• 복식
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• 제62권3호
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• pp.17-28
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• 2012

The purpose of this study was to investigate elderly women's body image and clothing behavior. Data were collected from 305 elderly women living in Gyeongnam province from May and June of 2011. Statistical methods including frequency analysis, factor analysis, F-test, t-test, Duncan test, Cronbach's ${\alpha}$, correlation analysis and multiple regression were used for this study. The results of this study were as follows.: The body image was composed of two factors, 'physical attractiveness and interest in appearance', and 'concern about weight'. The clothing behavior was composed of the following five factors: 'social importance', 'conformity' 'individuality' 'economic efficiency' and 'clothing fashion interest'. The body image and clothing behavior according to the elderly women' demographic showed many differences. Elderly women's body image influenced their clothing behavior. These study results are highly expected to be used as valuable sources in fashion marketing plans for industries that target elderly women.

• 복식
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• 제64권3호
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• pp.62-76
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• 2014

The purpose of this study is to classify the facial images and analyze shape characteristics of Korean women in their 20s. Previous research and survey were used for the study, the surveys targeted 220 university students in their 20s. The subjects of the experiment were 20-24 year-old Korean women. SPSS 12.0 statistics program was used to analyze the results, and factor analysis, Cronbach's ${\alpha}$ reliability analysis, and multidimensional scaling(MDS) were executed. The results of the study are as follows: First, the facial image types of Korean women in their 20s were classified into 4 categories as 'Youthfulness', 'Classiness', 'Friendliness', and 'Activeness'. Second, the multi-dimensional scaling method was performed and two orthogonal dimensions for the facial image of the Korean women were suggested: strong - soft and classy-friendly. Third, by analyzing the basic statistics concerning the structural characteristics of facial image of Korean women, there were differences in structural characteristics that form the facial images. Especially, significant difference appeared in items related forehead, eyebrows, eyes and jaw.

• 한국의류학회지
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• 제39권1호
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• pp.91-105
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• 2015

This paper accomplishes the following points: First, the costume style held by women in the Silla dynasty are examined. Second, a new fashion concept is drawn from Silla's costume images with lessons from analyzing how major brands from China and Japan have adopted their own traditional images. Third, a Korean fashion concept is crafted to reflect important modern fashion design factors. The conclusions of this study are: The concept of Korean fashion using Silla costume image based on the 2015 S/S trend was developed and suggested as: 'Harmony of Contrast', new beauty created by mutually contrasting things; 'Timeless' transcending time-space flowing from the past, present, to future; 'Empathy' where past and present are harmonized; 'Modern with Antique' expressing a new style modernism where the old retains value. The efforts to express identity via conceptualization of Korean fashion are an effective strategy that satisfies the goals of setting Korea's fashion design apart from others and spreading Korean culture.

• 복식
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• 제51권8호
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• pp.123-139
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• 2001

본고는 공간, 시간, 계급, 종교 등 하위문화 텍스트의 병행인용 즉 상호텍스트성(intertextuality)을 통해, 20세기 대중 문화의 상징 마돈나 뮤직 비디오와 공연 등의 인체, 의상, 이미지 등에 나타난 포스트모던 정체성을 연구함으로써, 현대 미디어 문화를 관통하는 주체적 여성 정체성과 미적 주관성을 이해하고자한다. 첫째, 상호공간텍스트성 복식은 스패니쉬룩. 태국룩. 게이샤룩, 테크노펑크룩, 테크노 카우걸룩 등의 동서양의 지리적 소외감을 통해 비권위적 다양한 시선을 제시함으로써, 다국적 자본주의와 함께 확장된 미적 체험을 하게 한다.; 둘째, 상호시간텍스트성 복식은 중세 엠파이어 드레스, 18세기 로코코시대의 robe'a la francaise, 미래적 제 3의 종 룩 등 동시적 몽환적 이미지를 통해 유희적 유토피아를 지향하였다.; 셋째, 상호계급텍스트성 복식은 그라피티룩, 펑크룩, 키치룩, 먼로 룩, 보깅(voguing), 에비타 룩 등 상하류층, 하위문화, 빈부, 권력의 유무를 병행인용하여, 좋은/나쁜 취향, 창녀/성녀 이분법을 해체하고 반부르조아적 저항과 물질주의를 찬양하는 탈계급적, 양면적 정체성을 구축하였다. ; 넷째, 상호종교텍스트성 복식은 상징적 가부장인 카톨릭교 텍스트를 인용하여 펑키크리스찬 룩, 에로틱 크리스찬 룩 등의 선/악, 신성성/관능성, 미추, 정숙성/비정숙성의 이분법, 비장미를 해체함으로써 예술의 자율성, 무의식이 강조된 쾌락주의적, 반권위주의적 정체성을 주장한다. 섹슈얼리티에 있어, 시선, 권력, 쾌락의 주체가 됨으로써, 미적 범주에 있어 선악, 미추, 정숙성과 비정숙성의 이분법을 해체함으로써, 유동적 자아를 구성한 마돈나 의상의 포스트모던 정체성은 여성에게 확대된 가능성을 제공하며 내부로부터 해체된 열린 복식을 지향한다.

