• Journal of Fashion Business
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• v.15 no.2
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• pp.39-56
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• 2011

The jeans fashion has important meaning as the symbol of sociocultural phenomenon related with modern fashion. It became the symbol of natural fashion beauty representing freedom and equality and sometimes the sensual style. This study defined the meaning, element, and importance of fashion styling by analyzing preliminary studies and analyzed the aesthetic characteristics of the jeans fashion. The purpose of this study is to drive four styling patterns of the jeans fashion based on such theoretical studies and empirical researches about jeans fashion and plan and direct jeans fashion styling for each style. The results also provides the basis for acknowledging that the idea of 'directing and creating a style' according to a person's intent beyond the one-dimensional idea of simply 'wearing' clothes is the true fashion styling and will set an important footing in the fashion field with the ideas that fit the 21st century.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.327-338
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• 2001

The purpose of this thesis is to study the aspects of sex identity in the contemporary mens fashion expressed through sexual image and taste in the half of twentieth century. The aspects of sex identity expression in the contemporary mens fashion can be classified by image, that is, homosexual, heroic, bisexual, and fetish. 1. The homosexual image has shown the tendency to emphasize the masculinity since 1950.60s. It can be found in \"Cowboys costume\" which is typical of American traditional fashion, and jeans and underwear fashion expressed by muscular men has homosexual characteristics which contain narcissism. 2. Based on mens traditional gender role, the heroic image emphasizes mens physical characteristics and expresses tough and offensive masculine beauty in mens suit which is free from the authority and formality. 3. The bisexual image denied the division of gender role by costume and destroyed the traditional sex model by resolutely applying womens costume such as skirts to mens fashion. 4. The fetish image is similar to bisexual image in that they wear womens costume, but different in that it expresses sexual desire or fantasy. It is expressed through brilliant color, leather and metal ornaments, and sensual element of women which emphasizes \"body\". This shows the sex identity of contemporary men who want more sensible and free life.sible and free life.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.2073-2084
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• 2010

This study provides references that can be applied to future suit design by analyzing the formative characteristics of modern men's and women's suits. Research on related literature and case studies were carried out simultaneously. A criterion for analyzing formative characteristics of suits was drawn up through an examination of past research. A total of 1,410 suit photographs that appeared in the U.S. edition of Vogue Magazine from 1985 to 2008 were analyzed in order to observe the formative characteristics of men's and women's suits. Research results showed that in the 1980s suits pursued a more comfortable and natural fit based on the original properties of simplicity, modernity, and practicality; in addition, women's suits had a tendency to use excessive shoulder pads due to the power-look influence. In the early 1990s exaggerated shoulders and boxy straight silhouettes were in fashion but towards the later years suit designs gradually started to fit the body and established a skinny versus slouch conflict. Women's suits gradually began to show more curvy body lines, and men's suits became more feminine on the surface in terms of color and material. In the 2000s suits have become more feminine and sensual than the 1990s, design focuses of both men's and women's suits moved to the waistline. Skinny and long styles became the ideal silhouette and differences between formative characteristics of the two genders decreased. Fashion elements of men's and women's suits are seen to have changed with a mutual intimate connection under the influence of a similar societal environment.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.229-244
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• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.68-87
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• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• Journal of Fashion Business
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• v.27 no.3
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• pp.35-49
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• 2023

The purpose is to derive its aesthetic characteristics by objectifying the visual image of the YouTube campaign into adjectives. As a result, we intend to identify advertising strategies that use them as basic data for setting fashion design concepts. A group of experts in fashion majors watched each of them, wrote adjectives, and collected 75 adjectives. By analyzing the frequency of adjectives, aesthetic characteristics were derived with adjectives recording the upper number of times, and the results were obtained that they had the characteristics of deconstruction. The conclusions of this study are as follows. First, Tamburin's Jenny appeared to be strange, scary, rambling and charming. Among the internal meanings of deconstruction due to spatial, social, and psychological distance from consumers, it can be said that T.P.O's mutual textuality and play of interaction. Second, Gucci Cruise be chosen rural, strange, wild, unharmonious, and difficult, which is a mixture of intertextuality and play of T.P.O. Third, The Excise Gucci Campaign parodies that juxtaposes six films directed by Stanley Kubrick, making them strange, retro, difficult, interesting, and wrong. Deconstructionist de-genre and de-boundary Fourth, Kenzo World is weird, dynamic, wrong, difficult, difficult, and confused, which correspond to T.P.O's interactive textuality, play of the second half, and destruction and decomposition among the external expressions of deconstruction. Fifth, Burberry Hero emphasized the aesthetic value of traditional men, so it was ostensibly wild, free, powerful, sensual, and fantastic. Compared to the lifestyle of men who usually work at work, this corresponds to play of second best.

