• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.123-135
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• 2014

This study classifies types of fashion victims and identifies an internal value system that works for their fashion selection. This study reviewed the definition of 'fashion victim' by tracing similar terms such as fashion terrorist, fashion loser, and worst dresser. We classified fashion styles of fashion victims into four types based on an analysis of articles that pertained to Korean celebrities' fashion and image data. The first type is the fashion style of those who dress without any consideration of body shape. The second type is the style for those who have little consideration in regards to personal image. The third type is the style of those who choose a fashion with excessive decoration. The fourth type is the style for those who use too many fashion items at the same time. Based on a consistent analysis of fashion styles, this study identified the internal value system believed to be working in fashion victims' fashion selection. This study presents three internal value system characteristics. The first is the fetishism that is revealed when fashion victims wear expensive clothes or fashion items that are believed to reveal their personal identity and social status. The second is the blindness which becomes apparent when they follow a fashion in vogue indiscriminately without considering a personal image or body shape. The third is an excessiveness shown when individuals select clothes with too many beads or feathers that are decorative and rich in volume.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.237-251
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• 2017

In this study, causes and consequences of bullying were explored, focusing on victim personality and appearance factors. The research model included the relationships among bullying, important causes of bullying (aggression, cleanliness, and obesity of victims) and consequences of bullying (self-esteem and depression) and was tested through survey data from 594 (194 male and 404 female) middle school students. Data were analyzed using descriptive statistics, confirmatory factor analysis, and path analysis with SPSS and AMOS. In the results of the model tests, victims who are more aggressive, less clean, and more overweight are more likely to be bullied. In addition, adolescents bullied by others tend to have lower self-esteem and more depression. Furthermore, the model comparison was assessed by gender and a difference between the two gender models was found. In the check of critical ratio for difference, it was concluded that the cleanliness of the victim is a more important cause of bullying for male adolescents than for female adolescents. It is meaningful to confirm the effects of the victim's appearance factors on bullying in the literature focusing on personality issues of victims. Educators and counselors may refer to the findings in developing counseling guidelines and manuals to prevent bullying in school.

• Journal of Fashion Business
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• v.5 no.5
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

• Journal of Fashion Business
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• v.4 no.3
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• pp.67-78
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• 2000

This is a study on the art style of amimal fight in Scytian ornaments which had been popular in Steppe region of Eurasia. Animals were considered to have magical power and to provide protection against evil or disaster and representations of them thus occupied an important place in life. This style reflected the mythology, the ethical and aesthetic ideals of the warrior-nomad. With a magnificent understanding of composition and the essential nature of the material, craftsmen fashioned utilitarian objects in animal form: weaponry, horse trappings, clothes, ornaments and jewellery and other everyday objects were all decorated with zoomorphic motifs. Without copying nature, they accurately conveyed the essence of every beast depicted. The highly stylized modelling uses bold accentuated planes, while distinctive features associated with particular species are emphasized and exaggerated. The purpose and meaning of the animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been intended to guarantee the power of the aggressor.

• Journal of Fashion Business
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• v.10 no.6
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• pp.38-51
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• 2006

In Scythian art the multitude of animal representations well illustrates the preoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. The purpose and meaning of the animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Following earlier Scythian migrations, Sarmatian animal-style art is distinguished by complex compositions in which stylized animals are depicted twisted or turned back upon themselves or in combat with other animals. Without copying nature, they accurately conveyed the essence of every beast depicted. Scythian bound the leather belts that was hanged a hook that shaped of different kinds at the end on the upper garment. Through the antique records and tombs bequests the styles of Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. In Korea, through the antique records and tombs bequests the styles of Buckles was horse-shaped and tiger-shaped Buckles that were influenced by scythe style.

• Journal of Fashion Business
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• v.11 no.4
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• pp.204-220
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• 2007

The background of Korean Ethnical Costume was originated from those northern mounted nomadic groups, which was Scythe style Costume Culture. Through the antique records and paintings of tombs bequests hereby describe the forms of Scythian Cotume (1) Headgear : There was Conical Cap(or Pointed Cap), Feathered Cap, and Crown. (2) Clothes : Both Men and Women wore Jacket as upper garment with leftsided collars, narrow sleeves to the length of the hip line. As lower garment, they wore the tight Trousers and Kungo(:窮袴)that was attached with gusset. (3) Belts and Boots : On the upper garment bound the leather Belts that was hanged a hook that was shaped of animal form at the end. Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. To the Boots, they wore leather boots. (4) Ornaments : Ornaments divided into Dress Trimming(:Gold plaques), Earrings, Necklaces(;Torques), Bracelets, Rings. Scythian Gold Plaques were divided into several types according to the shape, animal style(curved beast shape, profile shape, head reversed over its back shape), round shape, quadrilateral form, star shape, flower shape, crescent shape, bundle shape, human appearance. Earrings consisted of a plain ring and pendant ring was a middle ornament hung from it to a pendants which hung was made of heart shaped leaves of the tree, beads-linked. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crescent-shaped pectoral style, Crown style. Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Rings were rhomb-shaped and animal shaped styleRings (5) Animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been inten-ded to guarantee the power of the aggressor.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.3 s.31
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• pp.252-258
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• 1989

The purpose of this study was to investigate the general Kasa. More specially, the objectives of the research was (a) to determine the reason why dyes the colour of kasa; (b) to examine the kinds of Kasa colour; (c) to provide the dyeing method of Kasa colour; (d) to clarify the prohibited colour and the permitted limit; and (e) to find which and why kasa colour in our country use. The reason why dyes the colour of Kasa are the following; (a) it differentiates between the white robe in the leading ascetic life of Buddhism at ones home and that of the entering the priesthood. (b) it protects the victim of robbery (c) it discards the attachment to the ownership (d) it lessens the burden of at alms. The kinds of Kasa's color consist of several one such as 증(cheung), 흑(heuk), 전(chun), 목란(mokran), and so on. The three colour among them use as the colour of kasa in the each vinaya pitaka. The dyeing method of kasa is composed of two ways; One is to dye the whole Kasa; the other is to dye the part of Kasa. Recently, in our country, the red which is the branch of kalasama is the leading colour of Kasa.