• Journal of Digital Convergence
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• v.17 no.4
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• pp.355-364
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• 2019

The purpose of this study is to present the implications of analyzing users' market segmentation and characteristics based on the tourism SNS lovemarks experience. The results are as follows. First as a result of conducting factor analysis of tourism SNS lovemarks experience, five factors explained namely, mystery, sensuality, intimacy, trust, reputation. Second, as a result of conducting cluster analysis, four cluster groups were identified (reputation/sensuality centered experience group, high lovemarks experience group, intimacy centered experience group, low lovemarks experience group) and each characteristics were profiled. Third, as a result of Chi-square analysis and correspondence analysis, there was a difference in the characteristics of tourism SNS usage by cluster. Fourth, higher tourism SNS lovemarks experience segmented groups were more likely to recognize the degree of experiential value, satisfaction, behavioral intention.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.91-106
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• 2023

This study examines how the concept of gender fluidity-viewing gender identity as a fluid and wide spectrum-is represented in modern knit fashion collections. The period spring/summer 2017-fall/winter 2021, when gender-related fashion keywords started attracting attention, was limited to the last five years, and the results of a case analysis focused on a total of 357 knit fashion photos are as follows. First, the androgynous compromise through the mixing of heterogeneous elements appears as a mix-and-match style due to the patchwork of heterogeneous materials and forms that borrow or share masculinity and femininity. Second, it was confirmed that the dismantling exaggeration caused by the destruction of the size and form of clothes was an avant-garde image that exaggerated the size or length of clothes or destroyed ideas and forms. Third, the exposed sensuality caused by the deformation of the fluid knitting technique was shown in the form of proudly expressing sexuality by exposing the body either using the cut-out technique or through the loose texture of the knit. Knit fashion can highlight decorative effects using handcrafted techniques and express a detailed or coarse sense of organization depending on the density. In addition, since it is possible to create a complex image by juxtaposing and mixing various knit structures, it was confirmed that it is a suitable material for expressing gender fluidity flowing between men and women in fashion.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.153-161
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of goth image which have had influence on literature, film, music and art, in modern fashion. The method of this study is to analyze the documentary about gothic and goth, and the fashion magazines since 2000. The results of this study are as follows: First, sensuality shows the excessive exposure of body and inner wear, and emphasizes a resistance of sexual consciousness and a image of independent, active, powerful woman. Second, androgyny shows the goth women wearing a men's cloth and encourages a person to have a perfect being and satisfaction. Third, horror shows the symbol of death and suggests a substance of desire hidden in our mind. Fourth, historicity shows victorian fashion which have a romance of gothic and baroque, not a cult but a modern image. In conclusion, goth image in modern fashion does not show a substance negative and horrorful, but a substance positive as a perfection, satisfaction, a sense of freedom, obliteration of a feeling of uneasiness and powerful woman's image.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.5
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• pp.723-737
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• 1995

The purposes of this study were to investigate 1) the difference of cognitive evaluation on body exposure of female clothing, ann 2) purchase frequency and intention of wearing according to demographic variables. The instrument of this study consisted of response scale and stimuli. Thirty three items of 7.point Likert scale were developed to measure cognitive evaluation of the people who responded. The stimuli were 7 types of clothing, differing exposure parts and style on line drawing. The sample included 450 subjects, consisting of 231 in Seoul and 219 in Chun-nam Province. Statistics applied for analysis were frequency, percentage, mean, standard deviation, correlation, t-test, F-test, Duncan's multiple range test, factor analysis. The Results were: 1. Constructing factors of cognitive evaluation consisted of elegance, sensuality, attraction, individuality. There were significant differences in every factor on each types of clothing. 2. The evaluation toward each types of clothing was influenced by the subjects' sex, age, and residence. 3. Purchase frequency and intention of female subjects' wearing were very low, and there were significant differences on demographic variables.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.946-959
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• 2005

The purpose of this study was to examine the Korean red carpet fashion of Daejong, Bluedragon, Korean Film Awards from 2002 to 2004, focusing on nominates of female movie stars and presidents. Leading colors were black and white but pale and vivid colors were also chosen. Dresses were made of satin, chiffon, lace and velvet mainly, and patterned fabrics made strong statements among them. Based on the long and slim silhouette, there were lots of details using beads, sequins and crystal stones for manipulating lighting effects. Fur shawls along with diamond jewelry were favorite items of many stars. They preferred dresses of international brands to that of domestic brands. Esthetic qualities of red carpet fashion were categorized as decorative gorgeousness, sophisticated elegance, glamourous sensuality, paradoxical presentation, pure innocence, and Korean refinement.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.101-116
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• 2016

