Sunday Fun: Bottoms!

Hidamari Sketch EscherGirlMy 8 year-old daughter Alice is really into comics these days, often hiding our home phone under her pillow to keep reading when she’s supposed to be asleep. To my chagrin, she couldn’t care less if the female characters have huge eyes though, and/or no noses. But yesterday, I noticed the above while she was watching the opening to the anime adaptation of Hidamari Sketch. It was a great opportunity to start teaching her about female characters’ typical poses too.

Cue 20 minutes of giggling at the bottoms in the Escher Girls blog, which ultimately had the whole family trying—and failing—to imitate some of the pictures (although I was pretty good myself actually). Naturally, we quickly skipped past some of the more inappropriate ones, and Alice still has no idea why female characters are so often drawn in a “boobs and butt” style. But at least she’s aware of the phenomenon now, and, with gentle prodding from me, will hopefully think more about it herself as she gets older.

For now though, she’s still very much a 8 year-old girl, and I can hardly fault her for that. Much of those 20 minutes were also spent by her and her 6 year-old sister Elizabeth saying “와! 예쁘다…” (Wow! They’re so pretty…), and today this post took a long time to write because she kept on stopping me to tell me all about the characters in Hidamari Sketch. Including Yoshinoya above, who’s supposedly a high school teacher (sigh)…

Korean Sociological Image #85: Just One 10 Minutes…to Improve Your Spouse’s Specs

Korea Gender Roles Marriage Specs(Source: Jinvas, left, right; edited)

Two notebook covers, found by reader Stephanie Rosier at her local Kyobo bookstore. As she explains on the blog’s Facebook page, the left reads, “If I study for ten more minutes, my [future] wife’s face will change,” and the right, “If I study for ten more minutes, my [future] husband’s job will change.”

Of course they’re just notebooks, and just for fun (although I do hope it’s adults they’re aimed at!). But they’re also a reflection of how deeply “specs” (스펙) like certain jobs and physical standards dominate matchmaking discussions among Koreans these days. Whereas back in the 1980s, it was older family members or family friends that would size up children’s potential spouses for arranged 선 (seon) matches like this, nowadays hard economic times mean that young people can be just as pragmatic and calculating as their grandparents were.

Meanwhile, what’s “Just One 10 Minutes?” you ask? :D

Related Posts:

(For more posts in the Korean Sociological Image Series, see here)

Policing the Student Body: Sookmyung Women’s University students told to cover up

Sookmyung Women's University Festival Dress Code(Source: TVChosun)

Watching a news report about the controversial new dress code for last week’s festival at Sookmyung Women’s University, I was surprised to hear that it was the student union that was responsible, and aghast to learn that it was under the assumption that wearing revealing clothes leads to more sex crimes against women.

Fortunately though, at least the report itself ended with a commentator from the Korean Institute for Gender Equality Promotion and Education, who pointed out the potential for victim-blaming from such misguided beliefs. As so few other reports mentioned that (I’ve only found one other), I thought it was worth highlighting here.

Alas, there were technical issues with the sound in the online video, and rather than fixing those MBN just decided to delete it. But the transcript is still available:

Anchor:

숙명여대 총학생회가 축제 기간에 입을 수 있는 복장 규정을 마련했는데, 치마 길이와 심한 노출 등을 규제하고 있습니다. 성 상품화에 젖은 대학문화를 자정하겠다는 취지인데 논란이 일고 있습니다.
주진희 기자입니다.

For the university festival period, the Sookmyung Women’s University student union has set rules for students’ dress, regulating the length of skirts and the amount of exposure. This attempt to regulate university culture, which is steeped in sexual objectification, has raised a lot of controversy.

