• Journal of Fashion Business
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• v.11 no.4
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• pp.1-17
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• 2007

The purpose of this study was to provide for the useful fundamental data to enterprise which produces the natural-dyed clothing products by investigating with the holding conditions and pursuit of wearing images. The subjects were females aged 20 to 59, a questionnaire was developed by the researcher and distributed to 237 females. A sample of 223 females responded to the questionnaire. Data analyses were processed by SPSS WIN 10.0 Program; Frequency count and percentage, $X^2-test$, ANOVA and Duncan's multiple range test were used for statistical analysis. The results of this study were as follows: First, there were significant differences in holding items, period and private ownership according to age, any academic background and a monthly income. Second, the result by classification of the pursuit of wearing images could be identified four factors: factor 1) sexual and feminine image, factor 2) simple and common image, factor 3) comfortable and natural image and factor 4) dynamic image.

• International Journal of Human Ecology
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• v.8 no.2
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• pp.141-151
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• 2007

The purpose of this study is to classify men in their 20s by their sex role attitudes, and to study their appearance management behavior and inner characteristic variables such as socio-cultural attitudes on appearance and bodily image, which are expected to influence the appearance management behavior of each classified group. For this, a survey of 393 males in the 20s in Seoul and metropolitan areas was conducted. Factor analysis, Cronbach's alpha coefficient, and F-test were conducted on the data. First, as a result of analysis on sex role attitudes, four groups were categorized: Masculinity, Femininity, Androgyny and Undifferentiation. Second, the analysis of individual variables resulted in appearance management behavior being separated into five categories: Interests in fashion, Proper choice of clothing, Importance of bodily attractiveness, Pursuit for personality and Complementation of physical weaknesses. The socio-cultural attitude on 'appearance' was sub-categorized into Internalization, and Awareness, while 'body image' was divided into Cognitive behavioral and Affective aspects. Regarding differences in socio-cultural attitudes for appearance, body image and metro-sexual lifestyle attitudes, the androgyny group produced the highest scores. Based on these results, it can be concluded that people who take care of their physical appearance, cope effectively with social and circumstantial requirements for happiness and success, and respond flexibly and affirmatively.

• Journal of the Korean Home Economics Association
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• v.42 no.11
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• pp.189-203
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• 2004

The purposes of this study were to identify 1) the effect of physical growth on body criticism from others and body image,2) the effect of body criticism from others on sociocultural attitude toward appearance, body image, and self-esteem, 3)the effect of sociocultural attitude toward appearance on body image, 4)the effect of body image on self=esteem and clothing attitude, and 5) the effect of self-esteem on clothing altitude on Korean female teenagers. The data were collected from 436 high school girls living in Seoul, Korea, via self-administered questionnaires, and were analyzed by factor analysis and LISREL models. The result of this study were as follows: 1) Among three measurement variables of physical growth, the height had a negative effect on body criticism from others. Sexual maturation positively influenced the affective aspect of body image. 2) Body criticism from others had a positive effect on the sociocultural attitude toward appearance and a negative effect on the affective aspect of body image. 3) The sociocultural altitude toward appearance had a negative effect on the affective aspect of body image and a positive effect on the cognitive/behavioral aspect of body image.4) The affective aspect of body image had a positive effect on the cognitive/behavioral aspect of body image, self-esteem, and clothing attitude. However, the cognitive/behavioral aspect of body image had a positive effect on clothing attitude.5) Self-esteem had no significant effect on clothing attitude.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.98-115
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• 1999

As sports infiltrates each field of modern society and becomes familiar, sports wear was changed functionally and was introduced and enveloped into everyday dress. Modern sports wear has been the settled in everyday life deeply and become the clothes of life which are worn regardless of place, time and age. The aim of this paper was to clarify what kind of fashion of sports style would be given to the modern people. In this study, sports wear which has become everyday dress classified from a gender point of view. It was divided into masculine image, feminine image, and neutral image. Sports wear of masculine image generated a silhouette which emphasized the shoulder with the aspiration for youth and health. Wide shoulder was considered as the symbol of masculine beauty and the expression of healthy beauty. It was reflected well in body conscious look. And owing to the development of up-to-data materials, innovation of design, and the study of human body technology, the functional character was settled in the sports wear which showed masculine image. Sports wear of feminine image was represented fashion of body exposure, body feet with body conscious look, and romantic mode. This image was expressed fashion as comforts, pleasant, active design, materials, color, and romantic feminine beauty. Sports wear of neutral image was expressed into unisex clothes. This cloths have no difference in gender, age, and class. It was used as casual sports wear. In the 1960s, young generation participated in such street sports as street basketball and skate. They usually sore the sports wears of neutral image such as cycling, skating, and ski. In the materials of sports, the development of up-to-data material like lycra made the sayings lifelike, “up-to-data material is the second skin” It show that glamorous feminine image and strong masculine image coexisted. The contemporary concept of sportswear is no longer limited to those clothes for sports found in such places like tennis court or swimming pool. Now, the sports wear become more like casual activity wear all classes of people can enjoy in their life regardless of where they are, when they wear, and even how old they are.

