• 복식
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• 제41권
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• pp.207-223
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• 1998

The purpose of this study is to abstract the image from black dress, which has been favored by many people regardless of the times and examine it throughout the history of drss and thereby clearly define the images that black limplies in dress. Color image is a visual symbol, an image that forms through a combination of visual stimulus created by color, coupled with all the external factors related to it. Black is a one-dimensional color, of which the impact is subjective to its energy, which depends on light reflected on the object, and its texture. Therefore, black projects different images, depending on its surroundings. In general, black has had negative connotations in the Western culture. In dress, however, it has implied other various images different from the general negative ones. By combining general images of black and those exprssed in dress, major images of black were categorized into dignity, elegance, eroticism, asceticism and tragedy. Dignity is a category similar to the sublime. Dress with dignity has sharp contours and is generally made of velvet or silk which can be characterized by their splendor and voluminous-ness, exaggerating the body of a person wearing it. Such costume is mostly found in powerful countries in history such as Burgundy Court in the 15C, Spain in the 16C. Netherlands in the 17C. Elegance evokes grace and beautifulness. It includes elegance, grace, beauty and dandyism as subcategories or silk. Good examples are dandies' black costume and Ladies black and white dressees in the 19C. Eroticism is an image which expresses sexual attractiveness. Costume with eroticism is made of velvet or silk, which project sumptuousness through reflection. Such costumes expose parts of the body or are tightly tailored in order to emphasizes body contours. Asceticism means restraint from physical and mental desires. Costume with asceticism makes a person wearing it look smaller by covering the whole body. Puritan's black dresses and Bourgeoisie's black suit are good examples. Tragedy is anguish. sorrow. Black costume with grievous feelings such as mourning dresses is made of lusterless textile concealing most of the body except for the face.

• 대한가정학회지
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• 제41권11호
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• pp.35-48
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• 2003

The purpose of this study is to investigate ideal body image and clothing style through the analysis of models portrayed in fragrance advertisement that is the representative goods showing the fashion brand image. For this study, 120 perfume advertisements appeared in GQ and Vogue magazines issued in 2002 were selected. The models' characteristics portrayed in advertisement are categorized with role relationship, race, body exposure and clothing styles. The results are as follows. 1. Fragrance advertisements most commonly depict a single model portraying narcissism, and later then most common are advertisements both male and female model in a sexual relationship. 2. The analysis of models' race shows racism toward Asian models and Afro- American models. White models are main characters in fragrance advertisements more often than other races, and in mixed-ethnic ads, whites typically outnumbered minorities. This shows currently aesthetic stereotypes, that is, white ideology still exists. 3. The results of models' body exposure are showing nudism with partially clad or nude. This shows the eroticism of male and female. 4. The highest portion of clothing style appeared in fragrance advertisement were casual wear for male model and dressy formal wear for female models, which respects current fashion trends.

• 복식
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• 제58권6호
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• 복식문화연구
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• 제23권1호
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• 영미문화
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• 제14권1호
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• pp.287-310
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• 2014

While Janis Joplin is generally known as a hippie rock star of an untimely death to Korean audience, she is more strongly evoked in the image of blues mama in American context. Blues, definitely based on African-American vernacular tradition, is defined as a matrix, which is "a point of ceaseless input and output, a web of intersecting, crisscrossing impulses always in productive transit," to borrow Houston A. Baker's expression. This article explores how her life and music can be understood in blues tradition, especially in terms of personal and social transgression for which she was criticized, focusing on her blues performance. First of all, born and growing up in southern Texas between 1940s and 1960s, she expressed her innate suspicion against segregation and white supremacy, actively embracing rich black musical heritage of the area. Second, against the normative social and moral expectation of a middle class white woman to be a suburban housewife, she sought her own desire, whether it was professional ambition or sexual possibility. Third, beyond the selling image of a heterosexually lascivious blues mama, she dared to be a homosexual and bisexual, while it was not publically acknowledged. Along with her alcohol and drug dependence, such transgressions against normative social expectation were not made without her inner conflict, leaving a trace of trauma, hesitation, and the blues. While she was "buried alive in the blues," as a sacrifice at the altar of the 1960s, she still remains "alive" provoking "fire inside of everyone of us."

