• Journal of the Korean Home Economics Association
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• v.49 no.3
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• pp.1-10
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• 2011

This paper reports on a study of the morphological design trends and characteristics of vests in contemporary fashion for women. A review of the relevant literature was conducted, and visual images found in various collections displayed in local and foreign papers and on internet web sites over the period 2001 to 2009 were analysed. The analysis of the vest designs showed that 78% had no collar, 41.8% were waist-length, 70.5% used general fabrics of various colors and patterns, 98.2% had a single fastening system, 69.8% used buttons for fastening, and 67.4% were intended to be worn as outwear over inner wear items such as a shirt or blouse. The trends in vest design were characterized by the expression of an androgynous image, by creative diversity and by an escape from traditional forms.

• The Research Journal of the Costume Culture
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• v.10 no.1
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• pp.60-75
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• 2002

The purpose of this research is to understand the gender identity expressed in Madonna music video texts and performances. Madonna has reconstructed the fluid identities through the variations of body, images, costumes, and attitudes . The results are as fellows; ① Her punky sexuality is to be seen the flash trash look, kitsch fashion, which reconstructs a good/bad taste, modesty/immodesty, the relations of under/outer wear using bawdy sexuality through her early Virgin tour. ② Her Heterosexuality is to be seen the glamourous look, traditional images of women, which represents the passive feminity of patriarch. ③ Her sadomasochism sexuality is to be seen the bondage look of dominatrix image, which deconstructs sexual taboos; represents sexual power. ④ Her bisexuality is to be seen androgynous look, the 3rd species look using masculinity/feminity signifier, which deconstructs the stereotypes of gender roles. ⑤ Her homosexuality is to be seen the fetish fashion by drag and lesbian, which deconstructs the dichotomy of normality/perversion; opens a possibility of women subjectivity of sexual desires.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.721-736
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• 2004

The aim of this study is to clarify aesthetic values and sociocultural meanings that reappears in contemporary fashion. In order to analyze aesthetic values and symbolic meanings of body decoration, I examined the concepts and expression methods of the body decoration. Also, analyzed external characteristics of expression and its internal meanings that applied in modern fashion. The expressions of body decoration represented in contemporary fashion are classified into direct and indirect methods. The direct method is expressed by tattoos, piercing, henna, make-up and body painting. And, indirect method is expressed by see-through look, body-conscious look and accessories that were utilized its patterns and the material adaptation methods. Such expression of body decoration in the modern fashion was represented into grotesque images and erotic images. The characteristics of grotesque images are abnormal state, hateful animal image and distorted or transformed body and the internal meanings are the pursuit of primitive, exoticism, the pursuit of playfulness, and resistance. The characteristics of erotic images are an exposure of body, see through, body-conscious and androgynous look and the internal meanings are the self-intoxication, naturalism and sexual pleasure.

• International Journal of Human Ecology
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• v.15 no.2
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.298-309
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• 2003

This paper was done to identify the types and the characteristics of street fashion of men living in world fashion-leading cities. 608 male photos taken on the main streets of 4 world fashion-leading cities such as London, New York, Paris, Tokyo were used as data. Photos were viewed by students and classified according to overall images and the common aspects of characteristic style. Fashion images of male were classified into 11 groups, which were suits, casual, hip-hop, rockers/punks, hippies, ethnic, western, military, new romantic, skirt, androgynous. Frequency distribution showed that casual image was mostly preferred and 1311owe4 by suit, rocker/punks. Military and hippies were least favored. In each category, almost every style looked unique and creative as a result of mixing and cross-coordination of different clothing items.

• Journal of Fashion Business
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• v.17 no.4
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• pp.164-176
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• 2013

The study aims to find differences in clothing image preferences according to gender-roleidentity. The questionnaire developed by the researchers was distributed to 533 men and women who aged between 20 and 59. Fourhundred eight questionnaires were used for the final analysis. The data were analyzed by ANOVA, and Tukey's test using SPSS 18.0/Windows. As results, both male and female participant groups of the study were classified into 4 groups according to their gender-role identity: masculinity, femininity, androgyny, and the undifferentiated. For men, the masculinity group showed a higher preference for flamboyant, sexy, expressive, cold, mature, hard, strong, weighty, heavy, sharp images, while the femininity group showed a stronger preference for flamboyant, bold, luxurious clothing images. The male androgyny group preferred masculine, sexy, cold, mature, hard, strong, weighty, luxurious, heavy, artificial images, whereas the undifferentiated group preferred flamboyant, sexy and mature images. On the other hand, for women, the masculinity group showed a higher preference for luxurious image, while the femininity group showed a stronger preference for sexy, urban, decorative, modern, complicated, luxurious images. The female androgyny group preferred expressive, modern, mature, complicated, and luxurious images, whereas the undifferentiated group preferred bold, decorative, rational, and complicated clothing images.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.603-612
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• 2007

Giorgio Armani has made a huge success with his own persistent unique fashion styles for the last 30 years. But he too went through a transitional period during which he was criticized for lacking the so-called Armani design. Overcoming the confusion, however, he succeeded in recreating his styles of elegant image and fascinating people with his practical and yet sophisticated modern classical styles that he pioneered. The design characteristics of his men's clothing are as follows; functional and comfortable slim silhouettes that bring life to the curves of the human body, grey-based mixed colors in a natural atmosphere, natural materials such as wool, silk, and cashmere that are light and soft and have great drape properties with femininity, solid patterns with stripes, checks, and geometrical figures added, and the elegance expressed in moderate decorations such as a handkerchief and scarf. Armani men's clothing has enjoyed ongoing popularity and success across the world because it transcends time and allows men to maintain their class not being bound by the formality. It's also important to notice that Armani takes into account the perspectives of both men who wear his clothes and women who look at the men in his clothes.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• Journal of Fashion Business
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• v.8 no.1
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• pp.91-106
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• 2004

This study focuses on the sportism expressed in the modern fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time, new fashion materials resulting from new technologies, youth culture and postmodernism. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding, skiing, rock-climbing and fitness. While the sportswear is the term whith stemmed from the need for functionally in sports, the Sportism is the style inspired by the formative elements, that is, the details, the silhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look more popular. It can be categorized into three aesthetic values, i.e., the functional sportism, the street sportism, and the futuristic sportism. The functional sportism is expressed with the details of function, simplicity, and no useless ornament, the street sportism with fun, androgynous and unisex mode and the image of hip-hop look and traditional look, the futuristic sportism with new high tech fabrics and cyber style. The characters of these are a sence of unisex, sensualness, ostentation, renovation.

• Journal of Fashion Business
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• v.9 no.6
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.