• 한국생활과학회지
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• 제18권3호
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• The International Journal of Costume Culture
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• 제12권2호
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• pp.197-201
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• 2009

The meaning of brassieres much more than a piece of underwear for women because breasts are considered the symbol of feminine sexuality, througout the history, women have used various intimate apparel or device to shape their body. In this article, have highlighted the relationships between fashion and technology, attractiveness, identity and, all of which are important components of aspects and evaluation of bra.

• 복식
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• 제52권8호
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• pp.123-135
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• 2002

The purposes of this study were to observe the influences of Salon culture on fashion, and to understand of 17th-l8th century's costume from a different point of view. The literatures about Salons and costume in 17th-l8th century were considered for this study Salon culture had influenced on women's and men's fashion from 17th 18th century as results. The influences of salon culture on fashion were as follows; At first, it caused radical feminism for women's dress. Women for this period chose their dress to maximize their breast and tight their waist radically to express their beauty. Women were realized as sexual being for the period, then, this caused feminism. The second influence was the Andorgynous of men's dress. Men maximized beautiful decoration, body line on their dress and showed feminine dress style. which caused Andorgynous of men's dress as men and women mutually created new beauty effect. Salon had influences on the birth of new feminine culture and fashion, supplying individual self-control and freedom to women not as aesthetic objects.

• 복식
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• 제66권6호
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• pp.158-177
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• 2016

In recent years, K-beauty including Korean cosmetics and beauty care tips, is becoming popular in various Asian countries such as China and Vietnam along, with the popularity of the Korean wave. Color images are a highly effective tool in establishing image development strategies in the process of developing cosmetic brands. Surveys on the color images of K-beauty perceived by foreigners need to be preceded for the development of differentiated images and the establishment of management strategies regarding K-beauty. Therefore, the purpose of this study was to examine the color images perceived by Asian consumers about K-beauty, and come up with measures to facilitate K-beauty. To this end, this study selected the two countries, China and Vietnam that show high levels of acceptance of K-beauty, and compared the color images of K-beauty perceived by female consumers in these countries. Then, the study visually suggested these images with color palettes, and compared differences in the perception of color images according to demographic characteristics. Beijing and Shanghai showed similar degrees of perception in most color images of K-beauty whereas Hanoi showed a lower perception level. K-beauty color images were classified into 6 groups: feminine, natural, elegant, modern, sensual, active, and popular, which represent symbolic images of K-beauty.

• 복식
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• 제53권2호
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• 복식문화연구
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• 제15권5호
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• pp.825-837
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• 2007

To analyze the design of Christian Dior, 216 pieces of Dior's works were collected and studied from the COLLECTION(Seoul: Dong Ah TV) from 2003 to 2005. The result is as follows. In recent three year period, Christian Dior maintained the feminine image and implemented different additions such as sexy, ethnic, avant-garde and casual image in every season. Also, to reflect a new trend or fashion sense, images of ethnic, retro, hippie or vintage were applied. In using color, different main color(YR, R, Y, BG, RP, B) were chosen every season to pursue variations. For the pattern usage, feminine beauty was presented by numerous applications of flowered pattern. Also the practice of pattern and hue in different rations in every season pursued variations in design.

• 패션비즈니스
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• 제11권6호
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• pp.11-23
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• 2007

This study has investigated the stream of consciousness and the actual conditions of tattoo. A survey of 466 people has found that female prefer tattoo, and a group of age between 21 and 41 and professionals are more interested in it. Both past and present of attitude consciousness about tattoo understand it dynamic and severe. However, it is considered as a feminine these days, whereas it had been understood as a masculine image in the past, which means a decrease of symbolism by gender. Also, in comparison with the past, the current thoughts on tattoo are getting hopeful and affirmative that we could know the attitude about tattoo changes. A survey of 106 tattooists shows that most people get a temporary tattoo, and permanent, semi-permanent tattoo came next. The most preferred area were eyebrows, are, shoulder, forearm, back of hand and waist, and a main reason of getting tattoo were for beauty and ostentation. For the level of satisfaction, 70.7% of the people polled said they were satisfied with it, and male preferred a pattern of animal, geometric and plant while female preferred a pattern of plant, animal, and geometric in order. So far, by the lack of basic information and data, efficiency value of tattoo is in negative view. Thus, it would be required to enhance a level of understanding tattoo focusing on the positive side like a new life style, sense of value, sensation and emotion of contemporary people, and generalize it by providing various technical information and knowledge of beauty image effect accompanied with tattoo.

• 복식
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• 제25권
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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.

• 대한가정학회지
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• 제50권3호
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• 한국의류학회지
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• 제42권3호
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• pp.544-559
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• 2018

Korea's traditional aesthetic criterion changed with a new makeup culture that followed the social change caused by modernization. Such transitional features are well seen in the cosmetic advertisements of the 1920's and 1930's. To investigate the cultural characteristics and aesthetic-criteria changes of makeup culture at this period, this thesis analyzes cosmetic advertisements carried in newspaper media of the 1920's and 1930's from an aesthetic perspective. This study found that after the late 1920's, more diverse tones were used for face-powder makeup, collapsing the visual, powder-focused makeup which had been considered criteria for beauty, in combination with smelling and tactile senses such as scent or touch. Domestic makeup had the highest value attached to basic skincare in terms of the aesthetic effect via powder makeup; however, Japanese makeup still stressed the importance of color. Besides, particular facts were found as to social significance of makeup acts such as powder users' age group, safety, superiority and rivals of products, and appeal for makeup popularization. This thesis demonstrates how traditional female beauty appears in powder advertisements in the modern period and how it is related to present-day female beauty.