Reporter, Ju Jin-hee:

친구 얼굴에 물풍선을 던지거나 인간 두더지 게임을 하며 학업 스트레스를 날립니다. 해가 지면 캠퍼스에 주점이 설치되고 축제 분위기는 무르익습니다. 주점마다 자극적인 문구와 공연으로 치열한 호객 행위가 벌어집니다. 여성 속옷인 가터벨트를 찬 가정부 그림을 이용한 홍보지부터 성적인 은유를 함축한 메뉴판까지. 노골적으로 성을 상품화한 축제로 변질될 우려가 일자, 축제 시작 전 숙명여대 학생회는 혹시 모를 불상사를 막자며 복장 규정을 강화했습니다. 허벅지의 절반을 드러내는 치마는 금지. 만일 입으려면 속바지를 착용하도록 했습니다. 가슴골이 보이거나 속살이 비치는 의상은 물론이고, 옆트임이 있는 치마도 금지했습니다. 만일 어겼다가 적발되면 벌금을 내도록 했습니다. 이해가 간다는 반응의 학생들도 많지만…

During the day, doing things like throwing water balloons at students’ faces and playing whack-a-mole with them is a way of relieving stress at festivals.

But once the sun goes down, the festival atmosphere takes a more adult turn, with students promoting their departments with eye-catching posters and performances and making money for them by selling alcohol [James: With flow-on benefits for their MTs and so on].

In this vein, [the Department of Art and Crafts] made a provocative poster with a maid wearing a garter belt, and a menu with suggestively-named foods.

Sookmyung Women's University Maid and Menu(Sources: Kookje; Goodbuyselly)

Because of worries about such increasing sexual objectification in festivals, the student union set rules about clothing in order to avert any incidents.* These include: only being allowed to show 50% of the thigh; having to wear shorts under a mini-skirt; and mesh tops, dresses showing cleavage, and those with side-slits [James: Is that the right term?] all banned, with offenders being fined.

Many students responded that they understood these rules, but…

(James: It’s this line — “노골적으로 성을 상품화한 축제로 변질될 우려가 일자, 축제 시작 전 숙명여대 학생회는 혹시 모를 불상사를 막자며 복장 규정을 강화했습니다” — that sounds like victim-blaming. If better Korean speakers than I feel that’s a little extreme though, or a misinterpretation, I’d be very happy to be proven wrong!)

Interview: Sookmyung Women’s University Student:

“여대로써 많은 불상사가 생기지 않도록 엄격한 규제를 한 것에 대해서 찬성을 하고요. 그렇게 다 가리고 있는 건 아니잖아요.”

“Because this is a women’s university, I agree that regulations had to be made before an incident occurred. Students have been pretty blatant [about wearing revealing clothing and so on].

반면 비판 여론도 만만치 않습니다.

On the other hand, there were a lot of criticisms.

Interview, Kim Han-min, University Student:

“저는 솔직히 문란하다고 생각 안 하거든요. 그런 거 하나하나도 패션에 대한 자유가 될 수 있는데, 규제가 조금 심했다고 생각하고 있어요.”

“To be honest, I don’t think it’s lewd at all. This is about fashion and personal freedom, so I think the regulations are too harsh.”

전문가들은 여성의 짧은 치마가 문제될 수 있다는 사고방식 자체가 더 문제라는 지적입니다.

Experts pointed out that it’s the notion that women’s short skirts are problematic that is more of an issue:

Interview: Seong In-ja, Korean Institute for Gender Equality Promotion and Education

“고육지책으로 마련된 걸로 보이긴 하지만 또 한편에서의 우려는 성범죄 안에서 피해자에게 원인이 있다는 ‘피해자 유발론’으로….”

“These rules appear to be a desperate measure, and there is a genuine worry that they shift the blame of sexual crimes onto the victims…”

축제 문화를 자정하려는 취지에서 만들었지만, 좀 더 현실성있고 고민이 담긴 규정이 마련돼야한다는 목소리도 나오고 있습니다.