• Journal of the Korean Home Economics Association
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• v.44 no.9
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• pp.41-50
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• 2006

This study examines the characteristics of the military look in modern fashion. The materials for the study are mainly precedent studies and related literature, although fashion portfolios and magazines, domestic and international, are used for the exploratory study. The results of the study are as follows. First, the military look for women dismantles the sexual symbolism endowed with the clothes by expressing a neutral charm out of dichotomy image between genders. The neutral expression of the military look, different from the military look of the 20th century, provides a chance to feature a new image by pursuing more individual freedom than human itself. Second, the military-look emphasizes feminine sensual charm through exposing, concealing, or decorating with ornaments which are transformed from the elements of the military clothes, This is different from the past military look that expressed masculine rigidity through simplifying the details and emphasizing the male body silhouette. Third, the military look produces a deconstruction image instead of just showing its intrinsic thoughts or symbolic message through combining design elements or symbolic details of the military look with other images, transforming and exaggerating the shapes, or mixing the time point of views reinterpreting the present or the future image.

• Journal of Fashion Business
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• v.5 no.1
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• pp.73-85
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• 2001

The purpose of this study is to understand what the Glam Style is, focus on the movie "Velvet Goldmine". The Glam Style is refered early 1970s Glam rockers' costume, typified by silver lurex, corksoled platform, men in make-up, personified, for example, by David Bowie, Marc Bolan, New York Dolls, Roxy Music and Iggy Pop. To approach the Glam Style comprehensively, I have divided the formative background of Glam Style into the improvement technology, the advent of the young generation and the diffusion of mass media, the rock music fever and influence on Pop art. Following is the result of analyzing of the character in the movie. First, Brian Slade has the flamboyant transsexual image by skin-tight space suit, glitter pants, lurex, satin and sequined stretch fabrics, vivid color, gauze make-up, feather boa. Second, Curt Wild expresses the outrageous sexual image by black leather jacket, emphasized black eyes make-up. Third, Mandy Slade appears the exaggerated and frivolous image by gold leopard patterned one piece, fur coat, ornamented with beads, tropical make-up, spangles and the costume jewelry. Forth, Auther Stuart has the complex image by black leather jacket, velvet jacket, skin-tight bold shirt, glitter pants, glitter make-up, silk scarf, cherry-red sunglasses. The characteristics meaning of Glam Style implied in this formative characteristic could be presented as the experimental expression of androgynous, the hordes of outrageous alien and kitsch parody.

• Journal of the Korean Home Economics Association
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• v.46 no.3
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• pp.1-12
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• 2008

This study examines the unique characteristics of the color red in relation to images used in areas other than fashion, such as the film or advertising industries. Based on analysed results, the aim was to identify red-colored costume's images expressed in contemporary fashion. Analysis of collected data has lead to four main findings. First, the fashion in which the red color is used delivers a voluptuous image when combined with a skinny silhouette or glossy and transparent dress material, arousing a strong sexual desire in a direct or indirect manner when exposing the body in public. Second, the fashion emphasizes a simplified appearance by minimizing the steps of the production process such as cutting, sewing, and decoration without artificial structural lines and creates an image of simplicity through a single red color or tone-in-tone colorations. Third, the red color, which carries a simultaneous negative and pleasure image represents grotesque playfulness by distorting or exaggerating clothes, transforming the body in disregard of clothing construction, or introducing unnatural makeup. Fourth, in combination of simple and clinging shapes, a material feeling tough like leather and an intensely noticeable red tone, promotes the feminine rather than masculine quality in a splendid, aggressive sporty and active "alpha girl" image.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.471-484
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• 2018

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study's data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study's results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals' physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women's social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women's physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.113-122
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• 2006

The purpose of the study was to identify the motives of women's appearance-management behavior, and examine how women perceived the appearance -management behavior and pursuit of ideal body image. The depth interview method was managed to five female subjects who had experiences in plastic surgery and obesity treatment. The instance analysis used in this study. The results were as follows : There were four types of women's appearance-management behavior. First, women perceived themselves by using other people's evaluation, and it was the first motive of appearance-management behavior. It shows that appearance is not based on the real self-image but is the evaluated self-image by others. Second, women were willing to suffer the pain in the plastic surgery and obesity treatment by the expectation of appearance improvement. It means the result of reducing the difference between the actual self-figure and the ideal self-image. Third, the sexual discrimination culture had an influence on appearance-management behavior. It seems the sense of male superiority spreaded over the Korean society. Lastly, women improved self-satisfaction and self-esteem through their physical appearance as an alternative method for better life.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.