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21세기 패션의 탈중심화 현상에 나타난 해체성에 관한 연구 -의복의 외형미와 착용미를 중심으로-
정세희 ( Se Hui Chung ),김영선 ( Yon Son Kim ) 복식문화학회 2015 服飾文化硏究 Vol.23 No.1
The purpose of this study is to review the concept and thinking structure of deconstruction theoretically and thereupon, analyze the visual beauty and wearable comfort of the clothing and further, discuss the aesthetic characteristics and values of the decentering phenomenon in the 21st century fashion. Deconstruction provides for an cognitive framework whereby we could comprehensively review the difficult-to-understand and imprudent creativity unravelling in the name of the post-modernism as well as the ambiguous visual beauty and wearable comfort of our contemporary fashion. In particular, deconstruction refuses such concepts involving the relationship between the conventional clothing and its components as order, symmetry, balance, harmony, perfection and simplicity and instead, attaches some sense of value to such relatively inferior concepts as disorder, asymmetry, unbalance, disharmony, imperfection and complexity, and thus, reflects them in the modes of aesthetic representations to create new aesthetics and expand the expressive potential.
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드랙 퀸(Drag Queen)과 드랙 킹(Drag King) 패션에 관한 연구
정세희(Se Hui Chung),양숙희(Sook Hi Yang) 한국복식학회 2004 服飾 Vol.54 No.7
The purpose of this research was intended to investigate drag queens` and drag kings` gender identity not only as a comic and desexualized drag borrowing external characteristics of the opposite sex but also as the subject visualizing and performing `the third sex`. It also aimed to examine formative aesthetic characteristics and aesthetical value of drag queen`s and drag king`s fashion and to confirm the functions of drag queen`s and drag king`s fashion to establish, visualize and perform the discordant sex. For this process, research steps were as follows 1. Understanding drag, drag queen and drag king in social, psychological context as well as in gender context. 2. Finding visualized forms which drag performance interchange with mass media 3. Analyzing similarities and differences between drag queen`s fashion and drag king`s fashion. 4. Examining the aesthetical characteristics and the value of drag queen`s and drag king`s fashion. The results of characteristics of drag queen`s fashion could be categorized into stereotype, mimicry, kitch, inconsistency and commercialism. And the characteristics of drag king`s fashion could be divided into reality. self-consciousness, mimicry, inconsistency, subversion and multiplicity. Drag queens create plausible impressions of feminity through the use of wigs, dresses, jewelry, makeup, hormones and through role playing. Similarly drag kings produce a plausible masculinity taking gay male aesthetic using suits, crotch stuffers, facial hair, and greased hair. Male and female impersonation produce very different notions of gender performance for male and female embodiment. Drag kings` performance of masculinity demands authentic property of bodies so rather nonperformative, while drag queens` performance of femininity depends on more visible and theatrical fashion.
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1930-1990 년대 영화 의상에 나타난 젠더 정체성(Ⅰ) : 남성성(Masculinity), 여성성(Feminity)를 중심으로
정세희,양숙희 대한가정학회 2002 Human Ecology Research(HER) Vol.40 No.5
The movie costumes may serve to change individuals' ego identity, shift a gender identity to another one and make multiple and plural gender identities shared. The unique identities shown in movies can influence the audience to the extent that they will imitate characters's costumes or appearance in their real life, replacing their inner, unrealizable and private fantasy with real one. The purpose of this study is to review the movies produced in 1930's and thereafter by categorizing the socio-cultual gender concepts into masculinity and feminity. Masculinity and Ferninity are not attributions fixed by some physical characteristics, but it tends to be changed or expanded by some social factors over time. In short, it may be a fleadble, plural, individual and self-introspective attribute. Movies present diverse types of masculinity and feminity, and In particular, the movie costumes specify them. In other wards, the costumes may be model means expressing the masculinity and feminity, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience. All in all, the movie costumes serve to take on the confrontation of masculinity and feminity between inner, unrealizable and private fantasy and external reality and thereby, expand it from internal to external issue and thus, change or reform masculinity and feminity.
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1930-1990 년대 영화 의상에 나타난 젠더 정체성(Ⅱ) : 제3의 성(the third sex)을 중심으로
정세희,양숙희 대한가정학회 2002 Human Ecology Research(HER) Vol.40 No.6
The third sex implying a mismatch between sex and gender has been regarded as an extreme socio-cultural violation. In its earlier version, such a violation was expressed by cross-dressing; Women's cross-dressing was thought to invoke eroticism, while men's cross-dressing was considered comic or delinquent. However, as feminism developed more with the homosexual identity expressed openly, the third sex began to be visual. Thus, in 1990's, some homosexual movies began to develop to be pluralized enough to suggest the third sex and thereby, change the negative sex into a positive one. In this study, such a pluralization is discussed in terms of invisibility, dichotomy and androgyny. The cross-dressing movies show females in male attire or males in female attire to reflect the third sex. The cross-dressing may be divided into men's playful cross-dressing, women's political cross-dressing and homosexuals' cross-dressing or 'drag'. Gender identity is not an attribute fixed by some physical characteristics, but it tends to be changed or expanded by some social factors over time. In short, it may be a flexible, plural, individual and self-introspective attribute. Movies present diverse types of gender identities, and in particular, the movie costumes specify them. In other words, the costumes may be model means expressing the gender identities, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience.
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