These rules appear aimed at regulating [excessively sexual] festival culture, but some voices are saying a much more realistic and nuanced approach is needed (end).

sookmyung-womens-university-festival(Source: Extreme Movie; edited for brightness)

Of course, that only skims the surface of the issues raised by the dress code (see here, here, here, here, here, here, and here for the ensuing debate), and it would be good if it turned to be motivated less by supposed crime prevention than avoiding pictures of students later appearing on Ilbe and so on (although again, should that dictate what students are allowed to wear?). If anyone likes, I’d be happy do some more investigating and translating to learn more.

In the meantime, I wisely invested my time in interviewing Peter Daley instead, a professor at Sookmyung (and expert on Korean cults), to gauge the atmosphere and his students’ reactions. To his surprise, they felt it was a non-issue that had been blown all out of proportion:

“I only found out about the dress-code through the article in the Korea Times….[a female coworker of mine] felt it was a bit draconian. The students are adults, but weren’t being treated as such…she also mentioned that some students do have larger breasts…are they going to be penalized just because they can’t hide that part of their anatomy?

…Contrast that with what my students said, and that was a different reaction entirely…I expected that [raising it in class] would lead to some kind of debate and that students would be passionate about it, but they just kind of laughed it off…they said only guys were worried about the rules [because they'd see less]!

He hasn’t taught at Sookmyung long enough to attend previous festivals, but, whether because of the new dress-code or not, he didn’t see students wearing anything particularly risqué last Friday (“Certainly nothing too different from what young Korean women normally wear in the summer, or at other university festivals.”). Nor did the security guards seem to be tasked with measuring skirts with rulers, as if they were teachers at a high school.

But if someone had seen too much thigh? Sookymung isn’t a school, and the students are no longer children. The last time grown women were penalized for what they wore, it was by the fashion police of the 1970s, during the military dictatorship.

So yes, perhaps the students really should have been angrier.

busty girl problems korean fashion police(Sources: Busty Girl Comics, 추억의 편린들)

But I’m not one of them, and can’t presume to know their needs and feelings better than they do. Also, Daley concedes that without this year’s dress code, fashions at previous festivals may well have been more extreme, and indeed fashion photographer and blogger Michael Hurt said on Facebook that things at his own school’s festival are “getting insane,” although again that banning isn’t the solution (reprinted with permission):

But I think [the message it sends, that girls' worth is all in their looks] is precisely the point that this culture is struggling with right now. One of the reasons they dress this way, and this is even hinted at in the quotes lifted from the students for the [Korea Times] article, is that they have really come to commodify value themselves in terms of their sexuality, the expressions of which are primarily guided by over sexualized images in the media. I think something needs to be done to counteract this tendency, but this culture is lacking in terms of concrete strategies to do so besides banning or making rules. I think the same is true in the US to a lesser extent, but both cultures seem to have a problem dealing with where the line should be without having to litigate it.

I’d be grateful if readers could supply any more details about events at Sookmyung; for instance, although the student union came up with it, I’m sure that the dress code was actually at the behest of the university administration. Also, I’ve never attended any Korean university festival myself (I always have two young kids to look after, and teach at a very Christian university far from home), so I’d be very interested to hear what they’re like. What are your experiences and impressions? Have you heard of dress codes elsewhere? Do you think, even if you don’t agree with the ban, that something like it was inevitable?

Update) Among many other relevant and interesting posts by Michael, make sure to check out “The Cultural Politics of Short Skirts in Korea.”

Update 2) I realize the irony of only quoting two middle-aged men for this article, but, well, you get what you pay for sorry(!) that can’t be helped with my family and day job down here in Busan unfortunately. Most of the links do include input from the students though, and if readers would like me to investigate further then I’m happy to focus on finding a student’s perspective to translate (here’s a good candidate).

Update 3) Some interesting related reading: “Dress Codes for Girls: Are Teachers the New Objectifiers?” at Ms. blog, and “Say Goodbye, Skimpy. Film Fest on the Alert for ‘Overexposed’ Actresses” at Busan Haps.

