• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.776-787
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• 1999

The purpose of this study is to analyze the factors which have formed gender images in men's fashion since the middle of the 19th century. For this purpose, the images of gender in fashion were analyzed and historical studies about gender images in men's fashion from the middle of the 19th century to the present days were done. Historically images of gender expressed in fashion were masculine image feminine image androgynous image and genderless image. Among those images masculine image and genderless image. Among those image masculine image and androgynous image have been the gender images in men's fashion since the middle of the 19th century. In psychoanalytic view point the factors which have formed the gender images are related with sexual pleasure. Libido for looking narcissism and exhibitionism have produced masculine image and androgynous image in men's fashion, In socioeconomic view point power structure between the sexes have built the gender images in fashion. Masculine image and androgynous image came in to being in men's fashion for the purpose of displaying power or expressing opposition to power structure between the sexes, In aesthetic view point the aesthetic sense of each age about sex have constructed the gender images. Modernism had influence on building masculine image and post-modernism have formed androgynous image in men's fashion.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.790-803
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• 2005

This study purposes to examine the background of the sexual concept and femininity, masculinity and gender role in the fields of social psychology and cultural anthropology and investigate the traditional gender role and the fashion's changes according to its role and the examples of the masculinity and femininity expressed in the contemporary fashion and finally analyze the gender identity expressed in fashion. The image changes which appeared in the modern fashion can be considered to be Masculine Look, Garconne Look, Feminine Look, Unisex Look, Androgynous Look and Genderless Look. The Garconne Look caused lots of changes to masculinity in the 1920's along with the changes of femininity. With the effect of feminism, many females wore clothing which had been thought as male's clothing by the appearance of Masculine Look. The major formation reason of Unisex Look can be regarded as the attitude change of the society toward to females and a meaning which doesn't want the differences of the distinction of gender to appear any longer as a characteristic external factor is implied. Androgynous Look which appeared in the 1980's means the integration of femininity and masculinity which is the same meaning with 'androgyny' in itself, Not denying its gender characteristics individually, the Androgynous Look means that women aim at the masculine image in men's clothing or men do at the feminine image in women's clothing. Genderless Look can be considered to a look with a notion to wear clothing freely even in fashion transcending the border of masculinity and femininity differentiated socially and culturally.

• Journal of the Korean Society of Costume
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• v.46
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• pp.5-16
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• 1999

The purpose of this study was to analyze the present fashion phenomenon by considering the types of Hiphop that shows the origination background and special feature. Popular music plays the most significant role in this 'age of culture' by its musical and visual methods through mass media. A fashion reflects and represents the culture of it's era. From the early 1990's a new fashion style called 'Hiphop' has become a universal hit among teenagers and even among those in 20s and 30s. As we can see from these points Hiphop fashion has the characteristics of being sporty borderless and genderless. In other words fashion represents individal's unique characters and their culture. This is why the study of fashion trends such as Hiphop is important; becanuse they can give us a series of fascinating insights into all sorts and conditions of men and women in our time : how they view theselves and how they choose to relate to other people whether of their own age or otherwise.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.1-21
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• 2008

The purpose of this study is to typify femininity and masculinity represented in mainstream women's and men's fashion magazines in Korea since 2000 and infer sexual ideology appearing in contemporary Korean society by content analysis with the view of plural sexuality. For the content analysis total 259 editorial fashion photography was analyzed. As the result, 5 femininities and 5 masculinities were typified, and then sexual discourse was inferred out of the frequency of each type and texts with the images. On the basis of previous studies and historical considerations of this topic, the types of sexuality represented in mainstream fashion magazines in Korea since 2000 were classified as follow.: in women's fashion magazines Traditional Femininity and Androgynous Femininity were almost similarily dominant sexuality, and Glamor Femininity, Babydoll Femininity, and Genderless sexuality were alternative. Meanwhile, in men's fashion magazines Traditional Masculinity formed clear dominant sexuality, and Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity, and Genderless sexuality were alternatives. In addition, Androgynous Masculinity in women's fashion magazines occupied the highest frequency, while Glamor Femininity in men's fashion magazines did so. From this sexual discourses represented in mainstream fashion magazines in Korea since 2000 are as follow.: First, mainstream fashion in Korea sticks to the modern values preserving traditional sexual ideology even in this postmodern period of the former 21C. Second, Androgynous Femininity as another dominant femininity with Traditional Femininity connotes the change of conception of femininity in Korean society. Third, Androgynous Masculinity to females is preferred, while femininity to males is still regarded as fetish or adorned object. Fourth, the appearance of various alternative sexualities leads to pluralization of sexuality, and then fashion gradually codifies youthfulness and feminine values, such as body and sexual desire more than before.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.126-142
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• 2007

The second part of this study is to typify plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and ultimately to infer sexual ideology codified in modern fashion by a framework of this study, the socio-semiotic model. From this, sexuality represented in modern fashion was typified as follows: in women's fashion Traditional Femininity, Glamor Femininity, Androgynous Femininity, Babydoll Femininity and Genderless sexuality, while in men's fashion Traditional Masculinity, Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity and Genderless sexuality. The conclusion of this study is as follows: First, modern fashion has been changed from a means expressing gender and class into a sign vehicle representing the new ruling system of age and sexual desire. The binary oppositional sexuality on center of man in the 19 C capitalist period has been gradually pluralized towards the post-capitalist period. Next, mainstream society in Korea is still positioned in the traditional heterosexuality, keeping the vertical power relationship between man and woman even in the post-modern period. However, the fact that both Traditional Femininity and Androgynous Femininity acquire the position of dominant femininity connotes the change of modern femininity. Finally, plural sexuality represented in modern fashion has family resemblance and it shows contextual flexibility within contemporary period as well as a historical context. As a result, sexuality floats with a specific historical and socio-cultural context, and fashion as a material culture represents a masquerade as a identity vehicle, which constructs and de-constructs sexuality at the same time.

