• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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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.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.4
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• pp.669-680
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• 2008

Korea's national image can be delivered through cultural products, and cultural products can finally contribute to the affirmative attitude and recognition towards Korea. In an empirical study, a questionnaire was developed based on literature review and focus group interviews with foreigners who visit Korea were executed. Subjects of this study were foreign visitors from US, China, and Japan. Finally, a total of 247 copies were used for analyses. Descriptive analyses, factor analysis, regression analysis, ANOVA, Duncan test, and paired sample t-test were conducted for data analysis, Results are as follows. Firstly, as a result of factor analysis, I found that there were seven factors to form the image of Korea; culture/art, openness, lechnology/quality, food culture, passionate narcissism, conservativeness, and pursuit of quality of life. Secondly, Several image factors were found to influence positively or negatively on their attitude toward fashion cultural products. Especially, culture/art factor was found to influence positively to Chinese and Japanese and lechnology/quality factor was found to influence positively to Japanese and American. Meanwhile, conservativeness factor was found to influence negatively to Chinese. This study will be of help to practitioners of the fashion cultural product industry for building marketing strategies whose target market is foreign visitors from different cultural backgrounds.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• Fashion & Textile Research Journal
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• v.11 no.6
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• pp.867-877
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• 2009

These days, the fantastic in opposition to classic beauty becomes a genre of creative body expression. The purpose of this study was to analyze the expressive characteristics of body types and meanings in recent fantastic fashion illustration. The method of this study was to analyze recent documentaries, fashion books, internet web site and so forth. The results were as follows: In literatures, pictures and movies, the category of the fantastic body's expressive types were classified as dominant mutant based on SF, multi body or fragment body by disruption, heterogeneous compound based on myth, personified humanoid and non substance in supernatural boundary. The dominant mutant based on SF was expressed image morphing, composition of machine image with body and modern metamorphosis of classic SF body. It means propensity to post-feminism and reservation of meaning analysis based on human unconsciousness. The multi body or fragment body by disruption in fashion illustration was expressed distorted composition of same body pictures, replacement of different bodies, deconstruction and partial omission of body and composition of meaning or non meaning images. It means permanence of self and basic narcissism. The heterogeneous compound based on myth was expressed general composition or optical illusion of various and aggressive animal motive. It means reinterpretation of original myth, metaphor of basic femme fatale, pursuit of permanence and sign of primitive mind in unconsciousness. The personified humanoid was expressed real human body description of mannequin or ball joint doll and anthropomorphism of robot image. It means representative satisfaction and nostalgia of childhood. The non substance in supernatural boundary was expressed grotesque description of ghost, zombie, vampire, angel, fairy, using of symbolic red, black color and non body. It means human's basic desire about immortality and taboo. Through the result of these study, the expression of fantastic body in fashion illustration will expend expressive method and we will understand human and cultural codes of today.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.10
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• pp.4724-4737
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• 2018

Facebook has quickly infused across cultures worldwide to become a common household term for diverse spectra of netizens, especially youngsters. Inherently, interactive in nature, Facebook provides a common cyber enabled platform for online interactions with social friends, living across the world. However, despite its merits, users also experience certain disadvantages, which include but are not limited to rise in feelings of social comparison, decline in self-esteem, contentment and general subjective well-being. This work aims to determine the role of Facebook in spreading envy and identify factors that trigger such emotions. Due to abductive nature of the study, we used pilot interviews and consulted relevant literature to formulate hypotheses. Further, we used deductive approach and conducted a survey. The results showed that frequent use of Facebook, particularly passive following is main predictor of envy, and social interaction is the biggest cause for development of envious feelings in Facebook users. However, insignificant variation was found while investigating relationship between envy and factors, such as pretentiousness, time spent, accomplishment, everything in life, likes on posts, popularity across genders, marital status and genre.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.760-775
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• 2014

In the era of 2.0 web, blog has become the media that men can express themselves with fashion more actively and independently, as paying much attention to their personal appearance and cultivating an upscale lifestyle. They often create their fashion images in the virtual space where enables a free and creative operations of self-expression. The study aims to identify the types of men's ego-images represented on the personal fashion blogs based on the framework of analysis from the previous research (Suh, 2014), to build the base data for analyzing men's fashion style in $21^{st}$21st century that reflects changes in men's sexual images, and to verify the framework as comparing with the previous case study about the women blogs (Suh, 2014). The case studies conducted 5 men's personal blogs such as bryanboy, iamgala, little fashionisto, katelovesme, and stylentonic. The study results almost same types of women's ego-images as following. The imaginary ego-image is classified as narcissism, regression, identification, and virtuality, the social ego-image as symbolism of roles and others'desire, the real ego as primary instinct, practical reality, object a, jouissance and sexual perversion. The personal style of men shown on the fashion blogs appears as a significant factor to analyze male customers in the growing men's beauty and fashion market.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.947-959
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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. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

• Journal of Korean Philosophical Society
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• v.144
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• pp.141-166
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• 2017

Adorno's most important criticism in popular movement is the identity of revolutionary leaders and followers. The identification process has three characteristics. The first characteristic is to create a sense of solidarity within the group by creating an image more real than the antagonist and ensuring the distinction between the enemy and the comrades. Individual entities that resist the mass created by the sense of solidarity disappear, and only the subject identified with the group exists. The second characteristic is to present an optimistic utopia, which makes the public believe that salvation comes from transcendent values. This mass movement also leads to criticism of other groups or people who are deemed off-limits to their own solidarity. The third characteristic is that the public, whose individual subject disappears through the narcissism-based public hypnotic state, is identified with the conductors, and forces other subjects to hypnotize themselves. The purpose of this paper is to examine how Adorno criticizes the fascist violence of mass movements and analyze what this suggests about the task of mass movements.

• English & American cultural studies
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• v.14 no.1
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• pp.73-94
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• 2014

Accounts from therapeutic culture seem often to associate the selfish, or at least self-centered quest for self-fulfillment with individual choice or satisfaction, self-expression, expressive individualism, and emotionalism. These associations point to the downside of therapy as they present it as constituting a culture of narcissism, selfishness, or irresponsibility. While some of these characterizations contain useful insights, they overlook what are maybe some of the most important features of a therapeutic outlook. This paper aims to reveal that the therapeutic imperative is not so much geared towards the realization of self-fulfillment, as it is the promotion of self-limitation. Therapeutic culture tends to posit the self in a fragile and feeble form and insist that the management of life requires the continuous intervention of therapeutic expertise. Because of this, the elevated concern with the self is underpinned by anxiety, pain, suffering, and survival, rather than seen as a positive vision of realizing the human potential. Therapeutic culture has in this way helped to construct a diminished sense of self by which one is seen as suffering from an emotional deficit and vulnerability. This paper demonstrates this downside of therapeutic culture concerning self-limitation and the sense of a diminished self by examining popular "misery memoirs." Misery memoirs are widely consumed by the general public, therefore tend to be treated by contemporary therapeutic culture as a gospel on the therapeutic ideal for self-fulfillment and self-discovery. This is, despite the existence of hidden evidence to the contrary, because of their redemptive, happy endings that show individuals overcoming difficult trials such as child abuse, incestuous rape, and domestic violence. Individual self-fulfillment and self-discovery in such stories are not achieved through the active agency of the subject but through the passive endurance of pathological symptoms and with the aid of expertise and outside support. Therefore, such stories put victims in the limited position.