• International Journal of Costume and Fashion
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• 제7권2호
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• pp.49-63
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• 2007

In this study, we inquire into the general concepts of eroticism as it appears in literature and the arts, and use this as a foundation to meditate on the eroticism of attire throughout history. We also ascertained external forms based on the range of "The way we look" by Delong. In this way we inclusively studied both the content and form of modes of eroticism in the perspective of Brodsky's "linked solution." The original concept of eroticism is a technique by which one attains physical passion, referring to a nature which is deeply rooted in the cultural traditions, myths, habits. religion and arts of mankind, inducing expressions of sensual love. We integrated this eroticism in 4 categories: sensuality, which induces beauty; naturality, denoting idealization or rational beauty; primitivity, characterized by grotesque expressions or direct and natural sexual depictions; and symbolism by which sex is symbolically or mechanically projected. The concept of eroticism contains both positive and negative aspects, but rather than dealing with sex in a mechanical or perverted manner to express eroticism, it is more appropriate to guide the direction of modes of eroticism by stimulating the "desire to show" and the "desire to see" with the dialectic of obstruction and exposure as a figurative expression of true passion, and narcistic phenomena in which beauty is expressed through exaggeration or magnification and adhesion.

• 복식
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• 제52권1호
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• pp.103-115
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• 2002

The purpose of this study is understanding modern woman's various aesthetic values and aesthetic sense through observing expression aspects of gender images in the 1990s military fashion and analyzing their aesthetic characteristics and formative factors. Gender images in military fashion have expressed the masculine image of authoritative image and offensive image and offensive image, and the feminine image of conservative image and ostentatious image, sensual image. The authoritative image showed authority and dignity of military uniform by using the classic military uniform's image. This spoke for desire of women to rise their position. Heroism and androcentrism affected as its formation factor. The offensive image destroyed original dignified image of military uniform by that resistance to authoritative image and existing gender identity appeared as way-out form and deconstructive expression. Anti-establishment spirit, resistance to gender identity, and deconstructionism affected as its formation factor. The conservative image expressed military fashion only with slim and soft silhouette, curved line, color, and simple details by magnifying feminity. Fallen man's authority affected as its formation factor. The ostentatious image expressed military fashion with magnifying accessories such as gold button and belt by women who wanted to display ostentatiously their social position and charm. The aspiration for class of elite affected as its formation factor. The sensual image intended to show erotic voluptuous beauty of woman's body by indirect and direct body exposure. Narcissism, desire to show, and sexual amusement affected as its formation factor.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식
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• 제50권2호
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• 한국생활과학회지
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• 제15권6호
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• pp.1063-1071
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• 2006

Fetishism, which has been a taboo for a long time, is stimulating the modem people's emotions by being reborn as a fashion trend by a number of designers like Jean Paul Gaultier, Vivienne Westwood and Claud Montana. Especially, Jean Paul Gaultier, called the bad boy of the fashion industry, is leading the Paris fashion world by expressing his unique fetish elements with his fantastic and uncommon ideas-males' wearing of skirts, wearing underwear like outer garments. Therefore, this study is aimed at investigating how his fetishism is shown in his works, understanding his fetish fashion world in the modem fashion and offering a new stepping-stone for fashion designers to actively participate in new fashion areas. Its results are as follows. First, it was found that the sensual designer Jean Paul Gaultier has been expressing his unique fetish elements in his collections like the following three styles of fetishism-fetishism by physical emphases, fetishism by items, fetishism by material. Second, the symbols of voluptuous beauty reflecting his own fetishism could be found in his movie costumes, license areas and given plots. Third, the work describing Jean Paul Gaultier's fetishism as a fetish image with the concept of Fantasy of Missing was evaluated as a successful work to express an internal sexual desire.

• 한국의류산업학회지
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• 제5권5호
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• pp.470-480
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• 2003

This study looks upon the borderless phenomenon of genres and at the disintegration of boundaries in fashion, the current 'borderless trend', and analyze modern men's fashion having borderless phenomenon under social changes and disclose current men's fashion. The borderless phenomenon of men's fashion declines traditional image of gender and expresses modern men's images strongly in accordance with social changes: Thus, in modern days, men's images have changed from muscular men having show-off and superiority to women-like men having pearly skin and slender figure. Men's fashion also looked for feminization to let men like make-up, beauty salon, cosmetic surgery and women-like hair style, etc. Men have been also given women's sexy and sensual beauty to put on innerwear as an outerwearization. The Influx and mixing of mutually different cultures is expressed in Hippie, Ethnic, Oriental trends. Mutually opposing country's factors mix so that a new culture is established. Also, the sharing of fashions amongst younger and older generation has occurred for reasons that are similar to the reasons above.

• 대한가정학회지
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• 제50권5호
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• pp.39-49
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• 2012

This study looked into the trend of expression of animal motifs that appears in modern fashion, and the values embedded in them. As to the research method, empirical analysis was performed on the works presented at the four global collections of Paris, Milan, New York and London from 2001S/S to 2010F/W, as well as a literature review. As a result, animal motifs applied in modern fashion appeared in material groups, such as leather or feather. The first group shows a realistic material feel, with artificial leather or fur, expressed in a transformed complex animal motif, with process skill or various methods of expression. The second group is the case of a single motif or reality, mode, and ion pattern. Printing is a generic expression, but patchwork, collage or bead ornament are also used, and expressed in the various forms of pattern: pattern in a single animal, pattern in different animals, and pattern combining both animal and other shape. The third group is a small decorative ornament, including headset or accessory and makeup, which is transformed in an animal-characterized motif into part of clothing components for expression, or to set the real animal to the stage for a performance. The embedded values were also categorized as natural beauty, sensual female beauty, pleasure, and ornamentation, which could be an endless spiritual source, and a breakthrough that enables us to show a creative and new aesthetic for the modern fashion field.

• 복식
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• 제61권2호
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• 한국의류학회지
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• 제33권4호
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• pp.563-573
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• 2009

This study analyzed the trends and aesthetic characteristics of fur design found in the contemporary fashion to examine the status of fur material in the contemporary fashion design, and through an analysis of the meaning it attempted to come up with a new viewpoint and form on material for the future fashion design. A literature review was used to explore the kinds and properties of furs. In addition, an empirical analysis of works that have appeared in fashion collections since the year 2000 was conducted with local and foreign fashion magazines such as Gap, Vogue, and Mode & Mode and other publications related to fashion collections. In the contemporary fashion, the trends of fur design are represented by use of various items, material combinations, application to decorative purposes(like trimmings, details, or accessories), and a wide range of colors and textures available by advanced dyeing and finishing techniques. The aesthetic values intrinsic to fur design are that the expression of conspicuous luxury covers even the qualitative aspect of luxury and adds fashionable images to casual items, contributing to the popularization of fur fashion, by using a variety of artificial furs; the expression of sensual feminine beauty allows the animal and primitive feel characteristic of furs to convert a feminine body into a sensual image of more than a simple biological impulse; and the expression of hybridity presents a new viewpoint through distortions, exaggerations, deviations from the existing constituent forms, or futuristic sensibilities in all elements of fashion design.

• 패션비즈니스
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• 제15권4호
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.