• The Research Journal of the Costume Culture
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• v.26 no.1
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• pp.19-29
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• 2018

The purpose of this study is to examine the sociocultural meanings of flapper look in American society during the 1920s. Using the ProQuest database, I searched articles from The New York Times published between 1920 and 1929 for opinions and discussions on the flapper look. Keywords included "clothing," "dress," "fashion," and "flapper," and advertisements and articles on menswear, leisurewear, and bathing suits were excluded. In the resulting articles, I extracted the following sociocultural meanings: autonomy, activeness, practicality, attractiveness, and extravagance. Meanings were analyzed from the opinions and discussions focusing on skirt length, dresses that directly and indirectly exposed the body, heavy make-up, non-constricting underwear, the H-line dress, bobbed hair, hygiene, comfort, and consumption. In sum, the 1920s flapper look represented progressive characteristics such as autonomous and active womanhood and practicality, which matched the technological development of the time. However, the flapper look was commercialized and exploited to make women look attractive and extravagant. Even though American women had access to higher education, more economic power, and suffrage in the 1920s, they were limited in their ability to overcome social conventions and the power of consumerism. Understanding the double-sidedness of flapper look within the social context of the time would enhance the comprehension of the relationship between women's lifestyles and changing fashion.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.371-391
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• 1995

This study is to infer consumer's value and demographics towards Missy, who are womens of new generation which represents new consumer group in fashion industry. The concrete purpose of the study is as follows : First : To find out the differences of value inference towards Missy depending on demographics of researched group. Second : To find out differences of value inference towards Missy depending on self-evaluation. Third : To find out differences of perception towards Missy's demographics between the groups of career women, housewives, students. Fouth : To find out differences of perception towards Missy's demographics depending on self-evaluation about Missy's of researched group. The researched group was 251 women aged between $20\sim30$ living in Seoul and sample have been selected from various profession. Method of the study was by using questionnares which were based on results of pretest and preceding research. Analysis of the study was achieved by using SPSS package which are frequency, percentage, $x^2$-test, t-test and Anova, Duncan-test and the results are as follows: First : There are significant differences of value inference towards Missy between the groups who are perceived themselves Missy by self evaluation and the groups who are not. Third : There are significant differences of perception towards Missy's demographics between the groups of career women, housewives, students. Fourth : There are significant differences of perception in regards to Missy's demographics between perceived themselves Missy and the others who are not.

• Journal of Families and Better Life
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• v.22 no.3
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• pp.75-93
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• 2004

This study examined discourses on “wise-mother and good-wife” in the 1920s - 1930s by analyzing the magazine “Shinyeosung.” This study found the following: 1 “Wise-mother and good-wife” was the ideal type for the “new women” during the colonial period. Hut the role of a mother was far more important than that of a wife. 2. The dominant discourse at the time was that the “genuine” new woman was defined by her motherhood, and she could not have a job because raising children was the most Important task for her. Hut in fact, new women wanted to be a wife through free love and marriage. They wished to be a good-wife in the “new (modern) family” for their loving husbands. 3. The Ideas of “wise-mother” and “good-wife” arose from disparate backgrounds. A woman had to nurture her maternal aptitudes; but had to suppress her passion for free love and marriage. Although she had to learn Western methods of bringing up children instead of the traditional one, she was expected to practice traditional virtues of a wife, not Western attitudes. The role of a mother was decided by experts, but that of a wife was decided by husbands. The function of a good-wife was merely a clever handling of her husband, whereas the function of a mother was considered to require professional knowledge. 4. New women could differentiate themselves from “old women” through the roles of wise-mother and good-wife; nonetheless, those roles were forced by society. They did not have any other viable choices.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.168-176
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• 2006

In modern society, Korean women has been doing make-up developing as one of the beauty industry and it means make-up involves more meanings than in primitive period. Therefore we need to study its multi-dimensional connotation Which in the culture that means to understand the society and their way of thinking, and their social value. The structure of feeling represented in make-up in the 70's was Korean women's wish which were to be rich and westernized. In the 70's, Korean women moved to city, and meanwhile they work hard, they has been accepted western lifestyle and it proved on women's face. And in the 80's, Korea has been developed rapidly, and Korean government make people free. So Korean women's structure of feeling in the 80's were women's automation derived from political and economical development. And women expressed their structure of feeling as abundance in the society and women has to been stately. In the 90's Korean women were revolutionary and returned to nostalgia. In 2001, as the world faced new century, Korean women's life has been changed and the structure of feeling were pureness, simple and easiness.