• 복식문화연구
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• 제29권5호
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• pp.651-664
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• 2021

The purpose of this study is to first examine the relationship between appearance-enhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990's to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one's outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

• 복식문화연구
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• 제8권6호
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• pp.806-821
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• 2000

Each and everything named fashion together with clothes were limited in the boundary of women and men's wear has been slow and narrow in changing speed compared to women's, even there are some differences in accordance time. But maintaining the basic features, men's wear in the latter 20th century has undergone diverse change in the part of materials such as various synthetic fiber, glass, metal, artificial leather and the see-through fabric able to seeing the body wearing the clothes. Therefore, the aim and definition of this study is to present the systematic framework giving help to develop men's wear design newer and more various by considering moulding of materials which existing men's wear could not show up and by grasping material trend of men's clothes in 1990s. The results of the study were summarized as follows : (1) Material containing lustering is categorized as Velvet, Silk, Lustering materials by synthetic fiber and Lustering materials by additional substance. The Velvet generally acknowledged having something to feel womanly image shows the bisexual character coexisting feature of men and women after grafting with men'fashion. The Silk was endowed the role as means of pleasure to express beyond boundary of sex breaking the existing consciousness which men should wear male clothes, not considering differences between men and women. The lustering made by synthetic fiber expressed modern sensitivity aesthetically to the suit. The lustering materials made by additional substance is seen mixed masculine character with womanly character. (2) See-through materials are acknowledged as decadence beauty caused by expanding subjective awareness in beauty. (3) Materials by the sorts of Net is categorized as Lace, Knit The Lace expression seemed to emphases the human liberation of men and women and the humanity from liberation of subjecthood. The Knit can be felt both woman's image and man's image as bisexual image, not raising only one side sex. (4) Elastic materials offered the opportunity to approve exposure in a time when exposure of men's body was not granted ethically. (5) Leather was shown as indication of social status and inferiority and expression of collective resistance against sexual stagnation of men and women.

• 동서간호학연구지
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• 제24권1호
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• pp.28-35
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• 2018

Purpose: The purpose of this study was to investigate the image of nurses portrayed in the internet photographs. Methods: A total of 184 photographs were extracted through the Google portal site using a search term, 'nurse'. Based on the findings of previous studies, a content analysis was conducted with three categories: appearance characteristics, photographic scene, and photographic source. Results: The result revealed that in the photos of appearance characteristics, 237 (98.3%) out of 241 nurses had a normal or less frame, 235 (97.5%) were well-groomed, and 103 (42.7%) wore pants. In addition, 51 (21.2%) wore a cap (21.2%) and 12.0% were male. In the photographic scene, 69 (37.5%) portrayed nursing activities and 36 (19.6%) suggestiveness. In the suggestive photos, all of nurses were female (${\chi}^2=7.63$, p=.021) and they were more likely to have small frames (${\chi}^2=48.40$, p<.001) and wear caps (${\chi}^2=113.54$, p<.001) and skirts (${\chi}^2=39.96$, p<.001). Conclusion: This study showed that the photographs of the nurses wearing a cap and expressing the nurse as a sexual object still appeared. There is a need for a systematic image enhancement strategy so that actual images of nurses can be projected on the internet photographs.

• International Journal of Costume and Fashion
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• 제16권2호
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• pp.1-24
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• 2016

This study investigated the ideal female beauty in advertisement images through the iconological comprehension of Renaissance portraits and explored the longitudinal change of the ideal female beauty in modern Korean society. A total of 146 cover images on Hyang-Jang magazine, which is the company magazine of AMORE PACIFIC Group, from 1972 to 2012 were selected as the data. These images were divided into 10-year units for analysis using iconological criteria, which were pose, shape of eyes and lip, and hairstyle. The way presenting the cover images on Hyang-Jang magazine had changed in order to emphasize female body, self-satisfaction and independence of female, and sexual attractiveness of female. The results of this study implied that the change of ideal female beauty had been affected by socio-cultural contexts of modern Korean society that has industrialized and democratized in a short period of time.

• 복식문화연구
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• 제12권5호
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• pp.721-736
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• 2004

The aim of this study is to clarify aesthetic values and sociocultural meanings that reappears in contemporary fashion. In order to analyze aesthetic values and symbolic meanings of body decoration, I examined the concepts and expression methods of the body decoration. Also, analyzed external characteristics of expression and its internal meanings that applied in modern fashion. The expressions of body decoration represented in contemporary fashion are classified into direct and indirect methods. The direct method is expressed by tattoos, piercing, henna, make-up and body painting. And, indirect method is expressed by see-through look, body-conscious look and accessories that were utilized its patterns and the material adaptation methods. Such expression of body decoration in the modern fashion was represented into grotesque images and erotic images. The characteristics of grotesque images are abnormal state, hateful animal image and distorted or transformed body and the internal meanings are the pursuit of primitive, exoticism, the pursuit of playfulness, and resistance. The characteristics of erotic images are an exposure of body, see through, body-conscious and androgynous look and the internal meanings are the self-intoxication, naturalism and sexual pleasure.