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자료유형
학술저널
저자정보
저널정보
한복문화학회 한복문화 韓服文化 第9卷 2號
발행연도
2006.8
수록면
77 - 91 (15page)

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초록· 키워드

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The purpose of this study is to find out the characteristics of sexuality expressed in the contemporary men's fashion. With the drastic social changes since the 1960s and the demise of aesthetic values prescribed as absolute by classical modernism, contemporary men have strived to reveal their aesthetic desires and to express their own unrestricted sensibility and individuality beyond the socially fixed gender notions.
The characteristics of the contemporary expressions of male sexualities can be subdivided into four separate categories.
First, recent men's fashion shows transition to body conscious style which reveals masculine body line. Body conscious style of sexuality expression presents masculine image of young healthy body by unexaggerated silhouette, and sensual androgynous and sexless image through the characteristical feminine materials.
Second, contemporary men have begun to reveal their concealed sexual attractiveness. They are expressing their masculinity and sexuality through partial exposure of their bodies. Through fashion they are trying to express ideal beauty of human body which has been prohibited by the traditional social notions.
Third, recent men's fashion presents new style and atmosphere through the novel coordination of interchanging sexual characteristics of masculine and female fashion styles, and through the new innovative style which breaks the fixed notions of wearing the established garments. These new ways reveal the masculinity of free body oppressed by the traditional formal suit.
Finally, contemporary men's fashion expresses male sexuality by partially employing appropriate decorating elements such as feminine colors, patterns, materials, details, accessories, and hair-styles. In spite of the partial employment of feminine design elements, they still preserve their sexual identity as men and express their natural sexuality properly.

목차

〈Abstract〉
Ⅰ. 서론
Ⅱ. 이론적 배경
Ⅲ. 2000년대 이후 남성 패션에 나타난 섹슈얼리티 표현 특성
Ⅳ. 결론
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