• Journal of Fashion Business
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• v.6 no.5
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• pp.59-71
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• 2002

The purpose of this study was 1) to analyze the consumers' preference on the recent trend in men's wear according to their lifestyle and 2) to suggest a suitable direction for men's wear planning based on the lifestyle analysis. A survey was applied to obtain the data set responded from 310 male subjects who were aged between thirties and fourties. The main results of this study are summarized as follows: 1) Five types of recent fashion trends were identified through a qualitative analysis on the recent men's wear trend, which were 'Modern classic casual', 'Retro traditional casual', 'Authentic/Ethnic casual', 'Urban dandy street casual' and the 'Refined sportive casual'. 2) The three types of the respondents' lifestyle were identified in this research and named as 'pursuing sense', 'pursuing tradition' and 'conservative indifference'. Examining the preference on fashion trends according to subjects' lifestyle and etc., the preference level of the 'pursuing sense' group on trend was, in general, higher than that of the two other lifestyle groups. The most preferred trend style of 'pursuing sense' group was the 'Modern Classic'. Finally, a suitable direction for men's wear planning was suggested on the result of analysis in this research.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.51-66
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• 2010

This study aimed to analyze the changing characteristics between Men's Gender Role and Men's wear Design in 20th century. To analyze the representative Men' Gender roles, the related studies and literatures reviewed. Literature reviews and quantitative studies were performed to analyze the changing differences of Korean Men's wear Deign as a symbolic factors of gender role. The results of study are as follows. 1) The representative men's gender roles in 1900's~1920's were 'Patriarchal/ Stern Man'. The narrow V-zone of jacket and shoulder, high shirt collars and well fitted suits expressed the stern images of that times. 2) In 1930's~50's, 'Enervated/ Escapist Man' were the representative images. They were expressed with wide lapels and shoulders, emphasized V-zone and abundant trousers. Especially 40's style was under the influence of American 'Zoot Style'. 3) The representative gender roles were the men of 'Producer/Provider' in 60's~70's. Shortened jacket, wide lapels & neckties, slim trousers were used to express the strong & young images of Producer/ Provider during the industrialization era. 4) The representative gender roles were 'Attentive/ Intellectual/ Beautiful Men' in 80's~90's. The exaggerated round shoulders which were influenced by 'Big Look', and easy silhouette were related with the attentive images.

• Journal of Fashion Business
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• v.15 no.1
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• pp.171-184
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• 2011

This paper is purposed to clarify that an increase of the matter of concern about men's fashion in the mid-1980s was coincided with rapid change of images for men and diversification within the context of economy, society, culture and to analyze the characteristic of each fashion and the meaning. Findings are as follows: 'New men' played a key role creating and communicating the new male image through the media, as a new masculine appeared in the middle of 1980s. Especially it was spreaded into with British as a center between the generations of young men described as a white-collar worker about the ages from 18 to 35 specifically and appeared by the cultural background in accordance with the spread of consumerism, materialism and post modern feminism and the development of men's fashion. There were 2 types of fashion styles for 'New men' image on the media in the mid-1980s. The First is 'power suit look style' which is self-conscious, including 'corporate formal suit look' and 'soft & sexy suit look'. The Second is 'extravagant body conscious style' which characterize the decolletage and androgynous, including 'tough sports look' and 'sexy skirt look'. Lastly, the 'New men' image means a man as a visible object and a man in the image world.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• Journal of Agricultural Extension & Community Development
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• v.13 no.1
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• pp.15-27
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• 2006

The objective of this study were to explore rural adults' awareness of marriage. The data were collected from 369 adults 20 aged and over living in the rural and analysed by marital status and sex, using SPSS/win program. The major finding of this study were as follows; 1) In the mate selection, rural adults valued personality(41.9%) above everything else without difference in sex or marital status. However, while most of unmarried women preferred white collar worker, educated in the college and over, and $1{\sim}4$ older than them, most of married and unmarried men preferred housewives, educated in the high school, and $3{\sim}4$ younger than them. Also, women wanted to live in the urban after the marriage. 2) In connection with wedding ceremony, most of rural adults preferred modern wedding ceremony, appropriately within their circumstance, and general ceremony hall except the unmarried women. 3) Only 45.9% of unmarried women agreed to marriage compared to 74.5% of unmarried men. The unmarried, especially unmarried women, liked more than the married to love marriage. 4) Rural women have more modern attitude toward the marriage than rural men.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.93-109
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• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• Journal of Haehwa Medicine
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• v.19 no.2
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• pp.43-55
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• 2011

This study is to identify culturally the psychological effect of men and women's make-up, to examine men and women's tendency toward make-up and to figure out relationships between their psychological properies and its functions in modern society for the psychological analysis of Inspection(望診). This study has verified that makeup has a positive effect on their interpersonal relationships, psychological reation and self-confidence as well as it meets their fundamental aesthetic needs. The makeup of the psychological action on men and women is different as eroticism, feminism and etc. The social and cultural backgrounds of make-up are the needs of a variety of fashion, trend of public opinion, a cultural difference and etc. And further studies about psychological reason why they wear makeup need to be made. Makeup has an effect on their looks and it has a psychological effect of being able to decorate and move their mind. Finally, it is anticipated that the study for psychological approach to makeup could contribute on the study for positive makeup treatment and basic foundation of Inspection(望診) and physiognomy(觀相) in Oriental medicine.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.635-640
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• 2012

A changed image that they feel through makeup manipulates impression by linking with cultural standards and will be able to direct a variety of makeup images. Makeup in modern society has been expanding into the area of prevention of diseases and health of skin due to the development of cosmetics and has beautifully changed a face into a someone else's face due to the development of makeup technique. Also, assuming that motivation of makeup act of men and women is related to sexual instincts, I tried to analyze what kind of association the gender roles and the function of makeup required by the society has with age and regional and social background. In particular, I tried to explain that makeup act of men not only represents cognitive change of gender roles that have been perceived differently in modern society but has been adopted by men for the pure purpose in a socially equitable competition.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.222-239
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• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.