• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.168-176
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• 2006

In modern society, Korean women has been doing make-up developing as one of the beauty industry and it means make-up involves more meanings than in primitive period. Therefore we need to study its multi-dimensional connotation Which in the culture that means to understand the society and their way of thinking, and their social value. The structure of feeling represented in make-up in the 70's was Korean women's wish which were to be rich and westernized. In the 70's, Korean women moved to city, and meanwhile they work hard, they has been accepted western lifestyle and it proved on women's face. And in the 80's, Korea has been developed rapidly, and Korean government make people free. So Korean women's structure of feeling in the 80's were women's automation derived from political and economical development. And women expressed their structure of feeling as abundance in the society and women has to been stately. In the 90's Korean women were revolutionary and returned to nostalgia. In 2001, as the world faced new century, Korean women's life has been changed and the structure of feeling were pureness, simple and easiness.

• Fashion & Textile Research Journal
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• v.3 no.3
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• pp.219-226
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• 2001

This study analyzed the works, introduced in the collections of Thierry Mugler in an aim to identify formative aesthetic and design concepts. As the data to study the creative concepts and expressions of the designer, fashion photographs were gathered in a focus on collections. The formative aesthetic expressed in the works of Thierry Mugler were characterized by the eroticism and the futurism. The formative aesthetic of eroticism were specified into the sexualism, primitivism and fetishism, and those of futurism were divided into the cosmocorps and the grotesque. The eroticism was based on the design concept on the body of woman. The sexuality was expressed through the design concept of opposing, extreme and conversion method. The primitivism was presented through the design concept of extreme method to express a returning to nature and a nostalgia and an adoration for the past. The pieces, expressed the fetishism, was presented through opposing concepts, such as a bondage and an extreme expose. It was indicated that the design concept of futurism was based on the future. The cosmocorps was expressed through the extreme method by using geometrical formative aesthetic and contrast color combination. The grotesque represented the mysterious and abhorrent futurism through the design concept of depaysment conversion and analogy.

• Women's Health Nursing
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• v.18 no.2
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• pp.85-97
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• 2012

Purpose: This study was done to explore the lived experience of pregnancy, childbirth, postpartum and early child rearing in married immigrant women in urban areas. Methods: Data were collected from February to April, 2011 through in-depth interviews. Nine immigrant women were selected in a metropolitan area through the purposive and snowball sampling method. After obtaining IRB permission and informed consent from the participants, all interviews were recorded with MP3 recorder and transcribed for analysis. Using the phenomenological approach, data collected through in-depth interviewing were analyzed following Colaizzi style. Results: Data analysis revealed 4 categories and 10 themes related to pregnancy, childbirth, postpartum and early child rearing of married immigrant women in urban areas. These four categories were 'A clumsy foreigner's life with nostalgia', 'Crisis in the crisis', 'Unprepared for motherhood', and 'Living together with new family without regrets'. It was a common finding that they were not ready to be mothers because of the very short time for adjustment in Korea. Compared to rural, immigrant women urban women had various in social support systems. Conclusion: The results indicate that adequate education is needed for immigrant women regarding motherhood, and that this education should be culturally appropriate for these women.

• Human Ecology Research
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• v.51 no.3
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• pp.263-273
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• 2013

The purpose of this research is to examine track suits which appear in mass media and to attempt to understand their embedded symbolism. Hence, a theoretical inquiry and case study on suit tracks were carried out. The case study was confined to the period since 2000, when sportswear emerged as a megatrend in fashion, to 2012. Occurrences of track suits in film, TV dramas, music videos, advertisements, and fashion collections were examined. Research indicated that the track suits in film or TV drama worked as items to give a change to coordination, material and decoration, so that the track suits highlighted the characters in them rather than emphasizing external factors or their own design. They were used as tools to indicate the sensual and dynamical feminine image in the rap and hip hop genres in music video. They also showed the dynamic image of modern woman via advertisements of sports brands. In the case of celebrity fashion, both inside and outside Korea, they introduced the track suits in a comfortable and sensual manner through both official and unofficial image releases. In the fashion collections, transboundary deconstructiveness was strongly expressed in terms of design, material, color, and production method. The case study in this research indicated that the symbolism in track suits was characterized as transboundary deconstruction as well as value in dynamic femininity, and products from reactionary nostalgia.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1020-1029
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• 2007

The objective of this research is to find out the BRQ(Brand Relationship Quality) construct perceived by fashion product consumers. BRQ, Fournier suggested in 1994, examines the depth and intensity of the enduring association formed by the pattern of interactions enjoining consumers and brands. As BRQ was supposed to reflect consumers' psychological process, qualitative research and literature review were conducted together. For qualitative research, two kinds of interviews were carried out in October and November 2005 to investigate consumers' cognitive, affective, and behavioral insight towards brands. One of them was in-depth interview with six people in different life situation. The other was focus group interview. Interviewees were asked to explain about two types of questions: (1) the brand name which interviewees had bought and (2) the description of interviewees' feeling and thought for the brand which the interviewees had bought assuming the brand was the person. All interviews were recorded and analyzed. Finally, it was proved that fashion product consumers had various kinds of relationship with brands, and BRQ facets including 'love', 'self-connection', 'nostalgia', 'intimacy', 'trust', 'commitment', 'symbol', and 'mystery' were identified.

