• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.739-754
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• 2006

Glamour, which stands for attractive physical feature with certain mystique, has been recognized by its superficiality and ephemerality in recent postmodernist aesthetics. The purpose of this study is to provide a comprehensive literature of glamour and to contemplate glamour look, thereby to establish the styles of glamour expressed in fashion. For such purposes, this thesis first provides the study on the glamour in design studies, film studies and feminist theories, and to inquire aesthetic values of glamour look, which has been reflected in fashion. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. (1) Luxury is an expression of expensiveness, ostentatiousness which can be achieved only after putting in extensive an elaborate handworks. (2) Excess is an expression of bigness, scalelessness or extreme abundance. (3) Masquerade, that is a technique of identity which deal with clothing as a metaphor, is an expression of mysterious attractiveness and theatricality. (4) Appropriation is an expression by way of taking something from different time and space. (5) Sensuality is an expression of indulgence of sexual pleasures. Lastly, (6) decadence implies eroticized violence and demoralization.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.9_10 s.157
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.11-23
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• 2007

The purpose of this study is to express the sexuality of feminism in the modern fashion. As for the methods of research, literary research was carried out using reference based on feminism history and sexuality concept and demonstrative analysis was undertaken using 2000's collections photographs. In the results of that, the sexuality of gender resistance feminism is featured by three key words: sado-masochism sexuality, bi sexuality and hetero sexuality. First, sado-masochism sexuality shows fetish look and dominatrix look shown in the strong attitudes. Sado-masochism sexuality is setting fetishes such as mask, whip, chain, metallic materials and tight leather boots. Second, bi sexuality presents mannish look of soft and feminie style's slim pants suit with ruffle, flounce and decorated detail blouse. and fetish look wearing of sexual symbol clothes such as corset and bustier. Third, hetero sexuality represent glamour look which exposure and emphasis of breasts, hips and other sexual symbols.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.924-936
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• 2008

The purpose of this thesis is to discuss corsets that represent an undergarment that later became a popular outerwear. It discusses its forms and distinct characteristics to help create a unique fashion design and its execution. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The results of this study are summarized as follows: The standard look of corsets in modern fashion can be classified into styles of glamour, revival, and dismantle. The materials used vary from traditional fabrics such as satin or lace to newly developed materials such as metal or glass. Its presentation can also differ in that it may be used as an accessory with additional details, as an outerwear, as an extra decorative layer, or as a revealing innerwear by open outerwear. Characteristics of these various looks of corsets are; first, it redefines the revival of the traditional corsets through introduction of its historic elements and its compromise. Second, glamorous and feminine images are maximized through drastic and direct exposure by using tight lacing, a waist nipper or garter belts that emphasize a woman's curve. Third, it represents borderless dismantlement through experimental and irregular images using unconventional materials, new execution techniques, or alteration from the standard forms.

• Journal of Fashion Business
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• v.10 no.5
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• pp.1-14
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• 2006

The purpose of this study is to examine the style of Marlene Dietrich who was a Hollywood legend in 1930s and has influenced on modern fashion. The characteristics of Dietrich style showed androgyny, sensualism and exoticism. Dietrich has been famous for wearing tailored pantsuit on and off-screen with mannish gesture and had great effect on women's wearing pants. Her confident, sexy mannish style represented her androgyny glamourously and proved she had a taste for a classic. Her sensualism focused on her famous legs because she understood the sex appeal of woman's legs. She showed her legs by wearing pants and decorative stockings, or matching colors of stockings and shoes to make her legs look longer and sexier by illusion. Her exoticism against a backdrop of black and white image, was presented with luxurious, sensual fabrics such as furs, feathers and velvet, along with dazzling accessaries. Also she didn't forget to manipulate angles of camera and lights for the engraving figure of her own. Her charisma directed her fashion image in detail and made herself a fashion icon in 1930s.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.11-13
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• 2001

