• The Korean Journal of Community Living Science
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• v.23 no.3
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• pp.221-231
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• 2012

To find the differences between the real somatotype and the ideal somatotype, WHR(Waist to Hip Ratio), WCR(Waist to Chest Ratio), and body cathexis were analysed by using ANOVA test, Duncan's multiple range test, and $x^2$ test. Fashion image sought by female collegians was surveyed, too. The results were as follows. WHRs in slim, usual, fat body type were 0.75, 0.76, and 0.83 and WCRs were 0.77, 0.81, 0.80. The respondents who considered themselves to be overweight recognized themselves to be fatter than their real weight. They were not satisfied with their bust girth in slim body type, thighs and calves in usual body type, and all parts except for foot length, hand length and arm length in fat body type. 60% of the thin people considered their body hourglass shape, 30.4% of regular people recognized their body triangle type, 43.8% of fat people thought their body was round form. They thought current ideal body size was bigger in height and bust girth and smaller in waist girth and hip girth, and weight than real body size. Also they responded ideal body shape was an hourglass type independent of somatotype. The pursuit of clothing image was that 45.5% of female collegians were fashionable and raffine and 10.4% of female collegians was elegant and graceful. Among the body area, body parts that may have an effect on body image were body length in 13.1% of the respondents, waist girth in 10.7% of the respondents, and hip girth in 10.0% of the respondents.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.513-522
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• 2006

The purpose of this study was to analyze characteristics and meanings of the masculine factors related with power images in women's fashion since 2000. The method of study was to analyze the documentary about the power images since the 14th Century and then the fashion magazines since 2000. The results of this study were as follows: The power image of women's fashion was internalized by wearing of the masculine factors each of an era. After 2000, characteristics of women's fashion affected by masculine factors were an exaggeration of scale, deformation, inharmonious collage and changeful borrowing. They showed the structure of new cognition of modern society uncertainty, open and decentralized. And power images presented aesthetic characteristics such as independence, ideal, sign of a amusement and decentralized virility. In conclusion, power in women's fashion has a function of creativeness, product, positiveness from past to modern. In addition, the power, which is a symbol of perfection, rationality and ideal beauty, expresses a good feeling of psychology, social friendship, value of success and will be existed as a meaningful esthetic sign in women's fashion.

• Journal of the Korean Home Economics Association
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• v.44 no.11
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• pp.67-78
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• 2006

Self-concept is a multi-dimensional characteristic including self-image and self-evaluation. Self-image is the descriptive side of self-concept and is composed of the real self-image and the ideal self-image. Self-evaluation is the appraisable side self-concept and is composed of the internal self-concept, external self-concept and total score of self-concept. The purposes of this study were to determine the correlation of self-image and self-evaluation and to identify the effects of self-image and self-evaluation on consumption value. The data were collected from 237 college women residing in Gwangju using a questionnaire to investigate real/ideal self-image, self-evaluation and consumption value. The results were analyzed with factor analysis, Pearson's correlation and multiple regression analysis using statistical program SPSS 10.0. The results of this research were as follows. 1. The real self-image and ideal self-image had a significant correlation with internal self-concept, external self-concept and total score of self-concept. It was ensured that self-image and self-evaluation are one side of the multidimensional self-concept. 2. The real/ideal self-image and internal/external self-evaluation had a significant influence on consumption value. The real self-image and external self-evaluation were the most important variables explaining the consumption value.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.49-54
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• 2007

