• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.42-54
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• 2014

This research used an experimental design in an effort to assess the influence of brand gender and salespeople on the attitudes toward brands according to the males' gender identity traits. The study used a three-way split-plot experimental design, and data were analyzed by t-tests, and ANOVA. The subject of this research was men in their 20s and 30s, and a total of 178 people were selected through convenience- sampling. The findings are as follows: first, masculine male consumers preferred masculinity fashion brands; however, androgynous consumers preferred brands that reflect androgyny. Second, there were no differences in brand attitude according to the gender of the salesperson for the masculinity group, but the androgynous group estimated the brands as better when the salesperson was female. Third, there were no differences in the brand attitudes among consumers according to gender of the salesperson for the Galaxy; however, for Solid Homme, brand preference was stronger when the salesperson was a woman. Fourth, the influence of brand gender and salesperson gender on brand attitudes differed according to the gender of the consumer. Therefore, apparel companies must clearly understand the characteristics of consumer gender identity and execute proper marketing strategies in order to induce stronger positive attitudes toward their brands. Moreover, apparel companies should perceive that brand gender and the gender of the salesperson can consequently encourage brand preferences.

• Journal of the Korean Home Economics Association
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• v.40 no.5
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• pp.63-78
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• 2002

The movie costumes may serve to change individuals'ego identity, shift a gender identity to another one and make multiple and plural gender identities shared. The unique identities shown in movies can influence the audience to the extent that they will imitate characters's costumes or appearance in their real life, replacing their inner, unrealizable and private fantasy with real one. The purpose of this study is to review the movies produced in 1930's and thereafter by categorizing the socio-cultural gender concepts into masculinity and feminity. Masculinity and Feminity are not attributions fixed by some physical characteristics, but it tends to be changed or expended by some social factors over time. In short, it may be a flexible, plural, individual and self-introspecive attribute. Movies present diverse types of masculinity and feminity, and in particular, the movie costumes specify them. In other words, the costumes may be model means expressing the masculinity and feminity, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience. All in all, the movie costumes serve to take on the confrontation of masculinity and feminity between inner, unrealizable and private fantasy and external reality and thereby, expand it from internal to external issue and thus, change or reform masculinity and feminity.

• Journal of Engineering Education Research
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• v.13 no.1
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• pp.38-51
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• 2010

This article is a theoretical and empirical study of engineering and gender, and also explores the policy development of WIE program. WIE in Korea aims to foster talented women engineers through the introduction of gender-sensitive engineering education system, field-adaptive skill improvements of women students, and industry-university collaborations. This study examines gender perspectives to analyze our WIE program. It is important to recognize that it's not enough to acquire institutional and structural equity in developing women in engineering. Above all, we should note our situations that has frustrated women's career development in engineering. In university education, we need to improve the engineering faculty's recognition of gender equity. Efforts to establish the professional identity of women engineers, involvement of men and women students, and building of women engineers' network are necessary elements to implement successful WIE program. Additionally, we discuss that policy support to WIE program should be continued and enlarged in university level.

• Fashion & Textile Research Journal
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• v.25 no.4
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• pp.460-471
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• 2023

This study aimed to analyze the consumption value and clothing pursuit benefits of genderless fashion based on gender identity. The study questionnaire was distributed to and collected from men and women in their 20s and 30s living in Seoul City and the Gyeonggi province. The collected data were analyzed by using Cronbachs α, factor analysis, K-means group classification analysis, and ANOVA. The study results were as follows. First, gender identity was categorized into three groups: the genderless group, the traditional gender rejection group, and the traditional gender acceptance group. Therefore, it is necessary to subdivide gender identity rather than acceptance and rejection of traditional gender roles. Second, an analysis of consumption value based on gender identity showed significant differences in terms of fashion value and expressive value. Therefore, it is important to establish a differentiated strategy based on the relevant gender identity group when establishing genderless fashion design or marketing strategy. Finally, the study results showed that clothing pursuit benefits based on gender identity, there was a significant difference in terms of individuality pursuit, deviation from the norm, and fashion pursuit. In particular, since the genderless phenomenon agrees with the characteristics of the MZ generation, it will be necessary to share brand information or product information through digital media or to utilize a sharing culture-that is, 'meaning out' tendency and 'flex culture' (i.e., conspicuous consumption).

