• Journal of Fashion Business
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• v.16 no.4
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• pp.13-28
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• 2012

The objective of this research is to examine the fashion styles of Choe Seung-Hee (1911-1969), modern woman and dancer of Korea, through her life and activities. From such theoretical and empirical studies, three aesthetic characteristics of South Korea's modern woman Choe Seung-Hee's fashion styles could be deduced. Based on the three deduced styles of modern elegance, futuristic avant-garde and mystical Asian aesthetics, "Pearl of Asia" was selected as the main theme. The result is that the fashion styles of Choe Seung-Hee is not simply that of an individual modern woman and a dancer who lived in the early 20th century but is a meaningful symbol of Korea's modern women.

• Journal of Fashion Business
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• v.16 no.2
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• pp.108-123
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• 2012

The objective of this research is to examine the fashion styles of Choe Seung-Hee (1911-1969), modern woman and dancer of Korea, through her life and activities. Choe Seung-Hee's fashion styles in daily life, in advertisements and in dance performances were examined through the theoretical and empirical studies within the scope of this research, which is from 1926 when she entered the world of dance to 1946 when she defected to North Korea. The result is that the fashion styles of Choe Seung-Hee is not simply that of an individual modern woman and a dancer who lived in the early 20th century but is a meaningful symbol of Korea's modern women.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of Families and Better Life
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• v.19 no.2
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• pp.47-66
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• 2001

Today in modern Korea, the preferred modern social role for many modern women is that of modern housewife. This move to the role of housewife is a change in more than just a role; it also reflects a deep and fundamental change that has taken place in the social and economic roles of married women. This shift in economic activities and the gender roles they help produce speaks of a deep and profound process of transformation for all of Korea. Traditionally, a woman was a member of a family premised upon group production as well as group consumption. The role of jubu is derived almost exclusively from market forces and bases her identity and actions upon those forces. This distinction is crucial because it means Korean women are finding that they are no longer as central to the existence of the family. Modern life situations have altered a womans role by making consumption, not production by the woman herself, the keystone of modern families.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.153-161
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of goth image which have had influence on literature, film, music and art, in modern fashion. The method of this study is to analyze the documentary about gothic and goth, and the fashion magazines since 2000. The results of this study are as follows: First, sensuality shows the excessive exposure of body and inner wear, and emphasizes a resistance of sexual consciousness and a image of independent, active, powerful woman. Second, androgyny shows the goth women wearing a men's cloth and encourages a person to have a perfect being and satisfaction. Third, horror shows the symbol of death and suggests a substance of desire hidden in our mind. Fourth, historicity shows victorian fashion which have a romance of gothic and baroque, not a cult but a modern image. In conclusion, goth image in modern fashion does not show a substance negative and horrorful, but a substance positive as a perfection, satisfaction, a sense of freedom, obliteration of a feeling of uneasiness and powerful woman's image.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.47-55
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• 2003

This study was aimed at analyzing the woman costume presented in the korean modern novel by continuity, mixture, and discontinuity. For the costume analysis, the korean modern novel written from 1910 to 1945 were used. The results of this study were as follows: 1. Continuity: It doesn't mean discontinuity from the past but succession and development of the past, which explains about the costume culture for the period from 1910 to 1919. During this period, people tended to wear korean traditional costume in an effort to maintain their national identity. 2. Mixture: It means the effort to synthesize and develop past, present and future, which explains about the apparel for the period from 1920 to 1937. During this period, western culture was introduced much into korea to be established as part of our people's life. The new generation of women who studied abroad introduced the western costume throughout the cities, while the convenient western costume served to improve korean traditional costume. 3. Discontinuity: It means a conscious departure from the past as well as a critical reaction to the past, which explains about the costume culture for the period from 1938 to 1945. For this period, western costume was popular among new generation of women, while it was more diversified with increasing population wearing them. Many country men and women proceeded to wear the western costume.

• Proceedings of the Korea Society of Costume Conference
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• 2002.10a
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• pp.99-99
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• 2002

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.28-38
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• 2007

This study is on the image of a woman's body exposure, expressed in various situations or images in the modern fashion. The results of this study can be summarized as the following. First, either the exposure or stress of a woman's specific body parts like breast, waist, hips, or legs which can be sensed totally different from man's or the ironic disclosure of body parts always lapped around emphasizes femininity by giving full play the unique sexual beauty of a woman's body. Second, the desire of disclosure to have others' attention with the concealment as suggestive exposure expresses the eroticism. The modified eroticism is found different from the conventional concept and is based on the desire to make others notice one's existence continually by the sexual exposure dress particularly to entire the other sex, the dismantlement of changing an underwear to an outer-dress, and so forth. Third, both exposure of a woman's sexual body parts and expression of exposure to the utmost by laying a woman's entire body bare can mean sex liberty in the laissez-faire generation. This may suggest a pleasure-oriented way of thinking of the self-consolation rather than showing others, or feature the personality and the liberty endowed women with.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.128-140
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• 1999

The Psychology of putting on clothes has close relation with sexuality, and eroticism is important in clothing. Present article aims to understand eroticism correctly and to make it evaluated as an art in modern fashion and as an aesthetic to express woman\`s beauty. Modern eroticism in fashion may be divided into direct, indirect and symbolic expression made. The result are as follow: First, direct made, a representation of desire into direct, indirect and symbolic expression of body or physical curve with tight garment. Second, indirect made, a see-though technique using association, represents sexual appeal by imagination on body area hidden by clothes made of see-through material. And third symbolic made express sexual libido by representing body area or clothes which symbolizing woman\`s sexuality using materials like fur or silk. Eroticism in modern clothing, therefore, should be understood as a beauty that is expressed by human artistic desire. Further studies are needed to explain the characteristics of eroticism in every culture because human nature is apt to from diverse kind of cultures.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.