• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.24-36
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• 2006

The consumption became a virtue of social in 20th century, and this consumption culture created an ideal body image through mass media. Sexual image became a new standard of 'beauty' in a modern fashion, and designs which expressed sexual image appear every season. Individuals were fascinated with some parts of human body. These body parts are different based on the time period and the culture that the individual belonged to. This study focused on the erotic body parts and expression on the editorial fashion photography. Eroticism represented in the editorial fashion photographs can be divided into the expression by clothing design and by creating erotic atmospheres. Erotic expressions by clothing design can be presented by 1)exposing directly 2)exposing indirectly 3)emphasizing the body parts. The most frequently presented erotic body parts in fashion photographs were legs(25%), followed by the bodice with breast (21%), the waist (16%), the hip (12%), neck & shoulder (10%), arms (9%), and abdomen (7%). The results indicated that legs were considered to be a erotic body parts often than the traditionally referred erotic body parts, such as bodice with breast or hip. While direct exposing method (e.g., adhesion, see-though) was frequently used for other body parts.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.1-19
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• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.839-854
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• 2018

This study (1) explores female consumers' attitudes toward fat people and perceptions about plus-size models, (2) addresses female consumers' responses to models with different body sizes, and (3) examines the effect of plus-size model presence on female consumers' body image. We collected an online questionnaire from a total of 600 female participants in their 20's and 30's. Stimuli included six full-colored photo images of models with thin and plus body sizes (three in each group). Images were captured from the online shopping site of the fashion brand currently providing both average and plus-size clothes. Respondents were randomly assigned one of the groups by model size. Results support the sociocultural perspective that a thin/ideal body of models has a negative influence on female viewers' sociocultural attitudes toward appearance, mood state and body satisfaction. Findings also suggest that exposure to plus-size models can reduce negative media effects on females body image perceptions, regardless of individual body size.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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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.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.769-777
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• 2011

Anti-aging is one of the key words to have characterized Korean society, and Korean adults in their 40s and 50s are very interested in this word. In this study, their cognitive ages and body images which are expected to have been influenced by anti-ageing were determined and correlation between them was examined. A survey was conducted and 368 of 500 questionnaires were used in data analysis. Data were analyzed by descriptives, factor analysis, reliability analysis, correlation analysis, and multiple response analysis through SPSS 12.0. The results are as follows. First, the cognitive ages of Korean adults in their 40s and 50s showed to be 37.5 years old which are 9.1 years old younger than their average actual ages. Second, their attitudinal body images appeared to be composed of appearance orientation and appearance evaluation, and appearance orientation represented to be a little higher than appearance evaluation. In addition, it showed that the correlation between cognitive ages and the attitudinal body images was low and negative. Third, people in their 40s and 50s revealed to think good health and impression as ideal body images. It was found that they regarded a face as the most important body part for ideal body images and were sensitive of their weight. Forth, correlation between cognitive ages and variables of ideal body images was identified to be significant in 4 variables which are slender, shapely and slim figure and good body proportions. In conclusion, it was shown that Korean adults in their 40s and 50s recognized themselves to be 9.1 years old younger and, the younger they perceive themselves, the younger body images they want. Also, it could be confirmed that anti-ageing is a megatrend in Korean society.

• International Journal of Costume and Fashion
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• v.16 no.2
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• pp.1-24
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• 2016

This study investigated the ideal female beauty in advertisement images through the iconological comprehension of Renaissance portraits and explored the longitudinal change of the ideal female beauty in modern Korean society. A total of 146 cover images on Hyang-Jang magazine, which is the company magazine of AMORE PACIFIC Group, from 1972 to 2012 were selected as the data. These images were divided into 10-year units for analysis using iconological criteria, which were pose, shape of eyes and lip, and hairstyle. The way presenting the cover images on Hyang-Jang magazine had changed in order to emphasize female body, self-satisfaction and independence of female, and sexual attractiveness of female. The results of this study implied that the change of ideal female beauty had been affected by socio-cultural contexts of modern Korean society that has industrialized and democratized in a short period of time.

• International Journal of Human Ecology
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• v.9 no.1
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• pp.97-106
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• 2008

This study investigated the relationships between eating disorder risk, body image perception, weight control, and dietary habits in Korean women. Body shape perception, the Eating Attitude Test (EAT-26) and dietary habit information were collected by a self-administered questionnaire to 373 adult women and the data were analyzed by the Chi-square test. 31.4% of the women were classified in the eating disorder group by a score of over 20 points on the EAT-26. Compared to the normal group, more women in the eating disorder risk group perceived that a thin body shape was the ideal body shape and were dissatisfied with their body shape. This group was also more interested in weight control and more likely to try weight control methods. The eating disorder risk group was more likely to skip meals and snacks than the normal group. In addition, they had a greater appetite and a higher frequency of overeating than the normal group. Over 30% of the Korean women surveyed were categorized at high risk of eating disorders. They were more likely to overestimate body weight and shape and tried to control their weight by inappropriate methods. To prevent eating disorders in adult women, nutrition education programs should incorporate strategies to change inaccurate self-body image and to disseminate information about healthy weight control methods.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.29-39
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• 2013

In this study, the image of the male body represented in fashion advertisement is analyzed based on discourses on the male body. Fashion brand advertisements, which emphasized the images of the male body, were selected from two magazines: GQ, a men's magazine, and VOGUE, a representative women's magazine. The published dates of the selected images were from Feb. 2010 to Oct. 2012, and these images were used for the analysis. The study results of the discourse on the male body appearing in fashion advertisement based on the discussion of changing masculinity suggests the following 4 features: i) macho, powerful and muscular male representing the hegemonic manhood; ii) refined and decorated male representing the wealthy and disengaged figure of a successful businessman; iii) androgynous male represented by the deconstruction of masculinity and femininity embedded in gender; iv) as an aesthetic object, the male with sex role of changed from a subject to an ornament, whose body becomes the object of voyeuristic view. This study tried to grasp the ideal and modern masculinity, and in particular, attempted to offer suggestions in different approaches to the male body image depending on the consumer type in order to enhance the brand image. This new masculinity is thought to be a foundation on which the advertisement and products suitable for the demands of future customers can be produced.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.364-375
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• 2004

The purpose of this study is to analyze how the men＇s fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men＇s fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men＇s fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic fabric has a effect of minimalism of the last 1990＇s fashion, and wave hair of gentle image has a effect of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men＇s fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men＇s fashion has referance to fashion.

• Journal of the East Asian Society of Dietary Life
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• v.12 no.4
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• pp.299-306
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• 2002

This study was undertaken to compare the obesity related dietary factors among rural middle school students living in the Daegu.Kyungbuk area. Anthropometric data showed that mean height and weight were 162.7$\pm$8.6cm and 53.9$\pm$9.8kg in 220 male students and 158.4$\pm$6.2cm and 51.0$\pm$7.6kg in 210 female student. Mean BMIs for boys and girls were 19.00$\pm$2.35 and 19.30$\pm$2.45, respectively. 71.36% of male students and 71.9% of female students were underweight by the BMI index. Students who skipped the breakfast were up to 66.8%. The reasons for skipping a meal for both sexes were significantly different. Compared to males, more female respondents felt guilty and depressed related to eating. Furthermore, females were more significantly concerned about body image, diet and body weight (p<0.001), and they were not satisfied with their weight. The sources of information on obesity and diet were radio and TV in males, while females gathered information from magazines and friends. The ideal body weight of male students was heavier than the actual body weight while female students desired a thinner body shape. In conclusion, a different approach for nutrition education based on sex should be developed, and implemented fur adolescents.