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.188-202
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• 1998

The purpose of this study is to analyze how future images are embodied in contemporary fashion design. To find out future images expressed in contemporary fashion design, this paper characterized the future society as information society, network society, pluralistic society, and global village. Cyber design and techno-style expressed through metal or lustrous material which is influenced by information symbolize future image. Also, minimalism which is characterized as simplicity and purity affects the contemporary fashion design. The network society which affets t the horizontal and functional social system diminishes the meaning of socio-economic status. Therefore, street fashion has diffused to high fashion, and the formal wear has tendency to be changed into casual wear. In addition, the meaning of status symbol in contemporary fashion design become decreased. The pluralistic society affects to search for one's own personality and identity. Also, contemporary fashion design is influenced by post-modernism and deconstructionism. In order words, genderless, ageles, seasonless, and infra fashion appeared. The global village emphasizes extension of universality in life style and search for world quality. so, ethnic fashions appear frequently in contemporary fashion design. Also, the effects of Korean traditional costume to contemporary fashion design has increased.

• Journal of Fashion Business
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• v.26 no.3
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• pp.155-167
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• 2022

Hanbok, a traditional Korean clothing, became a hip culture for young people in the late 2010s. As hanbok brands for young people appeared and distribution channels changed for them, hanbok appeared on the crowdfunding platform. This study summarized characteristics of hanbok provided as rewards by funding projects in Wadiz, the largest crowdfunding platform in Korea. Results of this study are as follows. First, since the first successful crowdfunding in 2015, it has shown rapidly growth. Second, as a result of examining the name of reward hanbok, 167 reward hanbok appeared. They could be divided into three periods: women's hanbok, unisex hanbok and trendy hanbok period. Third, looking at characteristics of reward hanbok from each period, feminine Chollic onepiece during the women's Hanbok period adopted the feminine interpretation of the original men's Hanbok. Characteristics of reward hanbok during the Unisex Hanbok period are in the direction of the closure. By adopting the direction of the closure of hanbok that both men and women can use, unisex hanbok is appeared. Finally, reward hanbok during the trendy hanbok period reflected trends such as genderless and hip. Hanbok reflected various trends from home culture to COVID-19 that occurred around the world at that time.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.88-99
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• 1998

Image of Modern Art & Fashion are created on the whole in daily life. Image itself is not simple. There is no more distinction between content & form through mutual crossing for intellectual thinking. Specially, image of reproduction circumstance too many mixtual and compromise (collage) are continued to occur. They could pursuit to change their image through the more increase of impulse, exception and popular experience. In this thesis, I studied about image of Modern fashion & Art. In the modern art, visual image showed as anti-beauty and combination of cultural system. It has shown in the theory of Fred Davis and through fashion brand advertising image as follows; Youth vs maturity (ageless image), male s female and androgynous vs unisexuality (genderless image), colligation vs monopoly (street mode image). As a results, the modern trend image are showing the value of the ambivalence. It can be said that he anti-beauty which are occasionally showed in ambivalence has shown a tendency toward another tradition (feminity) through giving an impulse and paradox.

• The Research Journal of the Costume Culture
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• v.29 no.4
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• pp.488-504
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• 2021

This article examined the historical evolution of changes in the democratization of fashion, identified its characteristics, and defined 'fashionocracy - fashion democracy'- by analyzing various phenomena in the global fashion industry. This research will expand the field of fashion research and spark academic debates about fashion democracy. The democratization of fashion can be summarized in five periods; birth, introduction, early growth, growth, and maturity. The characteristics of the democratization of fashion include individual autonomy, accessibility that many people can access and enjoy, and diversity. According to the principles of democracy- "of the people, for the people, by the people" - which are based on freedom and equality, we have achieved fashion of the people and for the people so far. Furthermore, social media has shifted the balance of power to influencers and bloggers; as such, the masses who have consumed and enjoyed fashion democratization are becoming producers and promoters by actively participating in the process of making fashion, creating a new era of fashion democracy (fashionocracy): - by the people. Ultimately, fashionocracy consists of the '6P's' ; people (active and productive consumers), planet (society and environmental sustainability), products (genderless, ageless, inclusive), price (reasonable), place (multi-channel distribution, virtual spaces), and promotion (horizontal).

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.111-126
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• 2020

The purpose of this study is to understand the gender-neutral phenomenon, to grasp the flow of design, and to seek the future direction of modern fashion design. As for the scope and method of the study, this study was performed based on relevant literature. In terms of visual data, website photos were collected from the collection of S/S in 2016 to F/W in 2020. To assess the properties of the gender-neutral, analysis was implemented on the results after arranging the factors for gender neutrality and the characteristics suggested in the related papers. The fashion-related expert group analyzed the properties of the gender-neutral style from 1,031 pictures, where the gender-neutral style of fashion design collections was applied. As a result of the analysis, the characteristics of the gender-neutral were analyzed and divided into the extended body-positive performance style, the mashup style- respecting the conflicting culture, the street style of coexisting genders, and the fluid style of changing directions. In this study, the attributes were derived as acceptability, playfulness, and sustainability. Accordingly, it is expected that this study will play a fundamental role in the creative fashion design development and unfolding of the fashion industry and fashion designers.