• 복식문화연구
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• 제13권5호
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• 한국의류학회지
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• 제10권1호
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• 복식
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• 제57권2호
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• pp.143-154
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• 2007

This study's purpose is how express gender image according to sex in editorial fashion photography. This study's objectives are the women's magazine Vogue, Harper's Bazaar and man's magazine GQ, Esquire published 2000-2005 within the country. The photography was classified with established a standard based on the precede studies. The photo is classified Gender image according to dress and its ornaments, model character and atmosphere by Sex Expression of femininity woman has exposure of body parts and emphasizing thin eyebrows and red lips, soft and mild image, modest and static pose. Man expressed femininity used ladylike color and pattern, erotic exposure of body and long hair style. Commonly emphasizing red lips, natural background of flower plant, S-line. For expression of masculinity man and woman are used masculinity item, short hair-style and thick eyebrows. And also emphasize square like chin and shoulder. Specially, woman used direct silhouette to conceal soft body curved line. The expressions of androgynous woman and man are colorful dress and make-up. Woman emphasized male face to show and man expressed soft image through hull of abundant material of fur. All two sex selected method that conceal body curved line and face to express sexless. Hiding characteristics of body and face make indistinct of sex. The gender is affected by atmosphere such as model and illumination background as much as clothes because of the editorial fashion photography.

• 영어어문교육
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• 제13권4호
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• pp.253-270
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• 2007

The purpose of this paper is to illuminate how Suzan-Lori Parks reveals colonized oppression and violence in a black woman's body in Venus. The body of Hottentot Venus is an 'object' of white male spectators' gazes and a dissection from a medical study. The report on her pathologic anatomy gives the audience the illusion that the body of a black woman is inferior to those of others. Not only 'subjective' aesthetics, but also 'objective' medicine makes us confuse 'fact' with 'truth' about black women. By publicly exhibiting her erotic body, Venus is represented as a singular emblem for nineteenth-century colonial discourse on race and sexuality. Her body stands for the powerful signifier of raped Africa. A distinctive feature of black Venus is her raciality. The ownership of her body is only transferred from Mother-Showman to Doctor Baron. She had no right to her ownership. Her body is an object of hatred and curiosity and at the same time a site which is represented by conflicting desires. Parks' eventual goal in Venus is to investigate 'hindsight' of Venus Hottentot, 'the past' and 'the posterior'. As the meaning of original chocolate can be regained, the insulted and damaged body of Venus should also be recovered and resurrected.

• International Journal of Costume and Fashion
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• 제7권2호
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• pp.49-63
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• 2007

In this study, we inquire into the general concepts of eroticism as it appears in literature and the arts, and use this as a foundation to meditate on the eroticism of attire throughout history. We also ascertained external forms based on the range of "The way we look" by Delong. In this way we inclusively studied both the content and form of modes of eroticism in the perspective of Brodsky's "linked solution." The original concept of eroticism is a technique by which one attains physical passion, referring to a nature which is deeply rooted in the cultural traditions, myths, habits. religion and arts of mankind, inducing expressions of sensual love. We integrated this eroticism in 4 categories: sensuality, which induces beauty; naturality, denoting idealization or rational beauty; primitivity, characterized by grotesque expressions or direct and natural sexual depictions; and symbolism by which sex is symbolically or mechanically projected. The concept of eroticism contains both positive and negative aspects, but rather than dealing with sex in a mechanical or perverted manner to express eroticism, it is more appropriate to guide the direction of modes of eroticism by stimulating the "desire to show" and the "desire to see" with the dialectic of obstruction and exposure as a figurative expression of true passion, and narcistic phenomena in which beauty is expressed through exaggeration or magnification and adhesion.

• 한국의류학회지
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• 제23권2호
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• pp.272-283
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• 1999

Fetishism originated from the cultural and social products is related to many aspects of arts and sciences ; postmodernism psychoanalysis and subculture of pornography. Fetishism was reflected on fashion and now has been one of hot issues in high fashion, Waist was one of the erotic zone of body both in man and woman and sadomasockhistic fetishism was originated from physical damages on this zone. The aim of this experiment was to study what kind of fetishism was revealed on fashion especially in women and men's underwear fetish. In conclusion fetishism which has a long history and now been a one of popular high fashions in Western society is still unfamiliar to Korean fashion society. Researches of fetishism including deviant sex was still restricted in Korean society due to "Confuncianism" which has been a ruling philosophies in Korean culture. However the sex moral in modern Korean society is now being generous year by year and sex is no more a toboo to talk with. Fashion fashion will increase its market share in near future in Korea and 력\ulcorner studies of fetishism is needed.

• 복식
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• 제50권
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• pp.129-144
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• 2000

In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.

• 문화기술의 융합
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• 제8권3호
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• pp.399-404
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• 2022

셀린 시아마는 동시대를 대표하는 여성감독이다. 그녀는 꾸준히 여성에 관한 주제로 작품을 만들고 있으며, '여성서사'를 개척해왔다고 할 수 있다. 특히 성장기 소녀의 성적 정체성 형성을 둘러싼 복잡성과 또래 문화가 개인들에게 미치는 영향들을 다루는 데 있어 독보적인 시각을 보여주고 있다. <타오르는 여인의 초상>에서 감독은 가부장이 부재하는 해방된 공간에서 '아가씨', '화가', '하녀' 간의 여성 연대를 보여주면서, 여성주의적 고전 해석과 여성 역사 기록에 대한 자기반영적인 의식을 보여준다. 이 영화는 '그림 그리기'라는 설정을 토대로 시각예술 전반의 역사를 통해 구축된 시선의 젠더화, 응시와 대상화, 본다는 것과 권력의 문제 등을 탐사한다. 영화 속에서 엘로이즈와 마리안느의 초상화 작업은 '보는 자로서의 남성 화가와 남성의 시선을 경유하여 자신을 응시하는 여성 모델'이라는 공식을 해체하고 응시를 주고받음의 상호작용 과정으로 전화시킨다. 응시를 주고받는 과정은 엘로이즈의 몸에 마리안느의 얼굴이 겹쳐지는 누드화로 인장된다. 이는 서구의 회화 역사에서 보기 방식의 양식화를 통해 남성 관객 위치를 이미지 안에 새겨 넣는 지배적 형식으로서의 누드화를 레즈비언의 에로틱한 시선으로 일순간에 전복시킨다.

• 복식문화연구
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• 제16권5호
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• 복식문화연구
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• 제24권5호
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• pp.642-652
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• 2016

The purpose of this study is to understand the concept of a sexual image and verify the method of its design expression through case studies of the sexual image evening dress shown in an Haute Couture Collection over the last 10 years (2005~2014). The results of analysis are as follows: First, "expression by the seeing through of the natural body" expressed a natural sexual image that combined fashion of the previous times with the beauty of the natural body by using a see-through material and classic or ethnic image. Second, "expression of a sexual-image look that emphasizes romantic detail" illustrated a romantic sexual image that emphasizes feminine sensitivity by mixing various ornamental elements such as see-through material and symbolism of underwear image. Third, "creation of a nude look using skin color" expressed sexual image of an evening dress by inducing erotic sexual association through a combination of opaque material of skin color and design shape that is intended for body exposure. Fourth, "combination of sexual symbol and heterogeneous elements" expressed a decadent, avant-garde and futuristic sexual images by using women's underwear and a sexual symbol as design motif and mixed with mismatching elements. Fifth, "use of a fantastic black image" expressed an exclusive and refined sexual image and a decadent and primitive sexual image by using a fantastic image of black color. The results of this study are expected to be used for the design process of the evening-dress industry that aims for quality improvement.