Update 4) Here, here, here, and here are some more Korean articles that look interesting.

Quick Hit: Harassment Framed as Affection

Dummy Harassment(Dummy Harassment by gaelx; CC BY-SA 2.0)

Via The Korea Herald:

Former National Assembly Speaker Park Hee-tae is to be questioned over allegations of molesting a golf caddie, police said Saturday…

…Park admitted that there had been some physical contact, but maintained that he did not “cross a line.” He told a local daily that he poked the woman’s breasts with a finger once, adding that it was an act of adoration because she “felt like his granddaughter.” (My emphasis)

Read the link for more details, or The Korea Times. I mention it because a friend pointed out that they’ve heard that excuse on more than a few occasions in Korea, which rang a definite bell. Sure enough, a few years ago I translated an article by Ilda Women’s Journal writer Park Hee-jeong, who said exactly that in relation to the following commercial back in 2005:

“I touched her because she’s like my daughter”

여성들이 이 광고를 보면서 느끼는 불편함의 한 켠은 ‘몸을 만지는’ 행위에 있다. 우리 사회에서는 가족이라든가 친하다는 이유로 타인의 몸에 손을 대는 행위가 쉽게 용납이 되는 경향이 있다. 나이 지긋한 분이 성희롱 가해자로 지목되면 “딸 같아서 만진 건데 잘못이냐?”는 변명(?)이 나오는 것도 그런 이유다…

One reason women feel uncomfortable watching this ad is because of the act of the daughter’s body being touched. That is because our society approves of and/or grants permission to men touching them in a friendly manner, like they would their own family members. Indeed, when an older male is accused of sexual harassment, often he fastens on to the excuse that “Can’t I affectionately touch someone like my own daughter?”…

…“딸 같아서 만진다”는 말이 통용되는 사회에서 삼성생명의 광고는 많은 여성들에게 불편한 기억을 환기시킨다. 광고 속에서는 의도된 스킨십이 아니었지만, 불편해하는 딸의 모습을 아름답게 바라보는 시점 자체가 이미 여성들을 불편하게 만들고 있는 것이다.

…“I just touched her like I would my daughter” is an excuse used so much in Korean society, that this Samsung Life Insurance commercial evokes many uncomfortable memories in women. In particular, having something that would in reality be so uncomfortable for the daughter, to be just cutely dismissed instead, already makes women feel uncomfortable. Even though the father’s intention was not skinship. (My emphasis)

See my 2011 post for the full article and translation. Like I argued there, the prevalence of such attitudes in 2005 still goes a long way towards explaining the rise of “ajosshi-” or “uncle-fandom” just a few years later. Or, more specifically, why the media so quickly framed and celebrated middle-aged men’s interest in (then) underage female-performers as purely paternal or avuncular, despite the girls’ increasingly sexualized performances.

But that’s a very familiar topic with readers, so I’ll wisely stop there, and later this month I’ll make sure to write a follow-up post on the important challenges to those media narratives that have arisen since (suggestions as to what to add would be welcome). Also, boys’ performances have likewise become problematic, so it’ll be interesting to explore similar permissive media narratives about “ajumma-fandom“—or curious lack thereof.

Until then, what do you think? Do you feel older Korean men still have a palpable sense of entitlement to women’s bodies, however much it is rationalized as affection? Or is Park Hee-tae’s case an unfortunate exception?

Update: By coincidence, this issue has just been raised in a posting at Reddit’s TwoXChromosomes. An excerpt:

But [my Korean father] would act strangely at times. He commented in public and in private how large my breasts were, and how I could have grown up without him there, how the last time he’d seen me I was so small. He would often say teasingly that he wanted to feel my boobs and he would constantly try but I would be very self conscious and embarrassed and turn away.

I asked him to please stop and get angry. I even cried once because he was making me feel bad and humiliated. He also kept trying to sneak in when I was bathing and kept implying that he wanted to bathe me like when I was young. He would often try to see me when I was changing. I felt very conflicted and always refused. I felt revolted by the whole thing.

