• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.5
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• pp.641-655
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• 2015

This study examined the ideal image and fashion of Korean women in the 1970s from a socio-cultural context. This study used information on the 1970s politics, economy, and culture provided by "Chosun Ilbo" and "Yosungjungang" as well as their presentation of the ideal image and fashion for Korean women in the 1970s. The ideal image and fashion of women were considered from the viewpoint of Hamilton's Meta-theory. The ideal image of women in the 1970s is divided into two aspects. The image from the traditional Confucian perspective was prevalent and restricted the lives of women to housekeeping chores. On the contrary, women have increasingly participated in society vis-$\grave{a}$-vis education and employment opportunities to present a progressive image of women. These aspects coexisted during the turmoil of social change. Progressive women had money to buy clothes because they were economically independent. These women embraced styles that included mini, midi, maxi, and bell-bottom pants. Further, pants were developed into different styles such as pant suits. T-shirts and blue jeans as casual wear were very popular among the youth. At the end of the 1970s, the tailored look and the big look (which copied men's clothing) were in fashion. Masculine styles such as wide shoulders with pads and neckties strengthened gender equality. Other fashions were dominated by feminine styles described as beautiful, sweet, and elegant that reflected Korean society's tendency to regard women as sex objects. Clothing that exposed the body highlights this sexual objectification aspect. Women wore miniskirts, hot pants, and bikinis because they wanted to enhance their sex appeal, propagating the view of women as sex objects. In conclusion, all aspects of society and culture were closely interrelated with a fashion style that reflected the values of those aspects.

• Journal of the Korean Society of Costume
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• v.44
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• pp.37-56
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• 1999

In clothing, a tendency of Bisexuality is in case of wearing clothing of the opposite sex, the mixing of modeling principle and characteristic of man and woman, the exclusion characteristic of sexuality that present sexlessness-the third sex. They-Designer Gabrielle Chanel, YSL, Giorgio Armani-give characteristic of man's fashion to women's fashion. However, the consciousness in design is different. Chanel apply principle of man's suit to woman's wear to express authority and power about gender image, hereby she express women liberation and equality of man and woman based on social ideology through fashion especially, she express women's sexual independency and self assurance to her clothing. YSL express liberal and bold women that pursuit reasonal and liberal life in 1970. As he apply tailoed suit's rigidity to women's wear, he made 'pants look' universal in women's wear through“Dress for success”in modern life. Armani apply successful modern image to women's wear, so he express women's image of confident intellegent as well as feminine image. He focus women's new image as man living liberal and indivisual life excluding social category rather than will of equality of man and women. Gernreich break sexual prejudice and release women freely, furthermore, as he express concern of sexuality pursuit liberty of mankind surpassing sex distinction with women liberty. Gianni Versace pursuit mix and extinguishment of sexual image many-sided, and break fixed idea of sex, and reprovide feminine and masculine image. So his design tend homosexuality because he regard women's glamor and ostensible sexuality as standard of beauty, he apply this to man's wear as well as women's wear. With this, he expresses sensitive and liberal man's that break characteristic of Gender that symbolize power and authority in man's wear through 'Without ties'.

• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.518-532
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• 2008

The purposes of this study were to investigate the relationships between women's self-image and the preference and the wearing frequency of knit-wears, and to examine the characteristics of the design elements that influence the preferred knit-wear images. The subjects were 277 female college students and working women living in metropolitan area of Seoul. The data were analyzed by using descriptive analysis, factor analysis, Cronbach's $\alpha$-reliability coefficient, Pearson's correlation coefficient, and multiple regression analysis. Four dimensions of women's self-images were derived by factor analysis; elegance, conservativeness, individuality, and maturity. Women with conservative self-image preferred simple knit-wears and women with high rate for individuality preferred splendid and sporty knit-wears. Women with elegant self-image disliked sporty knit-wears. Women with conservative self-image preferred white, and those who rated their self-image to be individuality preferred various colors including yellow, blue, green, purple, pink, and sky-blue. Women with mature self-image preferred black and beige. Women with individuality as their self-image preferred jacquard pattern and abstract pattern. There was a higher wearing frequency for all four seasons for women with conservative self-image, and there was higher wearing frequency in the winter for those with elegant self-images. Women who preferred simple knit-wears showed preference for single color with no prints and low chroma color, and those who preferred sporty knit-wears showed preference for elastic materials. Women who preferred neat and elegant knit-wears showed preference for argyle check pattern.

