• 복식문화연구
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• 제18권2호
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• pp.337-347
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• 2010

The purpose of this study was to figure out consumer's recognition on brand's peculiar style on Korean contemporary women's apparel brand. The contemporary women's apparel brands show advanced and stylish merchandise at better price points. This segment of the Korean ready-to-wear market has been growing fast in last decades. Four contemporary women's apparel brands(I, K, M, and T) were participated in this study. The data(n=216) were collected with questionnaire survey at 24 apparel retail shops in metro Seoul area. The questionnaire measured the consumers' recognition on each brand's peculiar style. The subjects evaluated each brand's typical silhouette, materials, and style image. The results of the survey showed that the style image factors were 'stylish', 'simple', 'casual', 'feminine', and 'classic'. The style image of each brand was differentiated from others. The brand T had classic image, the brand K had simple and casual image, brand M had stylistic image, and the brand I had feminine image. The features of materials that used at the four brands were not very different by the brands. They used the high valued materials. The common features of the materials were 'smooth', 'thin' and 'light weight.'

• 복식
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• 제61권8호
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• pp.100-113
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• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• 복식문화연구
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• 제17권5호
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• pp.758-768
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• 2009

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. The domestic formativeness of all styles is divided into three types: modern feminine, mono-bosom, and utopian narcissist image. This study is baseds on the documents study.

• 영미문화
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• 제14권1호
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• pp.269-286
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• 2014

The Pre-Raphaelite oeuvre abounds in the image of women, which indicates the impact of gender question on contemporary visual culture. The representation of women in their art tends to evince the entrenched myth of womanhood, marked by a stereotyped dichotomy in the apprehension of femininity. Yet there are a significant number of pictures which attest to the point that their iconography of womanhood cannot be fully elucidated by exploring the dichotomy alone. They falsify the dyadic model, defying the attempt to accommodate them in a clean-cut category. The curious blend of the mystical, the sensual, and the domestic that characterizes these images suggests that they are open to multiple interpretations. In sum, the Pre-Raphaelite representation of women both endorses and challenges the ideal of femininity, indicating that it was shaped by and shaped contemporary perceptions of women at a time when gender relations were shifting and the traditional institution of patriarchy revealed a sign of strain.

• 한국의류학회지
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• 제25권2호
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• pp.327-338
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• 2001

The purpose of this thesis is to study the aspects of sex identity in the contemporary mens fashion expressed through sexual image and taste in the half of twentieth century. The aspects of sex identity expression in the contemporary mens fashion can be classified by image, that is, homosexual, heroic, bisexual, and fetish. 1. The homosexual image has shown the tendency to emphasize the masculinity since 1950.60s. It can be found in \"Cowboys costume\" which is typical of American traditional fashion, and jeans and underwear fashion expressed by muscular men has homosexual characteristics which contain narcissism. 2. Based on mens traditional gender role, the heroic image emphasizes mens physical characteristics and expresses tough and offensive masculine beauty in mens suit which is free from the authority and formality. 3. The bisexual image denied the division of gender role by costume and destroyed the traditional sex model by resolutely applying womens costume such as skirts to mens fashion. 4. The fetish image is similar to bisexual image in that they wear womens costume, but different in that it expresses sexual desire or fantasy. It is expressed through brilliant color, leather and metal ornaments, and sensual element of women which emphasizes \"body\". This shows the sex identity of contemporary men who want more sensible and free life.sible and free life.

• 수완나부미
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• 제1권1호
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• pp.75-89
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• 2009

This paper aims at scrutinizing how the women's image in the Thai film 'Nang-Nak' has been represented, affecting the Thai people intensely and achieving its great success in spite of having the background of 19th century and being a remaker. To fulfill the purpose and analyze the argument, the ideas of Lee(1989), Joan(1973) and Joo(1996) are used as theoretical concepts for this study. As a result, two images of Thai women seem to be revealed in the movie. The first image, drawn from 'Maen' and 'Mian', is conventional, somewhat ideal type for Thai women, so being a common aspect. What makes the movie a big deal, however, is another image which the heroine 'Nak' has shown, attracting the audience to be moved to tears. It may be apparently an idiosyncratic or extraordinary one from the traditional point of view in Thailand, but in other sense is a new, fresh image for which the contemporary Thai women want to seek. That is why the movie became one of the most popular in Thailand.

