• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.7
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• pp.3293-3300
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• 2013

Recently, Korean prefer the slim and skinny body. Even though they are normal or underweight, they strive for weight control routinely. Due to the appearance-oriented trend prevalent in our society, severe losing weight for women has become a social problem. The purpose of this study is to examine the relationship between body dysmorphic disorder and depression. Health-related and health-unrelated college students were classified into three different groups according to BMI. This study was performed of 200 health-related and 200 health-unrelated college students respectively at K college in Gangwon province. A self-administered survey was conducted from September 10 to 21, 2012, and the 319 questionnaires were analyzed. The collected data were analyzed by the SPSS(statistical package for the social science) WIN 18.0. Regarding the relationship between the BMI of the female students and their unsatisfied parts of the body, the overweight female students were more dissatisfied with the entire lower parts of their body(${\chi}^2$=6.97, p<.05). About the waist and belly, the female students of normal weight were the most dissatisfied but of under weight were less dissatisfied than the other groups and the differences among them were statistically significant(${\chi}^2$=8.12, p<.05). About the chest and breasts, the female students of under weight were more dissatisfied than the other groups and there were significant differences according to BMI. As a result of analyzing the relationship between the BMI of the female students and their dissatisfied parts of the body, the female students of over weight were more dissatisfied with the entire lower parts of their body and whole body, and the female students of normal weight were more dissatisfied with their waist and belly than the other groups. The female students of under weight were more dissatisfied with their chest and breasts. But, there were no differences in the way they want to try for a change of the dissatisfied part of the body. Because this body dysmorphic disorder may be associated with depression and cause the social and cultural problems, the development of counseling programs and additional research should be needed.

• Korean journal of food and cookery science
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• v.13 no.2
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• pp.147-156
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• 1997

The purpose of this study was to investigate total life habits of male and female adult through questionaire. Questionaire was composed of items such as perception of body shape, food habits, preference habits, the concern of the health and weight control. For this study, the subjects were divided into three groups like low-weight group, standard-weight group, over-weight group according to their body shape. The results can be summarized as follows: 7.9% of the subjects were included in low-weight group, 55.2% in standard-weight group, 36.9% in over-weight group. The subjects' perception of ideal body shape was significantly different from that of actual body shape. Males were more satisfied with their body shape than females. Most of females were unsatisfied with present their body shape and prefered slim and long body shape. Males, specially low-weight group, had adherence to smoking, alcohol and health food compared with the other groups. Food habits of males were considered to be fair compared with those of females. Meal amounts of over-weight group were significantly higher than those of the others. Low-weight group took more snacks and took a stong dislike of food. Males exercised hard and thought their health status to be fair. Low-weight group of males and standard-weight group of females considered their health status to be bad. 69% of the subjects were concerned about weight control. Low-weight group of males had a desire to gain weight while most of females had a desire to lose weight.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.61-71
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• 2005

Everything of the world we live in has its own unique color. Those colors move us, enrich our every day life, and make us happy. When we have our hairs dyed by a color we like, we may look different, feeling confident and activated. We select a color fur our hair color design depending on such symbolic aspects as our life styles, self-images or personalities. Namely, we tend to choose a color the image of which we like. Such a tendency implies that it should be important to study hair colors in multi-faceted ways. The purpose of this study was to survey people's preferences of hair color tone images depending on their demographic and physical variables and thereby, determine the correlations between their preferences and variables. For this purpose, hair colors tones were classified into 11 categories and thereby, subjects' preferences of hair tones were analyzed in terms of the image adjective combinations. The results of this study can be summarized as follows; As a result of analyzing subjects' preferences of hair color tones depending on their such demographic variables as gender, age group and marital status, it was found that males tended to prefer dark tones more than females, and that those in their 30's or older tended to select dark tones more than those in their 20's. On the other hand, the married preferred medium bright tones more than the singles. Furthermore, such physical variables as body size, weight and apparel size were found correlated with hair color tone preferences. To be specific, shorter people desired more to have their hair colors match with their natural ones not to be less exposed to others. Lastly, as a result of analyzing the correlation between hair color tone preferences and weight and apparel size, it was found that fat people tended more to prefer medium bright color tones than normal or slim people.