• Journal of Fashion Business
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• v.17 no.2
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• pp.1-16
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• 2013

Subcultural style is the center of subcultural identity and the clothes and adornments are the most visible symbol of membership. The Goth subculture has associated tastes in music, aesthetics, and fashion. The style symbolized the strong subjective subcultural identity held by most Goths and acted as the practical basis to demonstrate their commitment to the subculture. This study investigates the aesthetic and the style of Goth subculture in its heyday of 1980s which has continued to affect mainstream fashion and culture since its birth. In order to inquire the concept of subculture and its style, this study executes literature survey as well as investigates the images of street style magazines to analyze the visual elements. The stylistic and the aesthetic characteristics of Goth subcultural style analyzed in this study are grouped into four categories as follows: first, Victoriana, which embodies the fear of death and the nostalgia for the past using Victorian morning dresses and corsets, second, vampirism, in that some Goths who are fascinated by vampires are costumed in vampire figures to advocate diabolism and decadence, third, sexual ambiguity of male Goths which emphasizes feminine appearance in the pursuit of androgyny, and fourth, sexual fetish of female Goths which represents aggressive eroticism utilizing fetish paraphernalia.

• Journal of Fashion Business
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• v.9 no.6
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.545-567
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• 2013

Keeping in mind the hybridity and plurality of Southern Literature, this paper discusses the traits of Southern literature in Jayne Ann Phillips's first novel, Machine Dream. The novel's frequent use of memory and oral reconstruction of a family history accompanied by the feeling of loss in the process of depicting the South's past typically signifies "The Southern" which reminds us of the works of William Faulkner, Katherine Ann Porter, and Eudora Welty. Nevertheless, Phillips's South is more fragmented and her narrative is more evasive and varied than any of her Southern predecessors. The South of the twentieth century from the period of Depression until 1972 is reconstructed differently depending on memories and desires of the four members of Hampson family in this novel, either as a place of nostalgia or as the place of trauma or as the place to survive only in memory. The oxymoronic title of the novel, "machine dreams" signifies that dream and memory of the South cannot remain independent in its epistemological entity but exist as a mixture of materiality of every day life in the modern South. The hybridity of this dream and of the South is what defines itself as Southern. Yet Phillips retains feeling of loss and lament enough to create a modern Southern novel rooted in Southern Literature. Thus, the title itself works an antinomic signifier of both the presence and absence of the dream of the South and of Southern Literature.

• Iberoamérica
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• v.23 no.2
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• pp.179-208
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• 2021

Luis Humberto Crosthwaite, as a witness to the accelerated changes in Tijuana since the 80's, has built a chronicle of the city based on nostalgia, fantasy, popular language, music, and criticism of the inequality between both sides of the border, but above all, on humour and irony. Among the gallery of characters that populate his stories, the common resident of the border has a special place. Here we are not talking about the passing person or newcomers, but of those who have shaped their social and personal identity from a long every day relationship with the city and the borderline, which makes up what we will call the border-being. In this work, we dialogue with the psychoanalytic concept of border personality or borderline disorder, which refers in a general way to subjects with a deep fracture between the self and the being, which prompts a psychotic search to reconcile this division. In addition, we will engage in an interdisciplinary dialogue to analyse how Crosthwaite characterises the fracture of the border-subjects in some of the stories of the book Instrucciones para cruzar la frontera, to point out the psychosis caused by the sociocultural tensions of life in a border city like Tijuana.

• Journal of Fashion Business
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• v.26 no.1
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• pp.140-157
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• 2022

This study examined the types of retro marketing of fashion brands and explored the difference in retro characteristics and nostalgic emotions. Additionally, the effects of retro characteristics on nostalgic emotions and the influence of nostalgic emotions on brand attitude were examined. A total of 33 fashion brands, including eight designer brands, 10 sports and outdoor brands, 11 casual brands, and four SPA brands were investigated to categorize the retro marketing types. An online survey was also conducted of respondents in their 20s to 50s, and a total of 363 responses were analyzed using SPSS 26.0. The results were as follows. First, the retro marketing of fashion brands was categorized into four types including brand heritage marketing, retro design marketing, retro emotional experience-oriented marketing, and brand collaboration marketing. The four retro marketing types showed differences in retro characteristics and nostalgic emotions. Second, the retro characteristics consisted of four dimensions including familiarity, attractiveness, uniqueness, and historicity. Nostalgic emotions consisted of four dimensions including sadness, longingness, comfort, and pleasure. Third, the results showed that familiarity and attractiveness had significant effects on comfort and pleasure, while uniqueness and historicity had significant effects on longingness. Fourth, the results showed that longingness, comfort, and pleasure had positive effects on brand attitude, whereas sadness had a negative effect on brand attitude.