• Journal of the Korean Society of Costume
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• v.33
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• pp.41-54
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• 1997

The objectives of this study were to find out the relationships between clothing style pre-ferences and self-image and to examine the differences in clothing style preferences ac-cording to marital status educational level and social stratification of women. The drawings of clothing style were designed referring to the catalogues for spring/summer of 1996 and printed by computer 6 styles of suit corresponding to clothing image were selected. Style A is a brown suit decorated with scarf style B a grey suit with stripes C a yellow suit with printed pattern D a grey and beige suit E a chanel suit decorated with corsage and F a blue suit with pleated skirt. The self-image was separated to the actual self-image and the ideal self-image. Samples were 226 women(ages 18 to 37) in Seoul Korea. The results of the study were the followings. 1. Clothing images of 6 styles were estimated; Style A was plain conservative formal and gentle image ; B masculine solid actual dark and plain image; C feminine romantic bright and splendid image; D actual ordinary un-fashionable and plain image; E feminine ten-der romantic and non-active image ; F indi-vidual fshionable open casual sprightly and active image. 2. There were significant relationships be-tween clothing style preferences and realistic self-image. The women who considered them-selves as masculine preferred style B mascu-line and plain image. The women feminine and conservative preferred style E feminine and tender image. The women not to follow the fshion preferred style D ordinary and plain image. The women informal and open pre-ferred the style F casual and active image. 3. There were significant relationships be-tween clothing style preferences and ideal self-image. The women who wanted to be-tween clothing style preferences and ideal self-image. The women who wanted to be con-sidered themselves as feminine and conserva-tive preferred style E feminine and tender im-age. The women who wanted gentle and con-servative preferred style D ordinary and plain image. The women who wanted sprightly pre-ferred the style F casual and active image. 4. There were significant differences in clothing style preferences according to marital status educational level and social stratifi-cation. The women with more eduacation pre-ferred the splendid and the plain image at the same time. The upper class preferred feminine image and lower class casual and active image.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society

• 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.

• International Journal of Costume and Fashion
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• v.4 no.2
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• pp.18-29
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• 2004

The purpose of this study was to analyze the formative beauty of metro sexual expressed on the 21C men's fashion. in 21C, metro sexual is being accepted as an object to lead the world consumption culture, and it is said to be most appropriate to the definition as a model that can determine the most modern men. Moreover, with well being life style, it shows characteristic that expresses chic sense through fashion. The results of the study were as below. 1. In recent men's wear, sensory feminine that looks young and trendy is being presented through clothes, rather than the image of men who are strong. Therefore, by wearing splendid flower print, bold color and gorgeous accessories, men send off their attractions. 2. The recent body king syndrome gave new aesthetic value on men's body. Therefore, men's body is becoming cultural icon of metro sexual as another face that shows social status and cultural taste. 3. The men's image of metro sexual that is felt from softer skin and hair than women, and well-built body is appealing more through body conscious look. Here, men's body silhouette is being sublimated aesthetically through design with various materials such as see-through and leather etc., and this is body conscious image that can be seen only in metro sexual. Like this, metro sexual fashion sense was expressed by feminine softness sometimes, and beautiful body silhouette sometimes by expressing one's sexiness enough, being away' from conceptual masculine. Therefore, the appearance of metro sexual can be understood that men's body exposure is becoming a social virtue that expresses beauty.

• Journal of the Korean Home Economics Association
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• v.30 no.2
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• pp.21-34
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• 1992

The purpose of this study was to investigate (1) the effect of a masculine-feminine image in women's blouse·skirt on the perception of the wearer's occupational characteristics and suitability of the clothing for certain occupations, and (2) the effect of perceiver's sex, sex-role attitudes, and occupation on the perception formed by the function of clothing cues. The research design of the study consisted of 2(skirt color) × 2(blose color) × 3(masculine-feminine blouse forms) factorial desing of a blouse·skirt set. The experimental materials developed for this study were a set of stimuli and 2 response scales. The stimuli consisted of 12 drawings of woman's clothing made by systematic manipulations of 2 independent variabels (color and form) in drawings of blouse-skirt. The dependent variables were the perceptions of the wearer's occupational characteristics and suitability of the masculine or feminine clothing for certain occupations. Occupational characteristics were measured with a 7-point semantic differential scale composed of 21 bipolar adjectives. Perception of occupational suitability was assessed with 12 items of 5-point Likert type questions. In addition, the Bem Sex-role Inventory was used to assess perceiver's sex-role attitudes. The subjects consisted of 393 men and 389 women, whose occupations were classified as professionals, secondary school teachers, and white-collar workers. The data were analyzed by factor analysis, MANOVA, ANOVA, Mean and S.D. Three factors emerged to account for the perception of occupational characteristics. These factors were given the titles of (1) activity, (2) potency, and (3) evaluation factors. The activity factor was the largest, including 9 adjectives and accounting for 33.3% of the variance in blouse-skirt. On the blouse-skirt set, the form of the blouse had an effect on activity and evaluation for both sexes, while the color of the skirt had an effect on evaluation for both sexes as well as on potency for men. Strong effect of color and form on blouse·skirt were seen in perception of occupational suitability for the occupations of attorney(masculine) and secretary(feminine). On suitability for secondary school teaching occupations, the effects of color and form of blouse·skirt differed by sex of the subjects. Male subjects determined suitability by the color of the blouse, while female subjects determinied suitability on the basis of the form of the blouse. Perceiver's sex-role attitude and occupation partially influenced the perception of the wearer's occupational characteristics and suitability of the clothing for certain occupations.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.139-151
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• 2011

