• 한국의류학회지
• /
• 제25권6호
• /
• pp.1112-1121
• /
• 2001

The purpose of the study was to investigate and make comparison of brand images of men's wear brands and women's wear brands targeting middle-aged people or older people. Thus, the study could be an exploratory study to search apparel niche-market for middle-aged or older consumers. The questionnaire consisted of questions on 28 brand image. The subjects were to evaluate their brand images and rate on 5 point Likert-type scales of 28 adjectives. Most of the subjects were designers or merchandisers who worked for men'wear brands or women's wear brands. The SPSS/WIN Program was used to calculate frequency, t-test, and cluster analysis. The results from the study were as follow : 1) The common images which men's wear brands and women's wear brands strongly pursued were prestigious, luxurious. 2) Each 37 men's wear brands and 36 women's wear brands were clustered into one groups by brand images. The common images included in first clusters of men's wear and woman's wear brands consisted of prestigious. luxurious, formal, comfort, and conservative. This market needs to be more segmented by differentiated brand images.

• 복식
• /
• 제56권7호
• /
• pp.54-68
• /
• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.

• 패션비즈니스
• /
• 제3권3호
• /
• pp.15-26
• /
• 1999

The purpose of the study was to investigate brand images and fashion leaderships of women's wear manufacturers targeting middle-aged women or older women. Thus, this study was to be an exploratory study to investigate clothing behavior of elderly female consumers and search apprel niche-market for them. The questionnaire consists of questions on brand images, fashion leadership, and merchandise assortment. The subjects were to evaluate their brand images and rated on 5 point Likert-type scales of 29 adjectives. The fashion leadership of these brands was evaluated by the degree of fashion trends adopted on 7 aspects including fashion images, silhouettes, fabrics, colors, design details, accessories, and item-coordinations. For the survey, both interview and the subjects were 66 manufacturers which have national brands or designer brands. Among 44 respondents, 30 respondents were designers and the rest of them were merchandiser or shop managers. The SPSS PC+ package was used to calculate frequency, T-test, and cluster analysis. The results from survey of manufacturers targeting middle-aged women or older women are as follow: 1) The brand imges which they pursue are prestigious, practical, and elegance. 2) There were significant differences in brand images, and national brand manufacturers pursue stronger images in prestigious, chic, intelligent, competency, than designer brand manufacturers. 3) 40 brands were divided into two clusters. 36 brands were included in one cluster, and only 4 brand were belong to the other cluster. In this market, the image of feminity was grouped with the image of prestigious, chic, intelligent, competency. 4) In product planning, the adption level of fashion trends in 7 aspects was generally at medium level, but fashion trends were more adopted in fabric, color, and item-coordination.

• 수완나부미
• /
• 제12권1호
• /
• pp.7-47
• /
• 2020

This article is a sub-section of a comparative analysis of depictions of violence in Jakarta's Museum of the Indonesian Communist Party's Treachery, Ho Chi Minh City's War Remnants Museum, and Phnom Penh's Tuol Sleng Genocide Museum. In comparing these public history sites, I analyze how memories of mass violence were central to state formation in both Suharto's anti-Communist New Order (1966-1998), the Socialist Republic of Vietnam (1976-present), and Cambodia since the collapse of Democratic Kampuchea (1979-present). While this comparison points out specific distinctions about the role of the military, the nature of revolution, and conceptions of gender, it argues for a central similarity in the use of a mythology of victimization in building these post-conflict nation-states. This article focuses on my gendered analysis of the use of images of women and children in each museum. Depending on context and political purpose, these museums cast women as tragic victim, revolutionary heroine, or threat to the social order. My analysis of gender places stereotypical images of violence against women (the trope of women and children as the ultimate victims) in conversation with dark fantasies of women as perpetrators of savage violence and heroic images of women liberated by participation in violence.

• 한국의류학회지
• /
• 제29권2호
• /
• pp.267-278
• /
• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• 한국가정과교육학회지
• /
• 제22권3호
• /
• pp.37-54
• /
• 2010

