• Cross-Cultural Studies
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• v.41
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• pp.275-298
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• 2015

This paper is to examine in detail the relevant aspects of "Nature" and "Elegant Beauty" appearring in Cho, Chi-Hoon's poems and poetics. It uses the same context to explain the reasons and grounds for the inevitable, corresponding closely to his poetry and poetics. It is the core of Cho Chi-Hoon's poetry to determine "natural" new artistic views and his vision of ultra-modernism. This is consistent with the precise feature of "Elegant Beauty" in the midst of aesthetic categories profoundly discusseing his poetics. He regards a "lyric" as a vision of ultra-modernism, to overcome divisions and conflicts of values, "Truth Good Beauty", which was caused by modern science. Furthermore, it includes many social issues in accordance with the differentiation and specialization of each area. It is inferred to have been attempted to produce specifically was found to shape new images of "Nature" in the dimension of his poems, "Elegant Beauty" is overwhelmed with the aesthetic excellence of the other categories in the dimension of his poetics in this context.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1672-1682
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• 2006

Attitudes about the ideal body are influenced by media, including fashion magazine advertisements. The purpose of our study was to analyze the ideal body image for males and females in contemporary society. We analyzed the contemporary ideal gender image through the examination of physical characteristics(body type, age), and fashion styles(hair, make up, supplements, clothing styles, body exposure) in fashion advertisements published in Gentlemen's Quarterly(GQ) and Vogue issued during 2002. The results indicate some blurring in masculinity and femininity resulting in gender neutralization and naturalness pursuing natural appearances. But, some previous beauty norms related to masculinity and femininity remained.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1737-1746
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• 2006

The purpose of this study is to present a concrete image of the ideal beauty as shown in era preceding 1945 that effects the shaping of our aesthetic values; by analyzing its characteristics through the covers of women's magazines of that period, this research aims to promote the understanding of beauty of the human body. The scope of my research extends throughout the collection of women's magazines stored in the National Library and the Korea Magazine Information Center. The gathered research materials are: 5 kinds of Shin-Yeo-Sung (신여성), 51 kinds Yeo-Sung(여성) and 30 kinds of Ga-Jung-Ji-Woo(가정지우). The result of the research could be summarized as the followings. Before the 1920's in response to the violent opening, there was a trend of sticking to the traditional standard. In the 1920's, the prevalent images of women were meek and fragile. Japanese standard of beauty was explicitly indicated. In the 1930s, as Western movies started to be shown to the general public, western features were idealized and furthermore intelligence was required as a further condition. In the 1940s, preparation of the war led to encouragement of images of motherhood and natural beauty, and resistant to this trend led to pseudoclassicism.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.3
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• pp.99-113
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• 2018

In this study, the reality of international Gothic style was examined through the representative art of the period, such as paintings, architecture and tapestries. In particular zones of the body were examined by applying Harold Koda's methods of discussing extreme beauty to study the phenomena and characteristics of extremes in late Gothic costumes. This arrived at the following conclusions concerning the phenomena and characteristics of the extreme appearing in the late Gothic costumes. First, a mechanism of body transformation to reach the ideal and desired form of a human. Second, the complicated and various extremeness of the whole human body. Third, the reflection of 'elaborate and secular excess, decorative taste of international Gothic style. Fourth, a early advanced case of the Trickle-down fashion and international sensation. Fifth, the aesthetic insight into 'ugliness', ever pursued in 'extreme beauty'. The researcher expects that the results of this study will contribute to the preparation to renew the significance of, and to restore the status of the late Gothic costumes, in terms of costume history, that has been considered as an age of the bizarre tastes.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.27-38
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• 2011

This study focused on the body modification in fashion illustration based on 'Corps sans Organes' of Deleuze. An argument about the changes of ideal body to define the aesthetic consciousness of times has lasted for a long time. Therefore, analyzing body modification in fashion illustration to express the ideal beauty could be effective motives to understand the changes of ideal bodies related with socio-cultural meanings, and be helpful to understand the overall trends of modern fashion illustration. To classify the types of body modification, the concept of 'Corps sans Organes' of Deleuze was used as an analyzing tool. As the final result, the characteristics of body modification could be divided into three groups; the fragmentation of bodies, the pastiche of bodies, and the abstraction of bodies. First, in the fragmentation of bodies, which is related with flexibility, pluralism, and subjective views on body, the bodies were separated as molecules. Second, the elements of pastiche of bodies could be subdivided into five sub-groups; sex, plants, animals, texts and figure, and machines. The pastiche of bodies was used to extend the limitation of human capabilities and to reinterpret the human identities. Last, the abstraction of bodies based on contingency, indeterminacy, and subjective associations could be related with the nomadic and indefinite body images. The body modification could be considered as the context of nomadism, indeterminacy, and virtuality of modern-times, and it would be the basic data to understand the body modification in fashion illustrations.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.513-522
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• 2006