• Korean journal of communication and information
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• v.58
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• pp.201-221
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• 2012

The male audience for melodrama, a typical women's genre, has drawn little attention in the audience research. Thus, this paper examines how and in what context they watch it, as well as how they accept and rationalize their 'feminine' taste. And in-depth interviews were conducted with seven middle-aged males. While they acknowledge their feminine taste, they tend to legitimize and re-contextualize it in ways that may not contradict their notion of masculinity. Consequently, they often demonstrate seemingly contradictory attitudes oscillating between enjoying it and distancing themselves from their please of viewing. Yet, their acknowledgement of feminization hardly extends to an acceptance of being labelled 'feminine' men. They attempt to distance themselves from emotional engagement in television viewing, either through emotional self-censorship or under-valuation of the taste for the genre itself. Finally, they hardly connect their taste for the genre to a sort of active post-viewing practices of fandom. The results have considerable implications for understanding how the melodrama-viewing males keep traversing the boundaries of gender-specific genres, and reconstitute the notion of masculinity.

• Journal of Digital Convergence
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• v.12 no.2
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• pp.99-109
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• 2014

One-parent family is increasing in Korea, changing its forms and identity. One-parent family policy policy should be established in terms of gender analysis, as men-headed family and women-headed family are in the very different situation regarding social status of gender. One-parent family policy needs gender-sensitive perspectives and also should be closely linked with child welfare policy and post-poverty strategies. This paper suggests distinguished situation of one-parent family by gender, and tries to explore specific ways of supporting one-parent family. Most of all, to set up the proper supporting system for one-parent family, the special needs and difficulties are analyzed by gender, which will lead towards the cohesive and holistic family policy.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.693-704
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• 2007

지금까지 사이버문화에 대한 연구는 해당 문화의 가장 큰 특성 중인 익명성과 그것이 개별 이용자들의 정체성에 미치는 영향에 대한 많은 관심이 있어왔다. 최근 주목을 받고 있는 싸이월드나 블로그 등 CMC환경에서 매체가 일반적으로 여성의 라이프스타일 및 여성성과 연관되어 정체성의 구성에 영향을 미치게 되며, 이러한 이용 형태를 마케팅과 접목하여 높은 여성 참여와 구매력을 이끌어내고 있다. 반면 온라인게임은 남성 중심의 매체로써의 특징을 가지고 있으며, 상대적으로 여성의 온라인게임 이용 행태 분석 및 마케팅 전략 연구가 미흡하였다. 온라인게임에서 여성 이용자의 참여나 구매력을 이끌어 내기 위해서는 우선적으로 남성 중심적 매체에서 여성 온라인게임 유저의 이용 행태 분석 이 선행되어야 하며, 이를 통하여 여성의 온라인게임 소비 패턴과 특성을 파악하고, 나아가 고객 충성도, 구매력과의 관련성 속에서 마케팅적 시사점을 도출하여야 할 것이다. 본 연구는 온라인게임 여성 유저의 심층 인터뷰를 통하여 우선적으로 연령별 게임 이용 패턴 - 게임이용 장소, 초기 진입 방식, 커뮤니티 활동, 아이템 구매 형태 등 - 에 대해 알아보고, 다음으로 여성 유저의 게임 플레이 방식으로 게임 내 캐릭터의 전유 방식(몰입)과 게임 플레이 스타일을 고찰하고자 한다. 이때 여성의 온라인게임 이용 방식이 남성적 매체라는 구조적 공간 내에서 여성의 성적 특성이 온라인게임 소비 행태에 어떠한 영향을 미치며, 또한 여성 유저의 이용 방식에 따라 고객 충성도에 미치는 효과에 대해 알아보도록 한다.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.790-803
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• 2005

This study purposes to examine the background of the sexual concept and femininity, masculinity and gender role in the fields of social psychology and cultural anthropology and investigate the traditional gender role and the fashion's changes according to its role and the examples of the masculinity and femininity expressed in the contemporary fashion and finally analyze the gender identity expressed in fashion. The image changes which appeared in the modern fashion can be considered to be Masculine Look, Garconne Look, Feminine Look, Unisex Look, Androgynous Look and Genderless Look. The Garconne Look caused lots of changes to masculinity in the 1920's along with the changes of femininity. With the effect of feminism, many females wore clothing which had been thought as male's clothing by the appearance of Masculine Look. The major formation reason of Unisex Look can be regarded as the attitude change of the society toward to females and a meaning which doesn't want the differences of the distinction of gender to appear any longer as a characteristic external factor is implied. Androgynous Look which appeared in the 1980's means the integration of femininity and masculinity which is the same meaning with 'androgyny' in itself, Not denying its gender characteristics individually, the Androgynous Look means that women aim at the masculine image in men's clothing or men do at the feminine image in women's clothing. Genderless Look can be considered to a look with a notion to wear clothing freely even in fashion transcending the border of masculinity and femininity differentiated socially and culturally.

• The Journal of Art Theory & Practice
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• no.15
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• pp.111-135
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• 2013

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.