• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.83-97
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• 2006

This Study is a thesis presenting handicrafty and decorative textile design as well as sensual fashion design through the works of Gustav Klimt. The result is as below; The formative qualities in the works of Klimt could be featured as decorativeness, sensuality and symbolism. First, the decorative inclination is prominent in the portrait and the effect is maximized with the golden mosaic shape expressed on the dress and the background influenced by the Byzantine. Second, the sensuality could be recognized directly from the women's pose or facial expression in the works of Klimt, otherwise appeared on the refined expression showed on the portraits of noble lady Third, to surpass the reality, Klimt preferred the symbolic expression, which can be shown on the patterns in the works addressing the themes such as the legends and myths, or figures of men and women expressed with the image of an abstract features of membrum. The development of the textile design is as fellowed. First, it analyzes and reconstitutes the formativeness and the element of design in the works of Klimt by the flow of the form factor. Second. it makes a pattern of a single nature through perception, analysis, description and drawing and expresses with realization of the characteristics of Klimt. Focusing on the handicrafts and decorativeness out of the latest trends and making the most use of the sensuality, the designed textiles were completed by the handicrafty techniques, used in the fashion design and completed as the design of sensual images. The textile development aims at minimizing the limit of design that can be caused by the absence of silhouette and detail, expanding the range of its creativity of fashion designs and creating fashion design high value-added.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.296-308
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• 2009

The purpose of this study is to comprehend the contemporary sports star fashion and to contemplate aesthetic characteristics of sports star fashion, thereby to establish the styles of sports star fashion. For such purposes, this study first examines aesthetic characteristics of sports fashion and star fashion based on previous studies, in order to analyze aesthetic characteristics of sports star fashion, and conducts a case study by analyzing photographic materials of fashion styles of well-known male sports stars such as the English soccer player David Beckham and American golf player Tiger Woods. The result of this study is as follows: the aesthetic characteristics of the contemporary sports star fashion are virility, functionality, sensuality and deconstruction. (1) Virility emphasizes manly features by displaying trained and disciplined body. (2) Functionality is expressed through structural simplicity and temperance of decoration. High-tech textiles and fibers are favored in order to fit in comfortable bodily movement for the heavy exercises. (3) Sensuality, as an expression of indulgence of sexual pleasure, is expressed through bodily exposure. Lastly, (4) deconstruction, which means destroying existed boundaries of cultural categories, is shown as co-existence of design elements from different times and places, stereotypes and sensibilities. Virility and functionality are prominent characteristics expressed in sports uniforms and training costumes. Sensuality and deconstruction are shown in daily fashion and formal dress outside the sports field.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.73-87
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• 2011

The Homme Fatale image, which has recently been brought to the fore by mass media in Korea, leads the public fashion with a strong influence on the preference of females who actively participate in men's fashion, and on the "mansumers"(man+consumer) who would use fashion styles as a medium for self-expression. In this study, the concept and fashion style of the homme fatale image expressed in the Korean mass media are exhaustively explored, and then its expressive characteristics are analyzed to determine the trends of men's fashion in Korea. According to the result of this analysis, the homme fatale image represented in the Korean mass media, shows us with its complex nature that it includes the following characteristics: strong and vigorous masculinity, sensuality which emphasizes physical attractiveness, duplicity of gentle sensibility and coldheartedness, and the mysteriousness of maturity and innocence. In conclusion, the homme fatale image can be thought to present fashion styles which emphasize masculinity and physical attractiveness in a variety of ways.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.739-754
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• 2006

Glamour, which stands for attractive physical feature with certain mystique, has been recognized by its superficiality and ephemerality in recent postmodernist aesthetics. The purpose of this study is to provide a comprehensive literature of glamour and to contemplate glamour look, thereby to establish the styles of glamour expressed in fashion. For such purposes, this thesis first provides the study on the glamour in design studies, film studies and feminist theories, and to inquire aesthetic values of glamour look, which has been reflected in fashion. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. (1) Luxury is an expression of expensiveness, ostentatiousness which can be achieved only after putting in extensive an elaborate handworks. (2) Excess is an expression of bigness, scalelessness or extreme abundance. (3) Masquerade, that is a technique of identity which deal with clothing as a metaphor, is an expression of mysterious attractiveness and theatricality. (4) Appropriation is an expression by way of taking something from different time and space. (5) Sensuality is an expression of indulgence of sexual pleasures. Lastly, (6) decadence implies eroticized violence and demoralization.

• The Journal of Natural Sciences
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• v.9 no.1
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• pp.113-129
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• 1997

Postmordern style showed in contemporary fashion is various. Specially, street style begins from teddy boys, mods, hippy, skin head & popular fashion. They are come from mass culture. Mass culture dominated in many ways in modem society. In music, cinema & other plays we can read of youth. Street style includes youth culture about their fear and resistance and their passion. We can see kich in aetheics of street style as it was showed in mass culture. They are as follows. ${\cdot}$ Wit and sympathy expressed in primitivism. ${\cdot}$ Sensuality expressed in erotism like shows in works of Vivian Westwood & Zandra Rhodes. ${\cdot}$ Fantasy expressed cyber & psychidelic fashion.

• Korean Journal of Human Ecology
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• v.19 no.5
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• pp.873-882
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• 2010

Knitwear has become a part of fashion since aristocratic trend-setters of Medieval Spain and France began wearing luxurious silk stockings. However, in more recent times knitwear emerged as a fashion item in the early 20th century when jersey two-piece Channel dresses became popular amongst the French upper classes. Knitwear then evolved into genuine going out clothes through Sonia Rykiel in the 1970s. Sonia Rykiel has made a great contribution to developing knitwear, which she transformed from being used only in informal dresses or clothes for home wear, to a boarder in use in high-quality dresses such as those worn at parties. Unlike most designers who tend to make very different styles each year, she has restricted her clothes to those made with knitwear. The study examined the designs and formative characteristics of her knitwear in order to clarify why Sonia Rykiel's knitwear fashion is apparently so timeless. Results showed that her garments consistently used black oriented color combination, strife patterns, intarsia techniques and application of diversified subordinate materials and other materials that overcome earlier limitations of knitwear. In addition, her designs consistently express the typically Parisian sophisticated urban femininity through practicality, sensuality and playfulness. Overall, her fashion has shown that it exists for women in action through practical design within the scope of demode, the philosophy in her early days, and it has led her to hold great power over knitwear fashion for the past 40 years.

• International Journal of Costume and Fashion
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• v.7 no.2
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.

• Journal of the Korean housing association
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• v.13 no.3
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• pp.11-20
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• 2002

The purpose of this study is to find out the meanings of water and water spaces in the Western architecture. The meaning of water is investigated by means of mythology and literature studies. It is found that water has ambivalent meanings, i.e. life and death, creation and destruction, chastity and sensuality. The meanings of water spaces in the Western architecture are dramatic, secret and dynamic, and represent publicity, verticality, formality in addition to desire for authority and realization(embodiment) of paradise. Water space is an essential component of beautiful and dynamic spaces and is used to revitalize dreary spaces.

• Journal of Fashion Business
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• v.14 no.2
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.