Anyway, I admitted to my grandmother that I had felt strange, and kind of traumatized by this behavior. She immediately responded with, “You’re wrong about this. This is normal behavior in South Korea, and you’re just seeing this in the wrong light because you’re American. Your father has a temper problem, but he’s a pure person. I’m one hundred percent sure that he just was being a loving father.”

Read the rest there, as well as the numerous comments. Again, there’s quite a debate as to how common such excuses and rationalizations are in Korea (or not).

Update 2: Clearing out my archives, I came across the following case from October 2007:

An appellate court gave the “not guilty” verdict to a father who had touched his 11-year-old stepdaughter’s breasts, saying it was a “sign of affection.”

Kim, 43, was married in 1996. He became the stepfather of his wife’s daughter, whom he treated as his own child. He had often showed her affection through touching, which the girl did not used to consider as unpleasant…

…However, the Seoul High Court only acknowledged the domestic abuse [of his wife]. He was given a two-year suspended jail term and 160 hours of community service. It ruled: “Kim’s act was a rather excessive sign of affection spurred by alcohol.”

The court made this decision based on the fact that the girl had not reached puberty yet and previously had not felt uncomfortable about such acts as sleeping next to her and touching her hips.

Read the full article at the Korea Times or Waygook.

You are Beautiful, Stop Hating Your Body

You are beautiful, stop hating your body(Source: 숭실 총여학생회 다락 Facebook Page)

Oops, I haven’t written in a while. Time to find something about body-image, the media, or popular culture to complain about then.

Seriously(?) though, there’s only so many times you can mention that young Korean women are chronically underweight, and the likely reasons for that. Better to highlight groups actually doing something about it instead.

One group is the Soongsil University Female Students’ Association, which recently encouraged women to stop excessive dieting by offering them free snacks, and passing on stickers and fans with messages like the one on the left above. It reads, “You’re different because you’re beautiful. Don’t feel bad or uncomfortable about your precious body based on other people’s stereotypes. Because you are you, you are beautiful. The 23rd Soongsil University Female Students’ Association: we are different, and we respect you.”

Those small efforts may seem futile in the face of the barrage of body-shaming messages women receive every day, but with three in five 19-24 year-old Korean women regularly skipping breakfast (nearly one in five, lunch and/or dinner too), then surely the growls in their stomachs at least got some questioning whether it was really worth it. As for the messages, body-image activist Minji Kim pointed out they’re surprisingly effective, and are now used by a number of organizations working on body-image issues:

“These messages create solidarity among people whose issues may have seemed daunting, because they were struggling alone. But when people share their stories and start talking about them? Then immediately they feel less lonely and empowered by knowing that there are other people like them out there and that they do have a support system.”

More specifically, Minji was talking about post-its like the one on the right, which reads “I would hate for you to lose even one gram in this world.” I’m unsure if it was placed there by the Soongsil students, by Korea Womenlink (remember their cool subway posters?), or if it was part of a collaborative effort, but the effect is the same!

You are Beautiful(Source: lunacharsky; used with permission)

Hat tip to the The Rootless Metropolitician, who led me to the group via the above photo.

Korean Women’s Sexual Histories: Still a slippery subject

Durex Korea Condom Ad December 2013(Source)

Remember last summer, when Korea’s first condom commercials came out?

Showing a woman bringing condoms to a date, I hailed Durex Korea for challenging popular, slut-shaming attitudes that women must feign sexual inexperience and naivety with new partners, with contraception widely considered only men’s responsibility.

But those would be the last condoms to grace Korean TV screens, by any company. Add Durex Korea’s recent, asinine marketing attempts, and that its Facebook page looks like it belongs to a lads’ mag, then the cynic in me lamented that last year’s efforts weren’t so much the start of a progressive, feminist campaign as simple, one-off copies of the original.

