• 복식
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• 제63권4호
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• pp.118-131
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• 2013

The purpose of this study is to take a look at the fashion frame of Korean women in their twenties and thirties to sort the actual fashion image and the ideal fashion image according to the fashion frame of Korean women in their twenties and thirties, and also to find out the standards and features that divide such a classification. For this study, we used the Q method, which is valued as an effective way to assess subjectivity. This helps to objectively classify the perception the fashion images of and the response to them as well. The analyzed materials were divided into two actual fashion frames and two ideal fashion frames, and classified them into 12 fashion image types in total, that is, six actual fashion images and six ideal fashion images, and we named each type of the fashion images and analyzed the features of each fashion image type through the in-depth Q workshop in which 14 professionals participated. The results of this study are as follows: First, the actual fashion frames of Korean women in their twenties and thirties was largely divided into 'Fashion Gold Girl', the fashion frame of mainstream and 'Indi-idol', the fashion frame of subcultures, and this was further divided into six fashion image types: 'Basic Casual', 'Vintage Performer', 'Easy Chic', 'Ladies' Look', 'City Office Girl' and 'Club Mania'. Second, the ideal fashion frame of Korean women in their twenties and thirties was divided into 'Urban Refinement', the fashion frame of the mainstream and 'Mismatched Style', the fashion frame of subcultures. It was also divided into six fashion image types: Power Fashion', 'Fashion Conservative', 'Semi-culture', 'Fashion Otaku', 'Sweet Darling' and 'Fashion Panic'. Third, The characteristics of the fashion images' colors are recognizable according to the type of fashion images.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.1-10
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• 2005

In the 21th century, the age of image, people express and are evaluated with their images. Image making, as behavior of creating image, is rapidly spreading in the society. Thus, the purpose of this study is to investigate the precise concepts of image making, and the meaning of personal image and fashion styling in image making. Based on previous studies in clothing for a theoretical examination of the concepts of image making, and the meaning of personal image and fashion styling in image making, we have analyzed and studied the concepts of image making generally accepted in the society. The results of this study are as follows. First, personal image making aims at the establishment of one's own identity through the ideal image construction. Second, the establishment of one's own identity through building up his ideal image is completed through fashion styling. Third. image making increases one's personal values and competitive power to implement its ultimate goals. In this study, we have proved that image making makes people establish their own identity by building up their ideal images through fashion styling.

• 한국의류산업학회지
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• 제17권3호
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• pp.382-391
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• 2015

People are exposed to diverse images and naturally find images to express themselves to others for personalsatisfaction. They present ideal images that they desire to obtain or actual images that they already have. People find differences between ideal images and actual images as well astry to overcome differences by managing appearance or purchasing fashion items. The congruence between real and ideal self-images and perceived body images stimulate clothing involvement or consumer confidence to influence fashion innovativeness and fashion opinion leadership. Fashion leaders are known for confidence when making buying decisions on new fashion products and are more likely to influence other consumers to buy new items. This study useda structural equation model to understand the influence of perceived self and body image on clothing involvement and consumer confidence as well as define how perceived images influence fashion leadership through clothing involvement and consumer confidence. The results of this study indicated that self-image congruence has a positive impact on social body image and personal body image. A positive influence of perceived body image on clothing involvement and consumer confidence was also detected. Fashion opinion leadership could be explained by clothing involvement and consumer confidence; however, fashion innovativeness could only be explained by consumer confidence.

• 한국의류학회지
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• 제39권6호
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• pp.867-876
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• 2015

This research studies socio-cultural hegemony change focused on male society through contemporary ideal masculine images of Asian men (especially Korean and Chinese men). Participants were: South Korean men in and around Seoul and Chinese men in Beijing and Shanghai. The youngest survey participants in their 20's and the oldest in their 40's were asked about their present men's appearance images and masculinity as well as asked to evaluate satisfaction with their own style, and interest in fashion trends on a 5-point Likert scale. In this research, an ideal masculinity was tested by 6 characters (traditional masculinity, macho masculinity, androgynous masculinity, adolescent masculinity, trendy masculinity, and general masculinity) as male avatars. Asian men's consciousness of an ideal masculinity image has moved gradually from traditional masculinity to trendy masculinity, leading to new roles in a socio-cultural agenda. Korean and Chinese men are more interested in appearance and notice fashionable styles to be trendy that follow the latest fashion because most other Asian men reflect a traditional masculinity as an ideal appearance image.

