• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.36-37
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• 2002

• Journal of Fashion Business
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• v.24 no.6
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

• Journal of Fashion Business
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• v.19 no.5
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• pp.110-127
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• 2015

This study probed into the fashion styling of modern girls who led fashion and revealed power of woman as the center of modernization in Korea. Methods included the theoretical study based on fashion related newspaper articles at the time, specialized publications, advance researches, and internet data and the empirical study that involved contents analysis centering on visual data, expert evaluation, and styling development and presentation. The image of Korean modern girl analysis found in the order of modern image, elegant image, classic image, mannish image, romantic image. The aesthetic characteristics could be classified into sensual classicism, modern elegance, feminist epicenism, and romantic simplicity. The theme was 'Retro Modern' and a total of 4 styles were applied. 'Progressive Tradition' expressed the aesthetic characteristics of sensual classicism and it gave a modern reinterpretation of the seamless one-piece skirt which is the modified Korean clothes of Korean modern girls. 'Luxe Beauty' expressed the aesthetic characteristics of modern elegance, and it developed the long and slim style which was popular in the 1930's in a trendy way. 'Dressy Avant-garde' expressed the aesthetic characteristics of feminist epicenism, and it suggested the mannish style Western clothes that Korean modern girls wore by following recent fashion trend. 'Minimal Couture' expressed the aesthetic characteristics of romantic simplicity and it presented the garçonne look which was popular in the 1920's by following recent trend.

• 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) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.