Then I discovered that there had been a similar, OMG-girls-like-sex-too commercial back in December, which played on various cable channels after 10pm:

Durex Korea Condom Ad December 2013 screenshotSounds awesome, right? Even if it was just a copy again.

My hopes raised, I began looking for more information, but was soon frustrated by the lack of mention on Durex Korea’s website, Facebook page, Twitter feed, and blog. What’s more, there proved to be only one low-res, IE-only version of it that is publicly available. (Another requires a paid subscription to this site.)

I began to suspect that some unspecified controversy spilling over from last year’s June commercials may have been responsible, as those videos are also no longer available on its FB page (although the posts are). But probably that’s just simple neglect; with a Facebook page, Twitter, and blog myself, I can confirm that it’s difficult finding the time or inclination to fix broken links in old, rarely-read posts. Better to create new content, and accordingly Korean companies rarely keep old ads on their websites, preferring that consumers focus on their recent most ones instead. Sure enough, Durex Korea’s reply to my tweet made me realize that it was actually private Youtube users that were originally responsible for (re)uploading and sharing their June commercials, without whom they too wouldn’t be publicly available today.

I guess the December commercial just wasn’t all that popular really—there was never any great patriarchal conspiracy to have it removed. But, popular or not, it shouldn’t have been such a struggle to find more information—any information—about a (relatively) groundbreaking campaign, let alone from the company responsible. So, again, I have to conclude that Durex Korea was never making any real effort to engage with female consumers and challenge double-standards. Sigh.

This summer then, it’s probably T-ara member Eun-jung’s recentconfession” to—shock! horror!—past sexual relationships that is most likely to have an impact on how the public views or discusses theirs. Or, alternatively, the news that matchmaking companies no longer assume that their female clients will pretend to be virgins before marriage…

Korean Couple Under the Co vers(Source)

That’s the takeaway message from this survey by two matchmaking companies, currently making the rounds of the Korean portals. Ostensibly, its message is actually that Korean women let men take the initiative when it comes to sexual relationships, and that previous experience with one partner makes a significant number of women—not men—much “more cautious” with their subsequent ones. Which does appear to confirm previous, more rigorous surveys, and hence the context about double-standards provided in the first half of this post.

But with no mention of the methodology, what exactly “more cautious” (etc.) means, and likely a self-selecting sample population? Then really, it confirms nothing at all. Please make of it what you will:

미혼女 34%, 애인과의 첫 성관계는 ‘술김에…’ 34% of unmarried woman need alcohol for their first time with a lover

이낙규 기자 (nak17@ajunews.com) 26.06.14

성(性)에 대한 의식이 개방적으로 바뀌고 있지만 미혼여성들은 아직도 10명 중 6명 이상이 애인과 첫 관계를 가질 때 술의 힘을 빌린다던가 억지로 끌려가는 듯한 수동적 자세인 반면, 남성은 10명 중 7명 정도가 성관계를 주도하거나 적극적인 자세로 임하는 것으로 나타났다.

Awareness of and attitudes towards sex are changing these days, [but still traditional gender roles remain]. With a new lover, six out of ten women admit that they take advantage of alcohol to overcome their shyness or reluctance when having sex for the first time, and/or passively accept it when their partner is insistent, whereas seven out of ten men believe they have to take the initiative and assume an active role.

결혼정보회사 비에나래가 결혼정보업체 온리-유와 공동으로 미혼남녀 544명을 대상으로 ‘애인과 첫 성관계를 가질 때 본인의 자세’에 대한 설문조사를 실시했다.

Marriage matchmaking companies Bien Aller and Only You surveyed 544 male and female customers, asking them about their thoughts and feelings the first time they had sex with previous partners.

그결과 남성과 여성의 반응이 판이하게 달랐는데, 남성은 37.1%가 ‘주도적’, 33.5%는 ‘적극적’으로 답해 나란히 1, 2위를 차지했다. 즉 70.6%가 능동적이라는 것을 알 수 있다.

