• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• Journal of Digital Convergence
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• v.17 no.4
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• pp.279-284
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• 2019

The purpose of this study is to investigate the direction of communication design through in-depth interviews on the topic of gender equality, which is an active theme of social issue happening worldwide, and to suggest a direction to provide better social issue communication direction. In order to do so, firstly, I researched case studies and investigated the characteristics of gender magazines such as If, Ferm and Womankind. Secondly, I conducted an empirical study of in-depth interviews to identify the emotional adjectives by women and men by different age groups from gender equality storytelling magazine experience. As a result, I was able to grasp two points necessary. First of all, for the gender equality content messages closely related to everyday stories level down the barrier and become easier to empathize with. Second of all, the more complex the social issues are, the more sustainable and credible if the content developed steadily and contingently. This study is meaningful in that it suggested a series of directions for communicating gender equality issues. Future research should complement the suggested directions for gender equality communication design and contribute to guiding further directions.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.31-40
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• 2014

The purpose of the study was to examine model postures at fashion shows with respect to expressing fashion images including elegance and neutral-gender images. Data were gathered from the fashion shows held 2000 S/S through 2009 F/W, when elegance and neutral-gender fashion images were obvious in fashion collections. Three designer brands representing elegance and neutral-gender fashion images were selected by the researcher and fashion specialists including graduate students majoring in fashion. The fashion collection photos representing each image were selected from style.com, a website which contains four world's biggest fashion collections. The results showed different hand positions as a model posture according to fashion images. In the neutral-gender image, 16 photos (47%) showed a hand position at pockets, in the elegance image, 24 photos (82.3%) showed a hand position laying down by the sides. Also, walking pose was shown to be different between two fashion images. In the neutral-gender fashion image, 16 photos (52.9%) revealed a pose of 'natural walk', while 29 photos (100%) showed a pose of 'walk in a straight line' in the elegance imaged fashion. In conclusion, the neutral-gender image photos showed the pocket-positioned hand and the 'natural walk' poses more than elegance image photos, and elegance image photos revealed the hand position laying down by the sides and the 'walk in a straight line' poses than the photos of the neutral-gender image.

• Journal of The Korea Institute of Healthcare Architecture
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• v.18 no.4
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• pp.17-27
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• 2012

Purpose: This research was for understanding the attitudinal difference by gender towards emotional design through questionnaire survey with female and male inpatients on environmental characteristics of wards in general hospitals. Methods: The survey was conducted by questioning inpatients at two general hospitals on the importance rating on emotional design elements of patient rooms, lounges, and hallways. Eighty questionnaires were returned and used for data analyses through SPSS windows version 15.0 statistic package program. Results: 1) In general, female patients considered emotional design of wards as more important than male patients and the most outstanding difference was indicated for patient rooms among patient rooms, lounges, and hallways. For patient rooms the comfortability index was rated as the most important to both female and male inpatient groups, and for lounges and hallways the safety index was evaluated as the most important to both gender groups. 2)For lounges, while male patients rated 'prevention of infection' important among safety relating items, women considered 'accident prevention' more important. It is inferred that female patients have more safety needs and anxiety about physical injury or accidents than male ones do. Implications: It is considered that there need to be further succeeding in-depth studies, e.g. research interviews with inpatient;s family members or other caregivers as well as patients themselves.

• Journal of Fashion Business
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• v.24 no.1
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• pp.88-101
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• 2020

The music videos of BTS go beyond the limit of media promoting music and shows their meaning in various ways and complete the visual message of music through fashion style. BTS' fashion style in the music videos shows a change in symbolic representation of the genre of each album and song, of which gender images are changing aligned with the music messages of BTS. The purpose of this study was to derive gender images of fashion style in BTS music videos and to interpret their meaning based on Judith Butler's theory that performativity creates discourse through iterative process. It is conducted as a research method, an analytical study was conducted in parallel with literature studies and empirical case analysis. The scope of the study was limited to 301 costumes that appeared in 21 official music videos from debut single album '2Cool 4 Skool' released in 2013 to the mini album 'Map of the Soul: Persona' released in 2019. As a result of the analysis, the controversial fashion style, challenging fashion style, boyish fashion style, hybrid fashion style, the playful fashion style were revealed. The conclusion of studying the gender image of BTS, interpreted by this analysis using Judith Butler's theory, is as follows. The gender image of BTS is the traditional image that identifies with the dominant gender discourse, the resistive gender image that intentionally distances mainstream culture, the eclectic image parodying the gender of the opposing term, and the deconstructive image that transcends the dominant gender discourse.