• Proceedings of the Costume Culture Conference
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• 2005.10a
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• pp.76-76
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• 2005

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.95-108
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• 2019

This study aims to determine the characteristics of new senior women's torso shapes. The data was collected from the 7th Size Korea, which analyzed 412 women between the ages of 55-69. A factor analysis was performed based on 20 indices, including eight based on circumference, eight based on height and length measurements, and four based on torso flattening. The results of the factor analysis suggest five main factors: torso silhouette, longitudinal size of the body, torso flattening rate, abdominal shape, and posterior longitudinal size. The results of the cluster analysis suggest three overall types: Type 1 is the inverted triangular obese shape which is characterized by large breasts, small buttocks, a short height, and a forward-bending posture; Type 2 is the rectangular, slim shape which is characterized by a forward neck and a flat front and back of the torso, and is the most slender among the three types; Type 3 is the large rectangular, overall obese shape, which is characterized by a round shape with large breasts, waist, and buttocks, and a forward-bending posture with a protruding back, and this is the most obese type. According to the results of the cross-tabulation, women aged 55-59 showed no trend in body shape; women aged 60-64 showed an increases in the inverted triangular obese shape and the large rectangular, overall obese shape; women aged 65-69 showed an increase in the large rectangular, overall obese shape and a decrease in the rectangular slim shape. In summary, new senior women showed body shape characteristics of being short, more obese having, a bent over posture. As they grew older, the curves disappeared, and the body becomes rounder. The study found that variation in body shape exists among new senior women in the aged society.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.783-797
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• 2001

This study examines the cultural meanings of underclothes advertisements through the analysis of advertisement messages appeared in women's magazines of Korea which are , and published between 1965 and 1999 mainly targeting the women at the age of 20s through 40s. The method of study is mainly qualitative with subsidiary citations from the results of content analysis. The advertisement messages identified in underclothes advertisements are 1) body care, 2) gender role, 3) commercialization of eroticism, 4) feminism, 5) men's social status and masculinity, 6) social issues of concern and ideologies of the time. Advertisements produce a new meaning through a dynamic mixture of the advertisement's visual and verbal factors. Such a new meaning then can become a part of culture and therefore we can obtain insights of a society culture by analyzing the advertisement messages of underclothes advertisements. Advertisements bring definite changes to the culture through long-term and implicit influences on the constituents of the culture.

• Journal of the Korean Home Economics Association
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• v.37 no.12 s.142
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• pp.1-11
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• 1999

The purpose of this study is to investigate the color preference of women living in Seoul, to provide materials which is useful for setting up the color plan for a better costume, and to suggest new information in the apparel study. This study is done on the basis of color preference only by age and the range of this study restricted on womens' clothes. The subjects of this research are 1,100 young adult women and 1,244 elderly women photographed in the street. The data are analyzed by frequency and percentage. The results of this study are as follows ; The preference of chromatic color and achromatic color, tint and tone, pattern of textiles are different mainly by age. 1. Elderly women prefer achromatic colors to chromatic colors. The most preferred achromatic color is black, especially elderly women prefer black. 2. Analysis of tint shows that blue, red and yellow red are commonly preferred by women. Especially blue is preferred by young women : red and yellow red are preferred by elderly women. 3. Analysis of tone shows that vivid, pale, dark tones are commonly preferred by women. Especially vivid tone is preferred by elderly women, while pale tone is preferred by young women 4. Analysis of pattern of textiles shows at, pattern textiles are preferred by elderly women rather than by young women. The most preferred pattern for elderly women is a flower pattern, and for young women a stripe pattern.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.471-484
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• 2018

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study's data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study's results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals' physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women's social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women's physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.