coloring by theme was first chosen. Among them, 2 individual coloring bands were selected by theme among the high frequency colors. For the analysis of coloring image shown in body painting works total 8 coloring bands were created and they were compared and analyzed by indicating each divided coloring band on the coloring image scale by theme. In this research coloring image analysis was done after examining colors and coloring of artworks presented in World Body Painting Festival by theme. This research has its meaning that it provides information and guideline for coloring design work of body painting by analyzing coloring image used in color and coloring of body painting by theme.