The purpose of this study was to analyze characteristics and meanings of the masculine factors related with power images in women's fashion since 2000. The method of study was to analyze the documentary about the power images since the 14th Century and then the fashion magazines since 2000. The results of this study were as follows: The power image of women's fashion was internalized by wearing of the masculine factors each of an era. After 2000, characteristics of women's fashion affected by masculine factors were an exaggeration of scale, deformation, inharmonious collage and changeful borrowing. They showed the structure of new cognition of modern society uncertainty, open and decentralized. And power images presented aesthetic characteristics such as independence, ideal, sign of a amusement and decentralized virility. In conclusion, power in women's fashion has a function of creativeness, product, positiveness from past to modern. In addition, the power, which is a symbol of perfection, rationality and ideal beauty, expresses a good feeling of psychology, social friendship, value of success and will be existed as a meaningful esthetic sign in women's fashion.

• Archives of Plastic Surgery
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• v.50 no.4
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• pp.340-347
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• 2023

Background Though in facial plastic surgery, the ideal nasal characteristics are defined by average European-American facial features known as neoclassical cannons, many ethnicities do not perceive these characteristics as suitable. Methods To investigate the preferences for nasofrontal angle, nasolabial angle, dorsal height, alar width, and nasal tip projection, manipulated pictures of one male and one female model were shown to 203 volunteer patients from a tertiary university hospital's facial plastic clinic. Results The most aesthetically preferred nasofrontal angles were 137.64 ± 4.20 degrees for males and 133.55 ± 4.53 degrees for females. Acute nasofrontal angles were more desirable in participants aged 25 to 44. The most preferred nasolabial angles were 107.56 ± 5.20 degrees and 98.92 ± 4.88 degrees, respectively. Volunteers aged 19 to 24 preferred more acute male nasolabial angles. A straight dorsum was the most desirable in both genders (0.03 ± 0.78 and 0.26 ± 0.75 mm, respectively). The ideal male and female alar widths were -0.51 ± 2.26 and -1.09 ± 2.18 mm, respectively. More 45- to 64-year-old volunteers preferred alar widths equal to intercanthal distance. The ideal female and male tip projections were 0.57 ± 0.01 and 0.56 ± 0.01, respectively. Conclusion Results indicate that the general Iranian patients prefer thinner female noses with wider nasofrontal angles for both genders. However, the ideal nasolabial angles, dorsal heights, and tip projections were consistent with the neoclassical cannons. Besides ethnic differences, the trend of nasal beauty is also affected by gender, age, and prior history of aesthetic surgery.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.910
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• pp.1329-1340
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• 2004

The purpose of this study is to survey about the images of the sexy clothes that young women sympathize in modern society, that is, to make a research into the cognitive dimensions of 'Sexy image' and the constructive peculiarity of clothing. The researches into dimension of image by sexy clothing make that female mainly consist of in their twenties during May to October in 2003. The independent variables were: 1) The physical beauty dimension, 2) The negative estimate dimension, 3) The characteristic devaluation dimension,4) The elegance/ high grade dimension,5) The freshness/ beauty dimension,6) The sex appeal/ exposure dimension. Judging from each characteristic of costume in classified by articles, that is, colors, texture, shapes, details, and others-phenomenon of outerization of under clothing, print. We can know the clothes showing up our nice figures are the sleeveless design tied with strap, soft texture as silk chiffon and the colors that are not strong. And there were no embarrassed, ugly and pitiful clothing. Expressing sexy beauty by clothing is the result that the wearer produces intentionally by compounding design factors, it's the ideal when the observer's reaction and the wearer's intention correspond. Therefore, it will be helpful in expressing ideally if the subject, what kinds of sexy beauty the compounding design factors express, is studied carefully. Also it is expected to be used in grasping modem consumers' desires that want to look sexy, finding out how to express, dealing with the consumers' desires correctly, and the reference materials of the planning goods, sales promotion, and selecting of a medium of advertisement according to the consumers' desires.

• Korean Journal of Human Ecology
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• v.18 no.3
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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.