본 연구에서는 기혼자의 싱글여성에 대한 이미지를 조사하기 위하여 20대에서 60대의 기혼 남녀 27명을 대상으로 심층면접을 실시하였다. 심층 면접 자료를 내용 분석한 결과, 가정 대신 열정을 쏟아 부을 수 있는 돌파구를 찾는 싱글 여성, 기혼자가 누리지 못하는 자유가 있는 싱글 여성, 기혼자들과 다른 성격 특성의 싱글 여성 이라는 3개의 대주제를 찾게 되었다. 가정대신 열정을 쏟아 부을 수 있는 돌파구를 찾는 싱글 여성이라는 주제에서는 가정 대신 열정을 쏟아 부을 수 있는 돌파구-일, 가정 대신 열정을 쏟아 부을 수 있는 돌파구-자기계발이라는 2개의 소주제가, 기혼자가 누리지 못하는 자유가 있는 싱글 여성이라는 주제에서는 성에 있어서 자유롭다, 가족으로부터의 자유가 있다, 이성과의 자유로운 만남이 있다, 자신만을 위한 소비와 여가생활에서 자유롭다라는 4개의 소주제로 분류되었다. 기혼자들과 다른 성격 특성의 성글 여성이라는 주제에서는 결혼의 힘든 현실을 회피하려고 한다, 자신과 싱글 중심 세계에서 살면서 이기적이고 자기주장이 강하다, 드러내놓고 싶지 않은 마음속의 공허함, 외로움이 있다, 삶의 만족감을 찾지 못한다 등의 4개의 소주제로 분류되었다. 기혼자들의 싱글 여성에 대한 인식은 결혼이 매우 중요한 기준이 되고 있으며 결혼을 경험한 '나와 다르다'는 인식에서 출발하고 있다. 즉 기혼자들은 자신이 경험한 결혼의 세계에서 싱글 여성들의 삶을 바라보고 있다.

• 복식
• /
• 제54권1호
• /
• pp.83-96
• /
• 2004

Upon the threshold of late 20th century, the social, cultural and artistic trend began to pursue aesthetic pluralism and deconstructivism, and thus, fashion also began to reflect such a trend only to express cruel, detestable, horrible and ugly aesthetics. Under such circumstances, this study focused on the cruel images appearing in the modern fashion and thereby, attempted to determine their causes in reference to Julia Kristeva's theories. Her theories of women explain that women have incessant desires or blind obsessions about penis due to the bisexual instinct inherent in their subconsciousness, and thereby, discuss sado-masochism, a characteristic of women's violence and cruelty. In addition, she determines of abject, detestable and horrible nature of women by explaining their struggle to be separated from mothers at the stage of Oedipus (sexual differences). Based on such theories about women's cruelty, the cruel images shown in the modern fashion are categorized into sado-masochism, the violent and destructive image, and abjection, the women's apparels made of unpleasant, terrible and creepy materials decorated, to be reviewed systematically.

• 복식
• /
• 제59권3호
• /
• pp.55-56
• /
• 2009

The purpose of this study was to analyse body and cosmetic image according to women's sex role identity. The subjects of this study were 433 women over 20 years old. Self-administered questionnaires were used for data collection. SPSS(Ver. 15.0) was used for mean, median, frequency, percentages, factor analysis, and one-way ANOVA. The results of this study were as followed; First, women were clustered into 4 groups according to their sex role identity. 36.5% was classified as an androgynous group, 32.4% was a undifferentiated group, 16.1% was a masculine group, and 15.0% was a feminine group. Second, factors of women's body image were interest in appearance, interest in weight, and charming of appearance. Factors of cosmetic image were natural & sociable, urban & intellect, passionate, romantic, prestige & sophisticate, fashionable & splender, active, feminine, and formal. Third, Androgynous group showed much interests in appearance and charming of appearance, but undifferentiated group had low interests. Androgynous group pursued natural & sociable, urban & intellect, passionate, romantic, prestige & sophisticate, fashionable & splendor, active, feminine, and formal images most when they applied make-ups. Masculine group pursued urban & intellect and active images much and femme group pursued natural & sociable, feminine, and formal images much. However undifferentiated group pursued all factors of cosmetic images less. Forth, androgynous group applied more kinds of cosmetics, but undifferentiated group applied less.

• 대한가정학회지
• /
• 제49권1호
• /
• pp.121-133
• /
• 2011

This research was designed to compare the subjective evaluation of texture image and preference between offline and online by structural characteristics of women' jacket fabrics for spring and summer. 78 participants evaluated the sensibility image and preference of various fabrics. The data were analysed by factor analysis, t-test, Pearson's productive correlation, regression, and multi dimensional scale. The results were as follows: Sensibility image factors of women' jacket fabrics were 'classic' 'sophisticated' 'natural' 'characteristic' and 'practical'. Between offline and online, sensibility images showed no differences. In sensibility images, 'classic'-'sophisticated', 'natural'-'practical', and 'practical'-'characteristic' images showed significant correlation. By analyzing the contribution of fabric structure on sensibility images, density affected on the 'classic' image offline and online. By the results of regression analysis, thickness, density and weave affected on the tactile preference. In sensibility images, 'classic', 'sophisticated' 'characteristic' images were the influencing factor. 'Sophisticated', 'natural', 'characteristic' and 'practical' images affected on the purchase preference.

• 한국의류학회지
• /
• 제39권1호
• /
• pp.91-105
• /
• 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.