• Journal of Fashion Business
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• v.13 no.4
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• pp.99-111
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• 2009

The purpose of this study was to identify women's clothing image according to their body image. Self-administered questionnaires were used for data collection. The results were as followed: First, the body image was shown in three dimensions of care for appearance, concern about weight, and appearance attractiveness. And clothing image was shown in seven dimensions of gorgeousness, beauty, sophistication, comfort, confidence, neatness, and feminity. Second, women were segmented into interest in appearance attractiveness group, body image intermediate group, appearance & weight concern group, and body image retard group. Interest in appearance attractiveness group and appearance & weight concern group were found frequently among women in 20s and students or unmarried women, preferred for gorgeousness and feminity of clothing more, and enjoyed internet shopping. Appearance & weight concern group was heavier than interest in appearance attractiveness group. Body image intermediate group were found frequently among women of lower education, and shopped at stores. Third, younger unmarried women preferred for beauty, confidence, and feminity of clothing image and older women preferred for comfort more. Women who preferred for beauty and sophistication of clothing image shopped at internet shopping mall more frequently.

• Journal of Fashion Business
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• v.15 no.4
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• pp.67-86
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• 2011

This study intended to understand overall history of make-up in Korea in an integrated and diachronic context by interpreting women's will and desire to express themselves reflected in the cosmetics culture in each period centering on women's magazine cover, cosmetics advertisement, and articles from 1950 to 1999 and examining women's make-up image and characteristics in each period. A total of 919 women's magazines (Yeonwon (Women's Garden), Woman Sense, Yeoseong Donga (Women's Donga), Jubusaenghwal (Homemaker's Living), Yeoseong Jungang (Women's Jungang)) issued between 1950 and 1999 were examined for the study. Key words of each period were extracted through fashion and beauty related articles and advertisement titles to examine the make-up culture of Korean women and set the standard for the make-up image of Korean women. A total 1,252 pictures were shot for each period and categorized based on the standard for the make-up image of Korean women. Then, the changes in the make-up image of Korean women were examined and identified the characteristics of images along with the change of images in each period. Next, the meaning of each make-up image was examined. This can be interpreted as the expression of values and desire by modern Korean women, especially Korean women in the late 20th century, as well as the consciousness for coping with the changing society.

• International Journal of Costume and Fashion
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• v.8 no.2
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• pp.20-31
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• 2008

A person's external image is a non-verbal form of communication, through which the person's tastes, mode of thought, preferences, and overall personality is expressed. The dominant factor in building an external image is clothing, since clothing-images provide the most information about a person in the least amount of time. This study aims to investigate the relationship between the clothing- images of women politicians and the improvement of women's social status in Korea, by focusing on changes in clothing-image of female politicians at public functions throughout modern Korean history, and inquiring into the method of classification concerning aforementioned images. The time period of this study starts from 1945, when the first female political party was established, to the 2008 presidential elections. The methodology of this study consists of literature study of related books, theses and journals, which was jointly conducted with empirical study consisting of the research of news photographs of major daily newspapers. This study confirmed the clothing images of women politicians since liberation till 2000's reflects the directions of women's movement and their status in return. It is especially meaningful that the sudden increase of romantic and feminine images among the women politician in Korea is the reflection of the ideas of postmodern feminism which emphasize the acknowledgement of womanhood and the enjoyment of being a woman as its core.