• 복식
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• 제66권7호
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• pp.154-170
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• 2016

The female leadership styles in the 21st century have been established as a major axis. Especially, the fashion of female politicians being exposed to the public during political activities has become a main element of a measure displaying visually female leadership styles in the 21st century and image making as well. Consequently, this study conducted qualitative research through the interview method to figure out regular voters' thoughts in depth about images being required for female political leaders and the fashion maximizing those images, and drew the detailed design elements. Suggesting the clothes design reflecting those elements for female political leaders by 3D virtual clothing works emerging as a new market creating profits related to fashion. The images which female political leaders have to have and were extracted through the interviews in this study, showed as feminine, strong leader, honest, and intelligent images, and also it was shown that female political leaders displaying proper images depending on the circumstances and using those images in politics rather than sticking to a fashion identity were favored by interviewees. The present study intends to contribute to being used as basic data of various research and fashion items of virtual reality and establishment of successful fashion strategy for female political leaders.

• 복식문화연구
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• 제26권3호
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• pp.471-484
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• 2018

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study's data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study's results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals' physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women's social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women's physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

• 패션비즈니스
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• 제19권5호
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• pp.17-33
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• 2015

The purpose of this study was to evaluate the role of political image and the phenomenon of fashion politics on the style of women presidents, with focus on the President of Argentina, Cristina Fernandez de Kirchner. The results of the study were as follows. First, the political image of President Cristina Fernandez is identified with the second image of Eva Peron and Kirchnerismo, in terms of political issues. Second, fashion style includes the power and sexy images of glamour style that emphasizes the body line of suits and dress form. Vivid colors and black fashion reflects the Kirchner government's charisma and identity. Fernandez's iconic Rolex watches, expensive jewelry, and luxury accessories such as brooches that replicate Eva Peron's brooch were instrumental in forming a second image of Eva Peron. Third, the phenomenon of fashion politics appeared to equate the phenomenon of recreating the image of Eva Peron with displays of power and wealth for the successor to Kirchnerismo.

• 대한가정학회지
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• 제48권4호
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• pp.25-30
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• 2010

This study was motivated from the point that TV anchor women wore red clothing the most when they appeared at the broadcasting. For the analysis of clothing color, the main news programs of three local terrestial broadcasting systems were adopted, and the screen sources having been obtained for a year on the anchor women from January 2008 to December were classified by S/S, F/W. As the result, it was found out that the image was classified according to the inherent symbolic meaning of red color, and red color was frequently adopted for the happy-passionate image. It is judged that the reason is red color clothing spotlights passionate, challenging and imposing image which anchor women have. It revealed that while investigating the relationship of coloration between red upper clothing and other clothing, the inner-wear white color of the red jacket, or of the black inner-wear was matched the most, regardless of season. It is judged that this is because the coloration of red and white, and of red and black give not only brilliant but also clear image.

• 디자인학연구
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• 제18권2호
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• pp.27-36
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• 2005

상품을 팔기 위한 경제적 현상인 광고의 일러스트레이션은 일차적으로 상품내용을 전달하고자 소비자의 구매 욕구를 자극하기 위해 다양한 사회 문화적 코드를 사용하고 있다. 특히 현대사회에서 광고디자인은 대량생산을 통해 표준화된 상품을 차별화하기 위한 전략이드로 제품자체의 물리적 특징이나 사용가치 못지 않게 광범위한 상품외적 요소들인 사회학적 요인들이 개입하게 된다. 그 결과 상품판매 효과와는 상관없이 광고에 쓰인 문안이나 시각 이미지들이 독립된 사회적 영향력을 지니기도 하는데, 이러한 점에서 광고디자인은 시대상과 의식을 반영하고, 만들어 가는 공공의 문화적 현상이기도 하다. 그러므로 앞서 제시한 광고디자인의 특성과 역할을 전제로 본 논문은 근대기인 1900-1945년도의 한국과 중국의 광고포스터를 중심으로 당시 근대성의 성립과 전개를 개진한 시대상과 여성이미지의 관계를 고찰하고자 한다. 근대기의 한국과 중국이 서구화되면서, 광고 포스터에 등장한 여성이미지, 상품가치, 소비, 생활양식과 취향의 상관관계를 정치, 경제, 문화 현상 등을 광고일러스트레이션을 매개로 살펴보려고 한다.

• 디지털융복합연구
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• 제10권11호
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• pp.651-658
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• 2012

아이돌 스타는 각종 예능프로그램을 비롯해 라디오, 드라마, 뮤지컬까지 다양하게 활동하는 만능 엔터테이너가 되었으며 팬 층도 10대 여성 중심의 팬 문화에서 20대는 물론 30~40대로 확대되었다. 아이돌 스타의 뷰티이미지를 "우리 결혼했어요" 프로그램 출연 아이돌을 중심으로 살펴 본 결과는 <표 3과 5>와 같으며 [사진 5]을 통해 이특-강소라 커플과 이준-오서연 커플이 주는 이미지는 비슷했으며, 조권과 황광희의 경우도 까부는 이미지가 유사함을 확인할 수 있었다. 뷰티이미지는 주로 내추럴한 이미지의 메이크 업를 하였으며 헤어스타일과 헤어염색을 통해 이미지를 변화시켰다. 이준의 경우는 스모키 화장을 음반이나 프로그램 속에서 보여 주었다. 아울러, 각 아이돌 그룹들은 각자의 고유 스타일 고수보다는 발표되는 음악에 맞춘 메이크업과 헤어스타일을 하고 있음을 확인할 수 있었다.