• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of Fashion Business
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• v.12 no.5
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• pp.1-13
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• 2008

This study is largely aimed at presenting ways to improve the working clothes and help companies create more positive images by suggesting designs of the clothes, which take into accounts the corporate image, symbolism, function and aesthetic appreciation through introduction of companies' CIP. And, it is significant to propose working clothes development condition and process with introduction of companies' CIP(Corporate Identity Program : work that systematize and simplify visually images which companies or public bodies have) A way of this study was made up with working clothes design development process which a student planned. First of all, this study looked into Company D's Corporate Identity Program(CIP) to develop the design that corresponds with the characteristics of the company's favorite design, working environment and demands of the employees. And, then, the study conducted a survey of 30 employees and intensive interviews with heads of four teams including the Safety Team, the Working Clothes Management Team and the General Affairs Team to find out the requirements of the clothes and the characteristics of the company. Based on them, the concrete image that the company pursues and the direction of design were set up through image positioning. In the end, three different concept designs were presented through image-mapping and the concrete design of each item was developed. A total of seven items including upper and lower garments (a jacket and trousers) for the spring-summer seasons, upper and lower garments (a jumper and trousers) for the winter season, cold-protecting vest and winter clothes (a coat and trousers) were presented in accordance with the three concepts. One of the concept designs, which was selected through evaluation by employees of Company D, was produced as a sample and then the final design was chosen after a discussion attended by the head of each team and representatives of the employees. Based on the aforementioned design planning, one design was selected from each of the three concept designs for production. And each of these was requested to special production enterprise and manufactured. Following the result of study, by looking into a case of a practical joint design project between a university and a company, this study suggested ideas for business to improve working clothes through the academic-industrial cooperation and presented conditions and process of design development. And, this study also aims to examine the feasibility of academic-industrial cooperation based on the cases in which enterprises and universities staged joint projects to develop working clothes.

• Journal of Fashion Business
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• v.14 no.2
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• pp.14-26
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• 2010

This study aims to investigate how the woman's beauty makeup trend had been changed in 1960s by analyzing the characteristics of woman's make-up in that period. For this study, a lot of documents and papers related to the woman's make-up were collected and reviewed. In particular, to analyze the characteristics of woman's make up trend in 1960s, a lot of women's pictures and makeup-related articles from 143 volumes of woman's magazines such as Yeowon and Jubusaenghwal were collected. Among the 624 pictures, fifty two pictures which were good enough for studying the total face and makeup were used for this study. The period of this study ranges from 1960 through 1969 and the analysis is focused on skin expression, eyebrow, eye shadow, eye line, lipstick, and brusher and through the related articles, the intention and contents of make up. were delivered and found out. The results are as follows. In early 1960s, the woman's make up was characterized by the make up ranging from unnatural and gray skin expression to dense pink skin expression, giving natural and glossy tint onto the skin and in particular putting a bright accent on the eyelid, eye or lip. In the mid-1960s, the make up style expressed skin more naturally, giving more shading on the eyelid, nose and lip, thus having cubic make-up. In the late 1960s, the make up became more refined and harmonized by using colors according to the TPO (time, place and objective) and skin color. The study results show that the women in 1960s pursued the "cute and young looking image" and used the make up to express their images young and cute. In the mid 1960s, the minimalism which pursued the pure and simple make up appeared in US. That trend affected the make up style of Korean women and hence Korean women showed more natural make up style in the mid and late 1960s.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.69-80
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• 2012

This research is to figure out how people recognize and perceive on cosmetic attributions of imported brand and domestic brand. In other words, we are trying to analyze the brand images and figure out how they are different in demographic perspective. For this research, this research has been fulfilled from September 20th 2011 to November 5th. We have surveyed women with age between 20's to 50's. With 477 data, we have analyzed by using SPSS 18.0 Version of statistic package. We have used frequency analysis, t-test and one way ANOVA (chi-square test) for data processing method. By comparing and analyzing the 16 attribute types of imported and domestic cosmetics, there were no attention difference on 7 questionaries' but there were attention difference on 9 questionnaires'. 5 questionaries' which show higher recognition on domestic brand of cosmetic than imported brand were shown. 4questionaries' which show higher recognition on imported brand of cosmetic than domestic brand were shown. By examining the different recognitions between domestic brand and imported brand of cosmetics in demographic perspective, it did not show any attentive difference on domestic brand by district residence, age, academic ability, marriage, occupation and monthly income average. But it showed attentive difference on imported cosmetic brand. It showed that people who live in capital region, with younger age and who have not been married have high rate of preference on imported cosmetic brand. It also showed that people who have higher academic ability and with higher monthly income average have high rate of preference on imported cosmetic brand. Especially, specialized job showed highest preference.