In the 21th century, the age of image, people express and evaluate with images. Image is a symbol of a person or a thing. It simulates people's visual sense most quickly and precisely and is shared in the society. At the time, since it is acknowledged that there are few books available and lack of theoretical system with regard to image making, the purpose of this study was to get a theoretical access to image making by taking as an empirical case the case of Choi Byeongryeol, a candidate running for the congress in June 4, 1998 and combining it with theories of costume. Research methods employed here were to investigate the theoretical system of image making and fashion direction, and to analyze empirical cases. The boundary of the empirical case was limited to the candidate's fashion direction during the election period for 50 days from April 1998 to the election date June 4, 1998. The results of this study are as follows. First, personal image making aims at the establishment of one's own identity through building up an ideal image. Second, it is found that personal image making can make a complete image possible through fashion direction. Third, it is found that fashion direction functions as a symbol and communicative means with a result that the effect can penetrate to the society accurately and quickly. Fourth, it is found that fashion direction fit for a situation can enhance personal values and reinforce his or her competitive power to carry out the ultimate goals in the society. This study proved that fashion styling for personal image making expresses a person in a symbolic image, enhances his/her personal value in the society and, ultimately, contributes to the establishment of an individual's identity.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• Journal of the Korean Home Economics Association
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• v.41 no.12
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• pp.13-26
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• 2003

This study was designed (1) to examine adolescents' body cathexis, ideal body image, clothing behavior, and clothing purchasing behavior, and (2) to identify gender and age differences. Descriptive statistics, Chi-Square ($\chi^2$) analysis, Analysis of Variance (ANOVA), and Duncan-Test were employed to analyze the data collected from the convenience sample of 729 middle- and high-school students in Gyeongnam, Korea. Adolescents tended to be dissatisfied with their body, while female high school students' dissatisfactory degrees were higher The ideal body image was thinner than normal, and neither gender nor age differences were observed. Adolescents showed higher dependences compared to other clothing behaviors including conformity, fashion, popularity, brand, and exhibition, and gender and age differences were observed. Fit/comfort and clothing displayed in store were most important evaluative criterion and information search method. Adolescents tended to prefer shopping in department store with friends or parents in less than 3 hours. Gender and age differences were observed in those clothing purchasing behavior. Marketing strategies generated from the results of this study were suggested.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.735-747
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• 2008

This study was about the fashion model's images during the periods of time. Also, this was to know the model's role and fields they had worked in and to investigate the specializing courses to get advice from their diversities, specialties and activities. The method of the study was used the qualitative analysis from the relative books, theses from university graduates, the related society newsletters, fashion magazines that were printed periodical/non-periodical, and others. As a result, the glamourous image was the most famous in the twenties and thirties, and the elegant image mainly in the forties and fifths. The images were more diverse in the nineties through the girlish images of the sixties, and the sexy image with good health of the seventies and eighties. Baby faces became the ideal of models in the new century. The images of the models become popular and disappear rapidly due to the change of major trend with the change of the society's environment. Under the situation, they must take good care of their images and self-control themselves to keep a positive view of fashion models to the public, and they must have ambition as a fashion icon and make their own exclusive fields in various parts.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.604-619
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• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Korean Journal of Community Living Science
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• v.19 no.3
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• pp.431-444
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• 2008

Today people obtain much information about appearances through movies. The stars' body images in movies have been created through total fashion as they play the roles of an ideal model to create actual body images. This study examined the relations between the body images in the film media in terms of appearances or total fashion and actual body images based on the simulation theory by Jean Baudrillard. It conducted a literature study by collecting and analyzing film media-related picture images from books, papers, periodicals and the Internet home and abroad. The research scope was limited to the stars who made appearances in movies and the ones who starred in movies in addition to their other lines of work. As a result, the following conclusions were drawn; the stars' body images went hyperreal between their actual body images and the ones of their roles in movies and then were simulated in fashion. To be specific, 1. the stars' actual body images went hyperreal and were simulated in fashion in the following cases; 1) the stars in the heyday of film; 2) fashionistas; and 3) pictures taken by paparazzi. 2. The body images of their roles went hyperreal in the following cases; 1) through brand participation; 2) through changed body images; and 3) through cyber body images. Their body images became hyperreal and were simulated in fashion by the input of fashion designers and the techniques of other areas. The body images in film are the object of desire to the audience. They go hyperreal and become the ideal body image to real people. The various kinds of hyperreal images in the film media create new beauty as a reference and object of comparison for people to change their body images in reality.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.