• Journal of the East Asian Society of Dietary Life
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• v.19 no.6
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• pp.958-966
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• 2009

In this study, Bokbunja (Rubus coreanus), which has various medical applications and excellent functionality, was used together with Teriyaki sauce to compare and analyze the effect of different amounts of Bokbunja (0, 3, 6, 9, 12%) on the physico-chemical quality of a Teriyaki sauce. The sensual quality of Bokbunja Teriyaki sauce and a roasted eel spread with Bokbunja Teriyaki sauce was analyzed to detemine the merchandising potential of this sauce. The moisture content of the Teriyaki sauce decreased as the amount of added Bokbunja increased, and the 3% group showed the highest decrease, which was 73.1%. As the amount of added Bokbunja increased the pH was showen to decreased, and the sweetness of the Teriyaki sauce increased. The sauce containing 12% Bokbunja had the highest increase of $36.9^{\circ}Brix$. The amount reducing sugar was significantly different between each sample. In terms of the L (lightness) value, highter amounts of added Bokbunja resulted in an increase in the L (lightness) of the sauce and significant differences were obsered between sample groups. In regards to the texture, no significant changes were shown for hardness even though the amount of Bokbunja added was different. There was a significant difference between samples for gumminess, a highter concentration of Bokbunja resulted in a higher gumminess of the sauce. As for adhesiveness, there was a significant difference between samples; as more Bokbunja was added, the sauce became betwkier. In regards to the preference of roasted eel containing this sauce, the 6% Bokbunja sauce was the most preferred with a score 7.98 points, and as for flavor, there was significant difference between sauces containing 3, 6 and 9% Bokbunja. In addition there wasn't any significant difference between each sample for sweetness. For softness, the 6% Bokbunja sauce was the most preferred with a score of 9.36 points. The overall-acceptability was in this order: 6>9>3>0>12%, Thus, from the physico-chemical and sensual perspective, the 6% Bokbunja sauce is highly recommended for potential commercial use. In conclusion, we examined the effect of combining Bokbunja, which has medicinal applications and excellent functionality, with Teriyaki sauce and the results of this study indicate that Bokbunja combined Teriyaki sauce produce a high quality food that holds promise for commercialization.

• Journal of the Korean Society of Food Science and Nutrition
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• v.37 no.4
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• pp.477-484
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• 2008

For the effective use of the conger eel by-products, such as head and frame, Tang, which is the Korean-type soup, from conger eel by-products (TCEB) was developed and its food component characterization was compared with that of commercial Chueotang, loach Tang. According to the results of viable cells and coliform group of TCEB heated at $115^{\circ}C$ for various times, the reasonable $F_0$ value was 8 min. The proximate composition of TCEB was 90.7% for the moisture, 4.8% for the protein, 2.6% for the lipid, and 1.5% for the ash. The extractive-nitrogen content of TCEB was 243.1 mg/100 g, which was higher than that of commercial Chueotang, 208.0 mg/100 g. The total amino acid content of TCEB was 4,310 mg/100 g and its major amino acids were glutamic acid (637.3 mg/100 g, 14.8%), glycine (409.1 mg/100 g, 9.5%) and alanine (404.4 mg/100 g, 9.3%). TCEB was not felt in the sensual fish odor and its sensual taste was good. The health functional properties for health of TCEB were 1.29 as a PF (protection factor) for antioxidative activity and 39.4% for angiotensin Ⅰ converting enzyme (ACE) inhibiting activity.

• 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.