For those unfamiliar with the shoe world, Pinet (1817-1897) was a contemporary of Worth, the great Parisian couturier. So I look at the glamour shoes and the world of haute couture, and indeed the development of the named designer. That is a concept we are all familiar with now. So it is not easy to comprehend the lack of names for the exquisite work before 1850. Straightway I have to say that the number of noted shoe designers is far fewer than famous dress designers, but I will introduce you to some of them, against the background of contemporary shoe fashions. Franc;ois Pinet was born in the provinces (probably Touraine) in 1817, two years after the end of the Napoleonic Wars. His father, an ex-soldier, settled to shoemaking, a comparatively clean and quiet trade. It had a tradition of literacy, interest in politics, and was known as the gentle craft, which attracted intelligent people. We should presume father would be helped by the family. It was usual for a child to begin by the age of 5-6, tying knots, sweeping up, running errands and gradually learning the job. His mother died 1827, and father 1830 when he was 13, and at the time when exports of French shoes were flooding world markets. He went to live with a master shoemaker, was not well treated, and three years later set out on the tour-de- France. He worked with masters in Tours and Nantes, where he was received as Compagnon Cordonnier Bottier du Devoir as Tourangeau-Ia rose dAmour (a name to prove most appropriate). He went on to Bordeaux, where at 19 he became president of the local branch. In 1841 he went to Paris, and in 1848, revolution year, as delegate for his corporation, he managed to persuade them not to go on strike. By now the shoemakers either ran or worked for huge warehouses, and boots had replaced shoes as the main fashion. In 1855 Pinet at the age of 38 set up his own factory, as the first machines (for sewing just the uppers) were appearing. In 1863 he moved to new ateliers and shop at Rue ParadisPoissoniere 44, employing 120 people on the premises and 700 outworkers. The English Womans Domestic Magazine in 1867 records changes in the boots: the soles are now wider, so that it is no longer necessary to walk on the uppers. There is interest in eastern Europe, the Polonaise boots with rosette of cord and tassels and Bottines Hongroises withtwo rows of buttons, much ornamented. It comments on short dresses, and recommends that the chaussure should correspond to the rest of the toilet. This could already be seen in Pinets boots: tassels and superb flower embroidery on the higher bootleg, which he showed in the Paris Exposition that year. I think his more slender and elegant Pinet heel was also patented then or 1868. I found little evidence for colour-matching: an English fashion plate of 1860 shows emerald green boots with a violetcoloured dress.

• The Korean Journal of Food & Health Convergence
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• v.5 no.1
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• pp.1-11
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• 2019

Smoking has become one of the public health harzard affecting the world. In the UK, smoking is responsible for around one in five deaths. The illnesses caused by smoking extend beyond the well-reported links with cancer, heart disease and respiratory illnesses. Hence the research to determine the awareness of the predisposing factor to smoking among adults in sokoto metropolis. A cross-sectional form of descriptive survey research design was used for this study. This is because descriptive studies are used when the characteristics of a population are either unknown or partially known (Hennekens & Buring, 2007), and it was used by Ganley and Rosario (2013) in a related research this justified the use of similar design in a study of similar nature.Two hundred and seventy returned questionnaire was collected, analyzed using descriptive statistic of frequency count, normative percentage and grand mean; as well as inferential statistics of chi-square (${\chi}^2$). The level of significant was fixed at 0.05. Appropriate degrees of freedom were worked out. There was statistical significant influence or relationship with marital status on the predisposing factors of smoking chi-square of 19716.516 greater than the critical value 43.77297at df 30 p<0.05. There were statistical significance chi-square =27468.348 which is greater than the critical value 43.77297 at df= 30. These show that there is a relationship on gender awareness of predisposing factors to smoking rejecting the null hypotheses. The respondents across different lever/year higher institution shows that the awareness of predisposing factors of smoking there were a statistical significance difference chi-square =7168.429 (df=88) greater than critical value 102.342 rejecting the null hypotheses. There is consistent evidence that links exposure to depictions of smoking in movies and initiation of smoking in young people. Over the years television shows and films have effectively built up associations between smoking and glamour, sex and risk-taking. Social learning theory describes how we learn by example from others. We are strongly influenced by our parents, and other people we look up to, such as peers, actors and pop stars. This can lead us to emulate their behaviour and try smoking.