• Fashion & Textile Research Journal
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• v.25 no.4
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• pp.460-471
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• 2023

This study aimed to analyze the consumption value and clothing pursuit benefits of genderless fashion based on gender identity. The study questionnaire was distributed to and collected from men and women in their 20s and 30s living in Seoul City and the Gyeonggi province. The collected data were analyzed by using Cronbachs α, factor analysis, K-means group classification analysis, and ANOVA. The study results were as follows. First, gender identity was categorized into three groups: the genderless group, the traditional gender rejection group, and the traditional gender acceptance group. Therefore, it is necessary to subdivide gender identity rather than acceptance and rejection of traditional gender roles. Second, an analysis of consumption value based on gender identity showed significant differences in terms of fashion value and expressive value. Therefore, it is important to establish a differentiated strategy based on the relevant gender identity group when establishing genderless fashion design or marketing strategy. Finally, the study results showed that clothing pursuit benefits based on gender identity, there was a significant difference in terms of individuality pursuit, deviation from the norm, and fashion pursuit. In particular, since the genderless phenomenon agrees with the characteristics of the MZ generation, it will be necessary to share brand information or product information through digital media or to utilize a sharing culture-that is, 'meaning out' tendency and 'flex culture' (i.e., conspicuous consumption).

• Archives of design research
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• v.15 no.1
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• pp.247-256
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• 2002

'gender' means sex in a social sense and 'sex'is more close to the concept of that discussed in biological light. 'Gender is more adequate word in expressing gender equality of both sexes than 'sex'that gives us discriminating impression and implies tout we should actualize equality between both sexes in all field of social activities. Though more and more women have been advanced into the job that was once regarded as a men only-area and the concrete list of iou for men and women has been changed in the process of job structure transition, women stiff take full charge of all kind of houseworks so they're still under the double torture of housework and their job. Most of the job in which men used to engaged in the past is now mechanized. and we can't deny that modern technology triggered women's participation in public affairs by helping them to lead comfortable family life without any assistant or trustee for housework. Under these trend of our times, we made an attempt to look into design mainly from the standpoint of women by raising the issue of correlation between women's labor in society and houseworks in the hope that current design and changes into one that can rejects women's position and allows them independent choice in the field involved with our real life.

• Journal of Fashion Business
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• v.14 no.5
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• Journal of The Korea Institute of Healthcare Architecture
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• v.27 no.1
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• pp.17-34
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• 2021

Purpose: The purpose of this study was to find out the difference in the priority level of recognition for universal design application in public spaces by gender. Method: ANOVA(analysis of variance) and post-hoc test were conducted to determine the priority level of recognition and pattern for the disabled, non-disabled, and experts classified into males and females. Results: There was no gender difference in the comparison by sector for all males and females. However, in comparing of domains and facilities, women showed a higher level of recognition than men in the building sector and cross domain. When comparing space consumers and producers by dividing them into male and female groups, women showed a higher level of recognition than men in producers, but there was no gender difference between consumers. In comparison by sector, domain and facility, women producers also showed a higher level of recognition in the road sector, park and recreation sector, sidewalk domain, four-spaces in the park and recreation sector, and six-spaces in the building sector than men producers. Also, in the building sector, women producers and consumers showed a higher recognition level than men. Comparing the disabled, non-disabled people and experts by dividing them into male and female groups, in the case of non-disabled people and experts, women showed a higher level of recognition than men, while men showed a higher level of recognition than women in the disabled. In addition, there were differences in recognition patterns in many spaces and facilities by gender. Implications: This study is meaningful in comparing the differences in the priority level of recognition and patterns between men and women to apply universal design for people of all ages and both sexes.

• Human Ecology Research
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• v.62 no.2
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• pp.303-315
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• 2024

In response to recent changes in gender equality and social awareness among female college students, we sought to investigate whether there were corresponding changes in their preferred fashion styles and items. A survey was conducted with 200 women in their twenties to determine whether they were aware of gender equality and social change, as well as their preferred fashion styles and items at both the time of college admission and the current time. Awareness of gender equality was divided into two factors: feminism and a perceived increase in women's social power. A significant difference was observed in the fashion styles of female college students in their twenties between the time of admission and the current time. Compared with the past, the preferred style has changed to gender-neutral rather than feminine, useful rather than aesthetics, character rather than fashion, sporty rather than elegance, and casual rather than formal. Preferred items included pants rather than skirts, sneakers rather than shoes, socks rather than stockings, long skirts rather than short skirts, and backpacks rather than handbags. The level of attention paid to campus attire per week decreased over time. No correlation was found between gender equality awareness and preferred fashion style, while feminism was correlated with preferred fashion items. The degree to which attention was paid to campus attire per week was correlated with feminism, but was not correlated with a perceived increase in womens' social power.