"Athleisure" indicates a new fashion style which takes advantage of the merits of both sportswear and outdoor clothing. This fashion style produces clothing we can wear very conveniently regardless of time and place. This paper, first, surveyed the concept of athleisure and the socio-cultural background of its appearance in modern fashion, and then, analyzed the growing processes and tendencies of athleisure in various fields of fashion. The three typical characteristics of athleisure can be summarized as Non-boudary, Functionality, and Sensualirty. It is hoped that this study has provided some theoretical evidences for the athleisure which is expanding broadly but vaguely as megatrends.

• Journal of Information Technology Applications and Management
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• v.28 no.1
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• pp.43-51
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• 2021

This article explores Kim Hye-soo's film acting from the perspective of performance, which means a socio-cultural action planned and intended for a certain purpose. Through the aspect of screen performance which the identity of the era that the performance study aims for is expressed through acting and reappeared in a system of verbal and non-verbal symbols, it was intended to enhance the academic value of Korean film acting. First, Kim Hye-soo's acting performance transforms by repeating genre acting. The sensuality and sexual attractiveness that evaluates Kim Hye-soo are repeated by the typical vision required by genre films, but the acting performance is not consumed or subordinated as a tool for visual pleasure. Second, Kim Hye-soo's body, face, emotion and audio are engraved with memories of the times, and the sociocultural identity of the performance is expressed through dynamic interaction between actions and reactions. Third, Kim Hye-soo's restored and recreated performance is sensitive to the changes of the times and is still in the process.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of Fashion Business
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• v.1 no.2
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• pp.55-64
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• 1997

This study adapted OSL (Optimum Stimulation Level) to induce the customer's behavior, especially customer's fashion behavior. The purpose of the fashion advertisement was to accelerate the purchasing desire for the clothes by catching the customer's attention. OSL is one of the methods. OSL can satisfy customers' desires using the new stimulation that reveals a customer's individual characters. In general, women are more concern about fashion and sensitive to the clothes of new fashion than men. But nowadays, many of the men are also concern about their appearance and fashion. The differences between men and women in fashion behavior and in each factor, of OSL, especially a relationship between OSL factor and fashion behavior are researched in this study. Such differences analyzed to find the sources that can satisfy their various desires. This study was expected to provide good information to plan advertising strategy in unpredictable market situation. The subjects for this study were 308 male and female university students. Mehrabian and Russell (1974),s ASTS(Arousal Seeking Tendency Scale) was adapted to measure the OSL, and twenty questions regarding fashion leadership and clothing importance released by Kwon, Shin, Lee, are adapted to measure the fashion behavior. An ANOVA was used as statistical analyzing method to find out the difference between men and women in fashion behavior. The relationship between fashion behavior and difference between men and women in OSL factors were measured by MANOVA. Conclusions were as follows; 1. In consciousness degree of fashion leadership and clothing importance in the fashion behavior, women were higher than men. 2. There was a difference between men and women in OSL's each factors in "unusual stimuli" and "sensuality", but there is no significant statistical difference in factors of "change", "risk", "new environment". Therefore women are higher than men in the stimulation level of "unusual stimuli" and" sensuality". 3. Low element of OSL relating to fashion behavior is from "change" and "unusual stimuli". 4. For the relationship between OSL and fashion behavior, fashion leadership and clothing importance were recognized better in the group of higher level of "change" and "unusual stimuli" irrespective of sex. In the case of "change" which is one of OSL factors, High OSL groups were higher than low OSL groups in the consciousness level of the fashion leadership and clothing importance. In men's case, High OSL-Change groups were higher than Low OSL-Change groups in the fashion leadership, but there was no difference between two groups in the consciousness of the clothing importance. In the case of "Unusual Stimuli", High OSL groups were superior to Low OSL groups in the fashion leadership, but there was no significant difference between two groups in the clothing importance. In women's case, High OSL-Change groups were superior to Low OSL-Change groups. In the case of "Unusual Stimuli", High OSL groups were superior to Low OSL groups in the fashion leadership, but there was no difference between two groups in the clothing importance.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.