Men and women differed quite widely in their replies. Out of the men, 37.1% said they took the lead, and 33.5% that they were active in initiating sex, the top two replies. Altogether, 70.6% said they took an active role.

Wait, I'm beginning to feel something(Source)

반면 여성은 34.2%가 ‘술의 힘을 빌린다’, 28.3%는 ‘억지로 끌려가듯 (응한다)’이라고 답해 상위 1, 2위에 올랐다. 성관계를 거부하지는 않지만 수동적인 자세가 62.5%이다.

In contrast, 34.2% of women said they need alcohol [to get over their shyness or reluctance], and 28.3% that their partner insisted, the top two replies. Altogether, 62.5% said they weren’t against a sexual relationship, but they assumed a passive role.

그 다음 세 번째로는 남녀 공히 4명 중 한 명꼴이 ‘자연스럽게 임한다'(남 26.1%, 여 24.6%)고 답했다.

With both men (26.1%) and women (24.6%), the third most common reply was that they “just behaved naturally.”

‘성 경험이 있는 상황에서 다른 애인과 성관계를 가질 때의 마음 상태’에 대해서도 남녀 간에 시각차를 보였다.

With the question of how previous their sexual experience impacted their feelings about sex with a new boyfriend or girlfriend, a big difference was visible in the replies from men and women.

남성은 ‘(마음이) 더 편해진다’가 54.7%로서 과반수를 차지했고, ‘변함없다'(33.5%)에 이어 ‘더 신중해 진다'(12.8%)가 뒤따랐으나, 여성은 ‘마음이 더 편해진다'(42.7%)는 대답이 가장 많기는 하나, 그 다음의 ‘더 신중해진다'(39.7%)와 큰 차이가 없었고(3.0%포인트), ‘변함없다’는 대답은 17.6%였다.

With men, more than half (54.7%) replied it would make them feel more comfortable; 33.5%, no change; and 12.6% that it would make them more cautious. While “more comfortable” was also 고준희 정진운the most popular reply with women (42.7%), 39.7% replied that it would make them more cautious, a gap of only 3%; 17.6% replied that it wouldn’t make any difference.

자세한 응답분포를 보면 남성은 ‘다소 편해진다'(37.5%) – ‘변함없다'(33.5%) – ‘훨씬 더 편해진다'(16.2%) – ‘다소 신중해진다'(12.8%) 등의 순이고, 여성은 ‘다소 편해진다'(31.3%) – ‘다소 신중해진다'(29.4%) – ‘변함없다'(17.6%) – ‘(훨씬 더 편해진다'(11.4%) – ‘훨씬 더 신중해 진다'(10.3%)의 순서이다 (source, right).

In detail, 37.5% of men replied that it would make them a little more comfortable; 33.5% no change; 16.2% a lot more comfortable; and 12.8% that it would make them a little more cautious. With women, 31.3% replied that it would make them a little more comfortable; 29.4% a little more cautious; 17.6%, no change; 11.4% a lot more comfortable; and 10.3% a lot more cautious. (END)

Thoughts?

Revealing the Korean Body Politic, Part 7: Keeping abreast of Korean bodylines

Park Shin-hye and Doll  (Source, edited)

Yes, I know. Korean bodylines again. Surely, I really do have some kind of fetishistic obsession with them, as my trolls have long maintained.

Perhaps. Mainly, it’s because I’ve been very busy (sorry) giving this presentation about them at Korean universities these past two months. Even, I’m very happy to report, getting invited back to some, and finally—squee!—making a small profit too. S-lines, I guess, are now very much my thing.