• Journal of Fashion Business
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• v.21 no.1
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• pp.12-31
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• 2017

Korean commercial-organized girl groups were remarkable in the late 1990's. However, by the late 2000's, girl groups had an even more profound effect on Korean popular music compare to past influences. This study aimed to analyze the social-cultural meaning of the changing appearance of girl group between the first and second-generations. For this purpose, this study analyzed media image and text, based on a social-cultural context, about 13 girl groups. The results are as follows. First, while the first -generation girl group tended to maintain girlish/sexy images trying to the male desire, the second -generation girl group strategically showed various sexual identities such as femininity, masculinity, masculinity and androgyny along with contextual sexual images. The reason why girl groups increased the number of strategic images featuring various sexual identities was in order to appeal to a wide, diverse audience. Second, the second generation girl groups had - slim bodies with great athleticism, basically due to trainee system. Because of this, their semiotic body images have been commercially used to promote the consumption. Third, the second generation girl groups - were the bigger stars than first generation girl groups - because the members worked in many different fields. Therefore, the group members' images were successful consumed directly and then reproduced symbolically. Fourth, each member of the second -generation girl groups characterized by appearing in diverse, yet familiar images, through various media sources. Although the intention of this was to have recognition and popularity, it became difficult for them to change their image once one particular image was deemed popular.

• Korean Journal of Human Ecology
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• v.15 no.4
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• pp.651-658
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• 2006

This study was performed to provide the analysis on their size and the structural factors required in the process of design and manufacture of school girls' shoes. 371 elementary school girls in Kyungin and Youngnam area were participated in the size measurement. 25 foot items and 6 main body items were measured directly or indirectly using a digital photography. The results of the study are as follows: first, by most of measured items, the range of their foot size was very wide from the size of toddlers to adults'. That shows that the change of school girls' foot size occurred with their growth is pretty big. Second, from the structural factor analysis on 25 foot items, five factors were extracted such as 'the size of the foot', 'the volume of the foot,' 'the height and inclination of the foot,' 'the shape of the foot,' and 'the inside and outside inclination of the foot'. Third, from the cluster analysis, three clusters were classified: Cluster 1 was the group of 10 to 11 year old girls who had big-sized feet. The elementary school girls in the fourth to sixth grade belonged to this group. Cluster 2 consisted of girls who had small-sized and big-volumed feet. Cluster 3 had medium-sized and slim-shaped feet. Most of 6 to 7 year old elementary school girls belonged to this group. The above-mentioned results imply that many continual researches are required on children's shoe production reflecting the change of elementary school girls' feet size owing to their growth. The quantitative data on elementary school girls' feet size in this study could be used as basic information for the development of children's shoe design and its production.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• Journal of the Korean Society of Costume
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• v.25
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• Fashion & Textile Research Journal
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• v.18 no.4
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• pp.450-456
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• 2016

This study examines the wearing conditions of tight-fit pants of men in their 30's in order to develop patterns for tight-fit pants. Tight-fits are loved by the young generation. This fashion has established a notable trend and demand in the casual clothing market as well as in the men's wear market. The study conducted a survey targeting Korean males in their thirties, and a total of 76 samples were used for the final analysis. The study survey showed that a growing number of men wear tight-fit pants in their daily life and prefer brands that feel more casual when it comes to expressing themselves with fashion. The men indicated a desire to look slim; however, they also wanted their clothes to be wearable and not interrupted them while moving. Sales of men's wear targeting the thirties age group have increased every year; consequently, this will study suggests that any relevant fields should first have a good understanding on men in the thirties and their needs before designing any clothes. Discussions that this study developed will be applied as a basic reference to design patterns for functionally-efficient tight-fit pants. Those pants will correspond to the physical characteristics of the thirties who transition with changes in every body part that would not occur when they are in their twenties while not disrupting.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.968-981
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• 2011

This study examines the effect of the structure of Intarsia and Jacquard knit on mechanical properties of knit fabrics to suggest data for knit design. Intarsia and 7 types of Color Jacquard (Floating Jacquard, Normal Jacquard, Bird's eye Jacquard, Tubular Jacquard, Ladder's back Jacquard, Blister Jacquard, and Transfer Jacquard) were used. The samples with a gauge of 14 were knitted using 100% wool 2/48's yarn by Shima Seiki SIG computer knitting machine. The Objective Hand was measured by KES-FB system and HV and THV were calculated by the formula of KN-402-KT and KN-301-winter respectively. The results showed that Intarsia and Floating Jacquard are thin, flexible and light, Bird's eye Jacquard is slick, flat and slim, Tubular Jacquard is stiff and undrapable, Ladder's back Jacquard is difficult in shearing deformation and relatively bulky, Blister Jacquard is thickest and transfer jacquard is uneven in surface contour. The selection of proper structure is important for the knit apparel production since the thickness and weight of knit determine the amount of yarn needed and consequently the production cost. The hands of Ladder's back Jacquard and Tubular Jacquard are superior to those of other structures. Intarsia and Floating Jacquard which are thin, light and flexible seem to be good structures for designs showing a body silhouette whereas, Bird's eye Jacquard, Tubular Jacquard and Blister Jacquard (which are thick, heavy, and stiff) are suitable for a boxy silhouette.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.