• 한국의류학회지
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• 제36권9호
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• pp.916-927
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• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• 21세기정치학회보
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• 제28권2호
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• pp.145-162
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• 2018

뉴 페미니즘 2000년대 독일의 사회경제적, 정치적 변화에 대응하는 일부 젊은 세대의 문화와 요구를 반영한다. 뉴 페미니즘은 자유와 선택, 성과주의와 개인적 책임을 강조하고, 제2기 페미니즘의 이데올로기적이고, 도구마적인 페미니즘을 거부하며, '일상의 페미니즘'을 주장한다. 또한 대중문화에 비쳐진 객체화된 여성성을 비판하고, 성적 쾌락을 자유롭게 누리는 주체적 여성성을 주장 하고, 남성과 함께 하는 페미니즘을 주장한다. 뉴 페미니즘은 페미니즘의 요소들을 임의적으로 선택해서 혼합하고, 재정의 하면서 페미니즘의 주요기능인 사회비판과 사회변화의 동력을 잃고, 현상유지적인 한계를 보인다. 또한 학술적, 이론적 논의가 결여된 채 미디어에 의해서 확산되면서 페미니즘에 대한 왜곡된 지식과 이해를 증폭시키고, 세대 간의 갈등을 야기 시켜 독일 페미니즘과 여성운동의 발전을 저해할 수 있다.

• 복식
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• 제30권
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• pp.211-225
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• 1996

In this paper we discuss the corelation be-tween feminism and fashion and examine its influnce on mordern fashion. And we also try to infer what the fashion design will be like in the future by understanding the value of modern fashion from a new viewpoint. The Early Feminism which advocated the similarity between man and women held the thought that women could be equal to men only when they behaved in the same way as men did, In 1970s when the pendulum of the Early Feminism movement reached its highest point a manish look began to flourish. The manish look introduced the items once employed only for men such as trench costs tidy tailored suits shirts and ties to women clothes. It has taken root deeply in women's life and is still employed in various ways by many designers. From the late 1970s the pendulum of feminism movement began to swing toward the Essentialist Feminism which emphasized the differences between men and women. It focused not on the negative image of women seen from male-oriented viewpoints but on their positive image and stressed women's sexual characteristic to make distinction between two genders. in fashion the Essentialist Feminism played a role in bringing about a sexy look which stressed the erotic silhouette of woman's body. The latest feminism is the socio-cultural one. It sees the distinction between men and women as sexual discrimination and introduces the androgynous human which carries the characteristic of two sexes. it leads to ambiguity of sex roles and at the same time serves to make androgynous social atmosphere by admitting the coexistence of two genders. The androgynous idea in fashion is expressed as a new trend which crosses men and women's own beauty while keeping their own identity intact. As we have briefly reviewed feminism in fashion has been presented in various ways with regard to expressing the nature of men and women. And it has continuously indicated the ultimate message of the salvation of mankind such as the respect for humanity and recovery of humanism.

• 과학기술학연구
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• 제19권3호
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• pp.167-200
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• 2019

최근 서구 인문사회학계의 최대 관심사는 물질이며 페미니즘도 예외는 아니다. 이전까지 과학기술에 대하여 비판적인 태도를 보여주었던 페미니즘이 물질과 새로운 관계 맺기를 시도한다는 것은 주목할 만한 변화이다. 과학기술학 역시 "존재론적 전환"을 통해서 존재 그 자체에 대한 연구 성과를 축적해 왔다. 본 논문은 신유물론이나 신유물론 페미니즘을 전면적으로 소개하기 보다는 신유물론 페미니즘의 성과를 선택적으로 활용하여 과학기술과 여성 연구하기의 가능성과 잠재력을 드러내는 것을 목적으로 한다. 본문에서는 안느마리 몰, 캐런 버러드, 그리고 캐리스 탐슨을 중심으로 과학기술학의 존재론적 개념을 통해 성형외과 현장연구 사례를 분석함으로써 여성의 과학기술 실천을 연구하는 한 방식을 보이며 페미니즘과 과학기술학의 새로운 관계 맺기를 제안할 것이다. 본 논문의 구성은 다음과 같다. 우선 신유물론 페미니즘의 요지를 간략하게 정리한 후, 신유물론 페미니즘의 문제의식 하에 페미니스트 성형수술 선행연구의 한계를 보일 것이다. 이어서 과학기술학 분야의 존재론적 전환에 해당하는 개념 및 이론을 소개하고 그것을 통해서 성형수술 실천을 기술하며 마지막으로 신유물론 페미니즘과 과학기술학의 접점에 있는 연구가 갖는 페미니스트 함의를 분석할 것이다.

