• Journal of the Korean Society of Costume
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• v.51 no.1
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• pp.163-174
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• 2001

The purpose of this study is to review the features of eroticism expressed in men's fashion, to explain psychological and social contexts which engender eroticism and to analyze in what way eroticism is portrayed in men s fashion in this context. Eroticism as the metonymy of forbidden sexual desire, has been embodied mostly in visual forms such as picture and photo. From a psychoanalytic view, the context in which eroticism is formed can be explained by primary narcissism and fetishism. Primary narcissism is the feeling of satisfaction with the self in which the subject who is admiring and the object of admiration are one and the same. Accordingly, in order to give rise to eroticism, both subject and object have to exist. Fetishism, the metonymy of castrated penis, is also one of the factors to produce eroticism. Metaphorically seen as a woman who has a penis, a man who dresses in the same manner as a woman dresses can be a source of eroticism to gays. From a sociological view, the context in which eroticism is fostered depends on the dynamic relations among social powers. In these relations, who is a subject or who is an object has been continuously changing. In the Post-modern culture appearing in the late 20th century, power begins to take various forms, and gays and women who had never been subjects begin to make man an object of eroticism. The other point is that social morality, ignoring desire itself, objectifies sexual desire and seeks to remove It by exchanging it for objectified symbols. The design elements provoking eroticism in men s fashion are exposure and decoration. In particular, models in exposure and decorative fashion have been objectified through the methods of fragmentation rather than showing the whole figure or removing a person s individuality or will,.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.177-192
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• 2003

The purpose of this study is to define masculinity as a shilling concept, stemming from the process of power groups controlling the conscious and unconscious of human beings to diffuse their ideologies, and to examine how masculinity has been reflected in aesthetic images in men's bodies and fashion. As for the research methodology, literary research and demonstrative studies through the analysis of pictures and photos were undertaken. Emerging in the wake of the Industrial Revolution in the 19th century, the absolute powers such as the bourgeois elite, males and the Wet emphasized the importance of reason, and made aesthetic images such as authority, robustness and modernization in men's fashion. In the conversion to the Information Society, poweres horizintally spread out over society. By using non-reason, diverse power groups have broken down traditional masculinity and express diverse aesthetic images in men's fashion such as eroticism, multi-culturalism and liberation.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.185-204
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• 2012

There are lots of sexual images in the contemporary media, and this is due to many of the media formats, such as television, magazines, and the Internet, using these images to relay various messages to the people. The media uses these sexual images (i.e. woman in a bikini) in order to use sex and eroticism as a marketing tool to the audience. Unlike other men's magazines, which actually have many female readers, Maxim magazine's readers are made of mostly men, and because of this, their magazine covers are usually filled with sexy women celebrities, such as singers or actors; images that can attract the general men. This study puts its focus on evaluating Maxim magazine's marketing strategy. The strategy of targeting men in their 20's and 30's, who were not interested in reading, but were impulsive and visually oriented. The study looked at magazine covers from November 2002 (the start of the magazine) to October 2008 (the peak period of its sales), and a total of 72 images were analyzed. For each image, 5 things were recorded (model's occupation, clothing style, hairstyle, makeup, pose and gaze).

• Journal of Fashion Business
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• v.1 no.1
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.9_10 s.146
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• pp.1316-1328
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• 2005

The purpose of this study was to compare the differences in recognition of sexy body parts and apparel designs by gender and correlations between sexy body parts and apparel designs. Data were collected through a survey of 265 males and 303 females. Data were analyzed by included t-tests, f-tests, and Pearson's correlations. The results were as follows: 1. Females found male body parts were sexier than males did. Males found female body parts were sexier than females did. 2. Females found men's clothing designs were sexier than males did. Also, males recognized women's clothing designs as sexier than females did. 3. Males found see-through and body-consciousness, the methods of designing sexy styles, were sexier than females did. Differences in sexy color recognition by gender were also found. 4. There were correlations between most of sexy body parts and designs which emphasized that body parts. The results of this study shows the differences in recognition and correlation by gender. The results may be applied to develope sexy designs for different genders.

• 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.

• Korean Journal of Human Ecology
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• v.14 no.5
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• pp.847-858
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• 2005

The purpose of this study was to compare the differences in recognition of sexy body parts and apparel designs by age and to discover the correlations between sexy body parts and apparel designs. Data were collected through a survey of 265 males and 303 females. Analyses included t-tests, f-tests, and Pearson's correlations. The results were as followings; 1. The 20's-30's age group found female body parts were sexier than 40's-50's did. 20's-30's believed the male body was sexier than 40's-50's did. 2. The age groups found men's clothing designs were different by different age groups. Also, differences in female clothing designs were recognized by different age groups. 3. The 40's-50's age group recognized see-through sexier than 20's-30s did. Differences in sexy color recognition by age were also found. 4. There were correlations between most of sexy body parts and designs which emphasized the body parts. The results of this study show the differences in recognition and correlation by age. The results may be applied to developing sexy designs for different targeted age groups.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.101-112
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• 2005

One of the curiosities harbored most by anthropologists may be why women are so different from men physically. One of such differences must be the breast. Female animals do not have such a swollen breast even when they nurse their young. We can find many Western garments highlighting the breast, but in Korea the tradition has been that the breast should not be highlighted. It was because the large breast was deemed useful that Western people appreciated it highly. In general, it is conceived that to ancient Westerners' eyes, the nursing function of the breast was very mysterious, because the food supplies were insufficient. Although the size of a breast does not affect its nursing function, Westerners may have thought that it did. To the contrary, in the societies with rich agricultural products, the breast was not much emphasized as the reproductive organs. Since people are more and more concerned about their body and the breast or one of the body parts characterizing the femininity is regarded as an important element of design, it may well be significant to research into the breast designs for development of the fashion design. With such basic conceptions in mind, this study was aimed at reviewing the artworks featuring women's breast and their historical background and thereupon, analyzing the aesthetic values of the breast-featuring designs by dividing them into four categories in large.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.431-445
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• 2007

The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.14-30
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• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.