• Journal of Fashion Business
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• v.16 no.5
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• pp.207-219
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• 2012

It is intended to study the colors of work environment and the working clothes colors between humans and environment with application of the arrangement of working clothes colors to domestic machinery companies that play pivotal roles in the industry of Korea. The purpose of this study is to provide the foundation of color plan for the integrated environmental harmonization and the safety of industrial sites by analyzing the photographs of working clothes in the sires in consideration of the functions of colors (clearness, attention-getting, and safety) using the Faber Birren's Color Harmony and by analyzing the result of a questionnaire survey. The study was conducted by the method to shoot a worksite using a digital camera after wearing 24 sets of uniforms, which were developed by the color plan established in a previous study, in the same worksite. The shooting place was an outdoor steel sheet inspection site of D company, a machinery company in Changwon-si, Gyeongnam, and the intensity of illumination was 2400lux. 24 pieces of images were printed in 5x7 inch size and a questionnaire survey was performed at 5-point scale. The questionnaire survey was performed for 13 subjects consisting of 6 field professionals having more than 30 years of experiences, 4 clothes color professionals, and 3 industrial engineering professionals. The result of the survey was statistically analyzed by the method of frequency analysis using IBM SPSS Statistics 20 Program. As the result of assessment of basic four colors (yellow green, sky blue, blue, and violet) of working clothes, yellow green, sky blue, and blue showed high mean values in (Tint)+(Shade)+(Tone)+(Gray) equation indicating that its is a harmonized equation.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.655-663
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• 2012

Due to increased interest in character costumes, the field of animation character costume design is gradually developing into a specialized domain. The costume-making process for animation characters presents many differences from the costume-making process for regular apparel. However, there remains insufficient research on the actual process of making the character costumes used in stop motion videos both in Korea and abroad. The purpose of this study is to establish a costume design process for animation characters. Furthermore, this study presents a case study on the costume planning and making process for 3D stop motion animation characters. The character costume-making process was segmentalized into the following stages: character analysis stage, character modeling stage, and character costume making stage. In the character analysis stage, the investigator analyzed the character's movements, designed the character images, and analyzed the movements and motions of the animation characters. After completing character modeling, this study proposed a method for making the character costume. The style of the character costume was designed, and the structural design reflected the position and size of joints as well as the angle of movements. The patterns of the character costume were produced through dimensional tailoring after measuring the body size of the character. Afterward, the costume was completed after passing through the fitting and revision stages. The clothing material was selected to fit the colors and feelings shown in the illustration. To complete the costume after comparing it with the initial illustration, it was revised based on the assessment of its volume and overall atmosphere.

• Fashion & Textile Research Journal
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• v.19 no.6
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• pp.712-722
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• 2017

Attention to appearance is a common concern for all. Images created by appearance play an important role in judging people in terms of social life in contemporary society. This study investigated general behaviours of appearance management behaviours of both male and female college students, and categorised consumption emotion experienced by appearance management. In this regards, it was examined how consumers' psychological mechanism of consumption emotions influences consumers' satisfaction and their behavioural intentions. The main results are as follows: First, female students invest more time and money into appearance management compare to male students and have a higher level of attention. Secondly, both male and female students experience a variety of consumption emotions in appearance management behaviours. According to gender, female students show a higher level of positive and negative consumption emotions than male students. Thirdly, there are five emotional types (Confidence, Annoyance, Refreshment, Enjoyment, Anxiety) as the result of the consumption emotional typology in terms of appearance management behaviours of male and female university students. Fourthly, there are different emotional groups which influence consumers' satisfaction or behavioural intention according to gender in appearance management behaviour. In general, emotional groups such as 'Confidence, Delight and Anxiety' have a positive influence on consumers' satisfaction and behavioral intention, and 'Annoyance' composed of negative emotions have negative influence. In this respect, this research can contribute to beauty product development and marketing strategy with reflecting consumption emotion, and better understanding of consumption culture of university students which plays a pivotal role in appearance management behavior.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.461-468
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• 2008

The needs for visualizing interactive multimedia contents on portable devices with realistic three dimensional shapes are increasing as new ubiquitous services are coming into reality. Especially in digital fashion applications with virtual reality technologies for clothes of various forms on different avatars, it is required to provide very high quality visual models over mobile networks. Due to limited network bandwidths and memory spaces of portable devices, it is very difficult to transmit visual data effectively and render realistic appearance of three dimensional images. In this thesis, we propose a compression method to reduce three dimensional data for digital fashion applications. The three dimensional model includes animation of avatar which require very large amounts of data over time. Our proposed method utilizes temporal and spatial coherence of animation data, to reduce the amount. By grouping vertices from three dimensional models, the entire animation is represented by a movement path of a few representative vertices. The existing three dimensional model compression approaches can get benefits from the proposed method by reducing the compression sources through grouping. We expect that the proposed method to be applied not only to three dimensional garment animations but also to generic deformable objects.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.49-65
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• 2016

This study investigated the effect of emotional appeals on consumers' attitude towards fair trade apparel advertisements, and their intention to purchase those fair trade apparels. The interaction effect of the advertising channel and the mediation effect of perceived consumer effectiveness(PCE) were examined. Four stimuli were manipulated using two types of emotions(positive/negative) and two types of advertising channels(magazine/SNS) were used to analyze consumers' reaction. The results demonstrated the significant differences in attitude towards ads and purchase intention according to the types of emotional appeals used in fair trade apparel ads. However, the interaction effect between the types of emotion and advertising channels was not identified. The results of mediation analysis showed that positive emotion influenced purchase intention directly without forming a favorable attitude towards the ads, whereas negative emotion had no significant influence on attitude towards the ads and purchase intention. The results also identified that PCE mediated between emotion elicited by ads and purchase intention. This study suggests that delivering images and messages that creates positive emotion should be considered when fair trade ads are produced. In addition, fair trade ads need to be devised to enhance PCE by emphasizing that ethical choices of individual consumers can change the working environment of manufacturing countries.