• 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.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.3 s.3
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• pp.83-95
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• 2004

In order to investigate female workers' recognition of image making, this study conducted a survey of female workers in Daegu and obtained results as follows. First, according to the result of analyzing recognition of image making, many of female workers, 82.3% of whom were between 20s and 40s, replied that they were 'pure and lively'(41.8%) or 'elegant and womanly'(32.3%) but what they sought for in their mind was an elegant and womanly image. However, the image that a majority of female workers wanted to have in the future was 'elegant and womanly' (53.3%) and 'sexy and attractive'(27.4%). This suggests that our society still demand women to be womanly as well as sexy and attractive. Second, with regard to outward image by age, most female workers regardless of age thought that outward image is important for social life. This suggests that younger women recognize more the influence of image and, consequently, the necessity of image making. Thus, the recognition of the importance of outward image appears to result in the proportional enhancement of the consciousness of image management. Third, younger women have a great difference between their current image and the image they seek for and such a difference may be related to mental immaturity between ideal and reality. Fourth, as for the relationship between image making and occupation, those who engaged in service and beauty art highly recognized the importance of image making as they were greatly influenced by their outward image in their social life.

• 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 Korea Entertainment Industry Association
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• v.13 no.8
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• pp.325-334
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• 2019

Director Lee Chang Dong said that it is the most important point for revealing the invisible beauty so that the audience could feel the unseen beauty through the . Discussing about how to find beauty that is not only visible but also invisible through the main character Mi-ja from the film, who makes a decision and reactions on her daily life by her perception that are difficult for others to take same. The film tells that how Mi-ja's ideal of a beauty can be taken the role for writing a poetry at the moment of the dead poet society, making a movie in the age of dying emotion and also when it lost fundamental values and about movie media. This study analyzed the performances of the main character Mi-ja in the film, and actress Yoon Jung Hee based on Director Lee Chang Dong's directed performance. The audience will be self-questioning and reflecting their life through the Mi-ja's an unidentifiable characteristic which something that someone cannot say, something that someone cannot express, something that tells something through Mi-ja's poem and actress herself finds the character's feelings.

• Cross-Cultural Studies
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• v.25
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• pp.237-265
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• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Korean Institute of Interior Design Journal
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• no.2
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• pp.46-53
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• 1994

The Soubise Mansin which construction ended in the latter half of 1730s has several rooms which symbolize Rococo which appeared in the 18 century. The work of the Soubis Mansion done by an architect, Boffrand , is a significant work in which he had introduced a new style of building , Rococo, based on a style of Regency, thereby showing a big leaf in that kind of art. In other words, with the elements already established in the days of Regency-white wood panel, gold molding, mirror technique, etc. -and the characteristics of unprecedent, outstanding spatial forms and Rococo decoration introduced. Rococo had enjoyed its peak of full flourish within the moderation of being never excessively magnificent, beautiful, and dignified. It is a remarkable thing that a model of such perfect ideal beauty was suggested even in the begining state of Rococo and it is deemed that such a point resulted in such influence on other places like the Versalilles Palace, etc.

• Journal of Fashion Business
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• v.8 no.6
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• pp.113-122
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• 2004

The purpose of this study was to examine and understand body image, appearance behaviors, and eating disturbances among females in the Diet Center. Subjects for this research were 40 females enrolled at the Diet Center in Seoul. They were interviewed for this study using an interview schedule at September in 2004. As a result, most of the subjects (87%) were dissatisfied with their bodies, especially their lower body such as hip, thighs, legs, stomach. Subjects tended to use dieting and fasting (46.3%) as the most common appearance management behaviors in relation to the body parts. Make-up (32.9%) was also used as routine appearance behaviors, while 37.5% of subjects have had cosmetic surgery on eyes, nose and liposuction. Sixty percent of subjects had participated in Diet center programs more than twice. This may mean that society pressures women to have a slim body, which then will result in more self-confidence. Subjects tend to engage in unhealthy eating behaviors, such as 'fasting', 'inducing vomit', 'using diet pills or laxatives', and 'after chewing, spit out'. Based on these results, socio-cultural body image regarding ideal beauty would be discussed.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.193-210
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• 1999

The purpose of this study is to compare the similarity of clothing between Modern and Gothic, and between Post-Modern and Renaissance Period. The results are as followes: The beauty of ideal body was changed from unemphasis of body line to emphasis of the erotic espects of body. The style of clothing was changed from simple and functional in order to give freedom in action, to various and complicated in from, and even uncomfortable in order to emphasize individuality. Decoration on clothing like details, trimmings, and various accessories were not prefered in Gothic and Modem Period, but very popular in Post-Modern and Renaissance Period.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.532-539
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• 2010

This paper suggests the system for searching and application is to be in combination between existing hair art area and Image/Video processing area. This proposed system usually saves various hair types into a database, then, users send images of their face over the internet by using WebCam. Finally, they can find the hair types for users.