• 한국가정과학회지
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• 제2권2호
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• pp.63-79
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• 1999

The essence of Feminism is to establish the women＇s subjecthood as representing women＇s sexual characteristic and emerging from the fixed idea about women in our androcentric society. Feminism has been developed in various stages : the homogeneous theory which emphasized the similarity between men and women, the heterogeneous theory which persisted in he difference between men and women and underscored womanhood as an unique quality, androgynous theory which insisted on the common of two sexes since 1980＇s. The purpose of the thesis is to discuss the correlation between the feminism and the fashion, to examine its influence on shaping the contemporary fashion, and to infer what the women＇s fashion be like in the coming 21st century. The result of the thesis is as follows : First, the Mannish Look had been developed from the masculinization of female clothing by borrowing the style of women from that of men clothes since 1970＇s. Second, the Glamor Look has been stressed as the feminism began to swing toward which emphasized the difference between men and women, and women＇s sexual characteristics from the late 1970＇s. Third, from the late 19th century, the Fetish Look is still employed in various ways by the avant-garde designers, which impowered to increase the visualization of sex. Fourth, the Androgynous Look was born, androgynous image and neutral image, by the influence of the socio-cultural aspect of gender rather than the physical aspect from the middle 1980＇s.

• 한국의류학회지
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• 제17권3호
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• pp.367-379
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• 1993

The objectives of this study were to classify the contents of clothing image preferences of Korean and American students, and to examine how clothing image preferences vary according to sex role identity, sex, and culture. A woman's clothing image preference inventory and the Bem Sex Role Inventory were administered to 127 Korean students and 116 American students. Sex role idendity was classified into androgynous, masculine, feminine, and undifferentiated type. 1. Four segments of woman's clothing image preference derived by factor analysis : F. 1 'splendid-plain' ; F. 2 'feminine-masculine' ; F. 3 'casual-formal' ; F. 4 'classic-contemporary'. 2. Americans prefered splendid image more than did Koreans. Androgynous-typed males liked splendid image most among American male subjects. 3. There was interaction effect between sex and culture on feminine-masculine image preference. In Korean students, males liked feminine image much more than did females. Masculine-typed females liked masculine image most among American female subjects. 4. Koreans prefered casual image more than did Americans. 5. There was interaction effect between sex role identity, sex, and culture($4{\times}2{\times}2$) on classic-contemporary image preference. Feminine-typed females liked classic image most among Korean female subjects. 6. Korean males especially prefered luxurious image least. Korean females contemporary most, American males sexy most, American females fashionable most among four subject groups. That is, differences on clothing image preferences were found according to sex role identity, sex, and culture.

• 복식
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• 제64권3호
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• pp.142-154
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• 2014

The purpose of this study is to classify fashion images of senior women who have emerged as influential customers in the fashion industry. Characteristics of fashion images of senior women are identified by fashion style, preference color, and self-image. With the collected data, the Q group, consisting of Korean women who are in their 50s, was targeted using the Q methodology. The following factors were evaluated through in-depth interviews: fashion style, preference color and self-image. The fashion images of senior women were classified into the following 4 types: Characteristic modern, Reasonable basic, Comfortable contemporary, and Conservative elegance. Those classified fashion image types were influenced by the factors of nobleness, usefulness, personality, fashionableness, and youthfulness in accordance with fashion style, preference color, and self-image. The results of this study may provide basic information for fashion image planning for senior women and meaningful data for redefining and diversifying the concept of senior fashion brand which reflects the generation's changed taste and lifestyle.

• 복식문화연구
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• 제13권5호
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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.