Since personality lead to relatively consistent responses to one's own environment, consumers' distinct personality influences their buying behavior. In order to understand the relationship between consumer's personal characteristics and purchase behavior, the study investigated the effect of consumers' personality trait on the clothing selection criteria and preferred clothing image. Survey was utilized to collect the data and subjects were 333 high school students. Measures consisted of three main constructs: Consumer's extroversion and openness based on the Big-Five personality trait, clothing selection criteria, and preferred clothing image. The data were analyzed using PRELIS 2, LISREL 8.8, and SAS 9.2. The subjects was classified into three groups; Group 1 was a group of intermediate-level in openness and extroversion while Group 2 was a group of high-level in both personality traits. Group 3 was a group of high-level in openness but of low-level in extroversion. Clothing selection criteria were confirmed to have five constructs: other-directed, aesthetic, fashion & conformity-oriented, brand-oriented, and practical. In the buying situation, Group 1 prioritized fashion & conformity-oriented and brand-oriented criteria but regarded other-directed and aesthetic as less important than other groups did. Group 2 considered that all of the clothing selection criteria were important except practical. "The were six factors in the clothing image: elegance, simple, ethnic, masculine, active, and modem. The result showed a significant difference between groups in preferred clothing images. Group 2 liked most of the clothing images but group 3 did not. Group 3 preferred simple clothing image more than masculine or ethnic ones. Overall, the study concluded that the openness and extroversion of Big-Five personality traits could serve as a predictor of clothing selection criteria and preferred clothing image.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1260-1269
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• 2003

This paper endeavors to examine the most suitable formal dress design for mid-aged men who lives in Kwangju, the Republic of Korea. Visual effect in associate design is considered with adjustment, figured and the body type. There are partly similarity differences in associate design visual effect by one's shape and clothes design. Firstly, in thin type, striped figured suit is the most attractive. Single adjustment suit with striped figured tend to be attractive, young and modernistic. Single adjustment without figured is felt the mellowest. Secondly, in standard type, the suit without figured is perceived the most attractive and masculine. The suit with striped figured is looked more young. Single adjustment suit without figured is the most attractive and mellow also single adjustment with figured is felt the youngest. Double adjustment without figured is felt mellow and with striped figured is felt the most modernistic and familiar. Also double adjustment suit with check figured is felt more modernistic. Thirdly, in pyknic type, the solid figured and striped figured of the suits are felt more masculine and single without figured is thought attractive. Single adjustment with check figured is common image. Also, double adjustment with stripe figured is perceived attractive. In conclusion, the adjustment, number of button and figure are very important facts for the clothes for giving whole visual effect of men's suit.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of Fashion Business
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• v.17 no.4
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• pp.164-176
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• 2013

The study aims to find differences in clothing image preferences according to gender-roleidentity. The questionnaire developed by the researchers was distributed to 533 men and women who aged between 20 and 59. Fourhundred eight questionnaires were used for the final analysis. The data were analyzed by ANOVA, and Tukey's test using SPSS 18.0/Windows. As results, both male and female participant groups of the study were classified into 4 groups according to their gender-role identity: masculinity, femininity, androgyny, and the undifferentiated. For men, the masculinity group showed a higher preference for flamboyant, sexy, expressive, cold, mature, hard, strong, weighty, heavy, sharp images, while the femininity group showed a stronger preference for flamboyant, bold, luxurious clothing images. The male androgyny group preferred masculine, sexy, cold, mature, hard, strong, weighty, luxurious, heavy, artificial images, whereas the undifferentiated group preferred flamboyant, sexy and mature images. On the other hand, for women, the masculinity group showed a higher preference for luxurious image, while the femininity group showed a stronger preference for sexy, urban, decorative, modern, complicated, luxurious images. The female androgyny group preferred expressive, modern, mature, complicated, and luxurious images, whereas the undifferentiated group preferred bold, decorative, rational, and complicated clothing images.