• 한국의류학회지
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• 제39권5호
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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.

• 복식
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• 제51권6호
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• 복식
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• 제51권2호
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• pp.169-180
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• 2001

This paper is intended to explore femininity, the ideal beauty of body and the features in fashion pursued in the fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and tole ideal beauty of body are referred to. On the part I of this paper, the femininity and the ideal beauty of body implied in the fashion system in the Victorian period will be reviewed. following are the conclusion : First, in the Victorian period, the value of femininity is put on the body of female by the discrimination of sex divided in two. Consequently, the characteristics of femininity mainly include dependence, passiveness, emotion, beauty, maternity, innocence, and purity. To emphasize the function of reproduction as primary duty and nature of female, the ideal beauty of body is represented in the form of Venus Naturalis, which symbolizes the fertility. And the external form of this body is expressed in slum waist line, ample busom and hip in fashion. Second, the features of this fashion are classified into three categories by their internal value : images of subordinate female, sensual female and maternal female 1) The image of subordinate female is expressed by concealment of legs, tightening the upper part of the body in corset and restriction on action by the crinoline 2) The image of sensual female is revealed in brazing colors and decoration, excessive exposure of the upper part of the body and hip by means of bustle. 3) The image of maternity is expressed in swollen skirt of crinoline, oval bustle silhouette metaphoring the extended womb resulted from pregnancy.

• 패션비즈니스
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• 제21권3호
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• pp.29-42
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• 2017

This study investigates the impact of female consumer self-image on pursued fashion style. A survey was carried out among 717 women between the ages of 20 and 60 living in Seoul, Incheon, and Gyeonggi. Analysis was conducted in the following manner: SPSS 18.0 was used to perform an Exploratory Factor Analysis (descriptive analysis, principal factor analysis, Pearson correlation analysis, frequency analysis, and reliability analysis) and AMOS 21.0 was used to carry out a Confirmatory Factor Analysis. Based on a Structure Equation Model, results show that ideal self-image and realistic self-image, which are factors derived from psychology, affect pursued fashion style. By contrast, social self-image - derived from social contexts - does not. Therefore, the female consumers' self-image influences pursued fashion style; this is opposed to the relationship between the realistic self-image and ideal self-image of women, which is more unconscious and self-satisfying. The presented results indicate that we should respond to changes in the fashion industry and develop a deeper understanding of consumer niches to discover the factors that predict purchasing behavior. This knowledge can then be applied to establish market strategies. This study contributes to the literature by producing preliminary data that can help support such strategy formulation in the fashion and clothing industry.

• 한국의류산업학회지
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• 제2권5호
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• pp.391-397
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• 2000

The purpose of the present research is to determine, for a sample of female college students, the effects of body-cathexis and importance of ideal body image on satisfaction with ready-to-wear. The sample included 177 female college students aged from 18 to 25. To measure the variables, an instrument was developed based on previous studies. Body-cathexis and importance of meeting the ideal body image were measured for five areas of body parts; head/upper body, lower body, height, weight, and torso. Satisfaction with ready-to-wear includes satisfaction with the fit at pant length, thighs, hips, waist, bust, and neckline, and with the variety in ready-to-wear. Research hypotheses were tested using multiple regression. The results showed that there was a positive impact of body-cathexis for a specific body area on ready-to-wear satisfaction which is related to the body area. The effect of importance of meeting the ideal body image on ready-to-wear clothing was different in regard to different areas of body parts.

• 한국의류학회지
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• 제28권2호
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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.