• 한국의상디자인학회지
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• 제20권3호
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• pp.63-78
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• 2018

This study analyzed gender-fluid images as expressions of feminism and gender identity expressed in fashion collections. As for the research method, this study searched the fashion collections, with the theme of feminism, utilizing key words related to feminism on an online portal, and collected the photo materials of fashion collections provided by vogue.com. This study classified the photo materials of 31 fashion collections, with the theme of feminism, into femininity, masculinity, androgyny, and avant-garde, according to the fashion design elements that divide gender identity. As a result of the classification, 326 photos were collected, in which gender identity was expressed ambiguously. This study reclassified the collected photos according to their fashion items and styles. As a result of the study, it was noticed that the fashion collections with the theme of feminism expressed the messages, using lettering graphic images, and performance. In addition, they showed a form in which men's collections and women's collections were integrated according to the change of the perceptions of gender identity, of feminism, and delivered body positive expressions, respecting differences and diversity as individual subjects, by casting diverse models in terms of age, body size, race, and culture. As for the gender identity expressed in the fashion collections, the gender-fluid images were classified into empowerment images, that expresses social rights and dignity; agender images that expresses the possibility of a gender-flexible transition; rational images that expresses the rational and practical characteristics that removed the boundary of fashion; and images of pro-sexism that expresses a new gender identity.

• 한국의류산업학회지
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• 제1권3호
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• pp.218-230
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• 1999

The purpose of this study is -under the post-modem situation- to emphasize the role of women which has various several logic on feminism, to look forward to division of men's consciousness of women, and to reflect a trend to accept the role of sex which is occurring in the system of sex, that is, 'The Third Gender and Homosexuality'. The category of biological and sociocultural on feminism discussed, meantime expressed the sexual logic under post-modern situation, and probed the sexual logic on feminism which was expressed in modem dress and its ornaments by redefining some characters as follows; Imitation-it was to attain masculinity by imitating the body of the opposite sex. Interaction such situations like...... masculinity in women, feminity in men was demonstrated as transvestism of cross-dressing and the symbolic meaning of homosexuality was demonstrated in the shoes of sociocultural on Feminism. Dispersion appeared as a moderation charm and a resistance against the men-ruling culture. Destruction-expressed the fetishism of punk of porny image and maternal affectional image of biological trend as playful satire. Therefore, It is conceived that Feminism would be created true human-phase come true in the men's world as long as the realization of women themselves make the phase of women higher; and further not only propose new image of women but the system of gender.

• 트랜스-
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• 제5권
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• pp.83-111
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• 2018