• Fashion & Textile Research Journal
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• v.6 no.5
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• pp.549-557
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• 2004

The purpose of this study is to investigate design properties affecting in evaluated image by adult women's town wear in un-limited circumstance. The stimulus, adult women's town wear, were collected from shopping mall, department stores and churches and evaluated by 20's 150 people. Through the estimations, the 76 pictures of 'good image' and 65 pictures of 'bad image', were selected and analyzed by classification categories. The results were as follows : 1) 'Good Image' is classified 6 groups which are like active casual, feminine casual, adult casual, modern, sporty casual, and elegance. 2) "Bad Image' is classified 5 groups which are like easy casual, active casual, soft casual, modern casual, and feminine casual. 3) Central code of adult women's town wear from 'Good Image' are simple, bright, and harmony and 'Bad Image' are complicate, heavy, and inharmony. The coordination, how to wear, is very important to evaluate image of women's town wear with other properties. Also, body shape appeared by important variable in evaluation.

• Fashion & Textile Research Journal
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• v.10 no.3
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• pp.322-328
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• 2008

This study examined Korean college women's perceptions of their body image, ideal body, and body satisfaction. Five research questions assessed participants: 1) self-defined image, 2) ideal body image, 3) body dissatisfaction, 4) body satisfaction, and 5) perceptions of their friends' weight concerns. A convenience sample of 101 female college students participated in the study. Respondents' average age is 20.78, ranging from 18 to 36 years. Two approaches were used to define Korean college women's body image and body satisfaction: A scale of illustration showing nine females' body drawing, and a verbal scale for the satisfaction with body image. The findings revealed that Korean college women pursue "thinness." Although they were somewhat happy with their height, the development of their figure, and their overall good looks, they were significantly dissatisfied with their weight. These results indicate that Korean college women would benefit from positive body image education.

• International Journal of Costume and Fashion
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• v.4 no.2
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• pp.56-65
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• 2004

The purpose of this study was to investigate the effect of hairstyle, hair length, and hair color on women's professional image. The quasi-experimental method by a $2{\times}3{\times}3\;(hairstyle\;{\times}\;hair length\;{\times}\;hair color)$ factorial design was used. Subjects were 343 women in Seoul, Korea. The bright brown hair was perceived to be less professional than the black and the dark brown. The straight hair was evaluated to be more professional than the wavy hair in the short and the medium length hair, whereas the wavy conveyed a higher professionalism than the straight style in long hair. The shorter the hair was, the more professional the image was. Among 18 stimuli, the short straight hair in black was evaluated to have the highest in professional image, and the long straight hair in bright brown was the lowest. Perceivers in their 40's and 50's evaluated the bright brown hair to be more professional than those in their 10's to 30's did. The present findings provide that hairstyle, hair length, and hair color are significant cues when perceiving women's professional image.

• Journal of Fashion Business
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• v.12 no.4
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• pp.99-113
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• 2008

The purpose of this study is to compare the social image and the external image of a Korean woman in 1970s and find out that the make-up can provide an important clue to examine the image of a woman in a given period. The research scope covered 10 top news of the daily newspapers and articles of women's magazines. A focus was made to an analysis on words and photos from them. The relationship of each image scale was examined by comparing the linguistic image scale and the visual image scale. The results were as follows : First, a frugal and tidy image. It was the look of our tidy, simple, traditional and classic woman. Second, an image of a cute and pure lady of refined manners. In 1970s, women were supposed to be 'a loving wife', a cultured female image with a faithful role of a 'wise mother' and a lady of refined manners as the best value. Third, a frivolous and decadent image. Double-faced image of a woman which included the women, who had to live as the lady of refined manners during the daytime and seductive woman during the night. Fourth, an image of a contemporary working woman. It was the image as a chic, confident and dignified working woman requested by the society of the times. Namely, it can be understood that women had a make-up of a soft and gorgeous tone as an expression of a will to keep a confident and female aspect in the course of working in the society by the women experiencing 1970s, the turbulent period. Consequently, it is possible to understand that the make-up was utilized as a means to express an ideal beauty of the time pursuant to the historical background or feature.