본 연구는 유럽 현대무용의 여성 안무가인 안느 테레사 드 키어스매커(Anne Teresa De Keersmaeker)의 초창기 작품 <로사스 댄스 로사스 Rosas danst Rosas>, <에레나의 아리아 Elena's Aria>를 페미니즘 관점으로 분석하는 것을 목적으로 한다. 18세기부터 시작된 페미니즘(Feminism)운동은 여성에 대한 시각과 인식을 변화시켰고 이후 예술작품 속 여성은 나약한 이미지보단 강인하고 독립성을 띈 모습들이 많이 보였다. 이러한 시대적 흐름 속 페미니즘의 영향은 현재 여성예술가들의 활동이 두드러지게 변할 수 있는 의의를 제공하였다. 이에 사회 문화적 흐름에서의 페미니즘 시각으로 작품 속 여성 무용수의 이미지와 역할을 조명할 필요성을 느끼며 본 연구를 시작하였다. 안느 테레사 드 키어스매커의 작품에 나타나는 페미니즘을 분석한 결과는 다음과 같다. 두 작품에서 가장 두드러지게 나타나는 페미니즘은 급진주의 페미니즘, 포스트모던 페미니즘이었다. 이러한 결과는 <로사스 댄스 로사스>에서 여성무용수의 신체적 억압을 통해 자유의지의 해방적 요소로 급진주의 페미니즘으로 나타났으며 <에레나의 아리아>에서는 여성의 신체 억압이 자유의지의 해방으로 해석되어 급진주의 페미니즘으로 해석되었다. 이와 같이 안느 테레사의 작품을 페미니즘 관점으로 해석한 결과 1980년대 이후에 대두된 페미니즘 이론들과의 상관성 및 영향이 도출됨을 확인할 수 있었다. 이러한 결과를 통해 그녀의 안무철학과 방향성을 탐색 할 수 있는 또 다른 시각과 영역이 확장 될 수 있는 가능성을 제시하였으며, 국내에는 그녀를 다양한 시각으로 접근한 연구 및 분석 자료가 전무한 실정에서 새로운 관점 및 시각의 필요성을 재차 확인할 수 있었다. 본 연구자는 페미니즘의 시각으로 안느 테레사를 연구함으로서 현 시대 여성과 남성무용가들이 생산하는 다양한 이미지들이 바로 소멸하여 의미를 잃지 않고 상생하며 발전할 수 있는 계기가 되기를 바란다.

• 한국의류산업학회지
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• 제17권1호
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• pp.33-41
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• 2015

It analyzes the expressive characteristics of the third wave feminism revealed in the fashion photographs and examines the feminine image affected by the third wave feminism. For the research purposes, both literature review and case study were conducted together. Through the analysis on the expressive characteristics of the fashion photographs based on the characteristics of the third wave feminism, the followings are definitions of the feminine image affected by the third wave feminism. First, as the 'Female image with sexual freedom', it escapes from the passive viewpoint and expresses liberation and rights of women as the subject of the power rather than subordination using sexuality of women actively. Second, as the 'Female image with multiple aspects', it pursues an independent and strong image, challenges and threatens the man power. Third, as the 'Multicultural female image', it reduces a gap among colored races and many other cultures, seeks after rights and freedom independently escaping from the dual oppression, Fourth, as the 'Queer female image', it disorganizes dichotomous gender identity actively and pursues diverse gender identities. So, it shows that the third wave feminism expressed by the various media cultures influences the feminine image in a society at large creating a new image of a woman through exchanging and communicating with its recipients.

• 한국의류학회지
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• 제35권1호
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• pp.89-103
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• 2011

The recent innovations in technoscience have changed the patterns of everyday lives for women and their politics of identity. Among the various debates on a women's relationship to technoscience, Donna J. Haraway's theory of the cyborg has been one of the most influential, as it provides new modes of conceiving subjectivity as well as new notions of women's shared experiences. For Haraway, the cyborg is an image of a female subject that will lead the future of science and technology as an amalgamation of non-hierarchical differences. This study examines the characteristics and meanings for the distortion, anti-aesthetic body, and clothing in fashion design through the cyborg feminism theory. Characteristics and meanings of the cyborg in fashion designs find their expression through mechanical images, distorted physical transformations, reconstruction of a destructed body, expression of an anatomical and heterogeneous body, and the persona image. Such expressions are not simply an act of distorting and destroying a body image but extending the category of a body, but of going beyond the limit of a real body and create a new body.

• 패션비즈니스
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• 제24권6호
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.