Instead of feeling top of my game though, frankly I’m wracked by self-doubt. I constantly worry about coming across a real fashion-history expert in the audience, who will quickly reveal me to be the rank amateur I really am.

skeletor bullshit(Source: Heal Yourself, Skeletor)

So, to forestall that day for as long as possible, here is the first of many posts this summer correcting mistakes in my presentation I’ve found, and/or adding new things I’ve learned. But first, because it’s actually been over a year since I last wrote on this topic, let me remind you of the gist:

1) Korea’s “alphabetization” (bodylines) craze of the mid-2000s has strong parallels in the rationalization of the corset industry in Western countries in the 1910s to 1940s.

2) Fashion and—supposedly immutable and timeless—beauty ideals for women change rapidly when women suddenly enter the workforce in large numbers, and/or increasingly compete with men. World War Two and the 1970s-80s are examples of both in Western countries; 2002 to today, an example of the latter in Korea.

3) With the exception of World War Two though, where the reasons for the changes were explicit, correlation doesn’t imply causation. Noting that bodylines happened to appear during in a time of rapid economic change in Korea does not explain why they came about.

Maybe, simply because there’s nothing more to explain, and we should be wary of assuming some vast patriarchal conspiracy to fill the gap, and/or projecting the arguments of Naomi Wolf’s The Beauty Myth (1990) and Susan Faludi’s Backlash (1991) to Korea. Indeed, arguably it’s mostly increased competition since the Asian Financial Crisis that has profoundly affected the demands on job-seekers’ appearances, of both sexes. Also, the financial demands of the K-pop industry go a long way towards explaining the increased sexual objectification in the media in the past decade.

Which brings me to today’s look at the evolving meaning of “glamour” in American English, which I use to illustrate the speed of those changes in World War Two:

Slide76Slide77Slide78Slide79Slide80Slide81Slide82Slide83Slide84These are necessary generalizations of course, whereas the reality was that contradictory and competing trends coexisted simultaneously, which you can read about in much greater depth back in Part 4. But this next slide was just plain wrong:Slide85With that, I went on to give a few more examples to demonstrate how glamour, then meaning large breasts, soon came to mean just about anything. But then I read Glamour: Women, History, Feminism by Carol Dyhouse (2010), and discovered that the word has always been very vague and malleable (albeit still always meaning bewitching and alluring). Moreover, to my surprise, “breasts”—the first thing I look for in new books these days—weren’t even mentioned in the index (nor, for that matter, “glamour” in Breasts: A Natural and Unnatural History by Florence Williams {2013}). Given everything I’ve said and written about them, I feel they deserved more attention that that (although she does cover them in the chapter “Princesses, Tarts, and Cheesecake” somewhat), but certainly there was only ever a strong association with glamour at best. Also, my timing was wrong, for that association began as early as the late-1920s, (see the introduction or from page 134 of the dissertation Hollywood Glamour: Sex, Power, and Photography, 1925–1939, by Liz Willis-Tropea {2008}), and didn’t peak until after the war.

For instance, take this excerpt from Uplift: The Bra in America by Jane Farrell-Beck and Colleen Gau (2002, page 103; my emphasis):

The War Production Board severely restricted the use of chromium-plated wire for civilian-use products. Brassiere manufacturers improved fasteners, but renounced wiring. Besides, glamour was not what brassieres were about in 1941-45. Posture, health, fitness, and readiness for action constituted the only acceptable raisons d’être for undergarments-at-war, dubbed “Dutiful Brassieres” by the H & W Company.

Indeed, it turns out those lingerie ads in one of my slides come from 1948 and 1949 respectively (and I’ve no idea what that girdle ad was doing there!). And here’s another excerpt, from The Home Front and Beyond: American Women in the 1940s by Susan M. Hartmann (1983, page 198; my emphasis):

Women adapted their appearance to the wartime look, which deemphasized physical differences between the sexes, but they did not completely abandon adornments symbolizing femininity. While some adjusted to the disappearance of silk and nylon by going barelegged, others used leg makeup and some even painted on a seam line. Women emphasized their lips by favoring dark colors. The focus on breasts did not peak until later, but the sweatergirl look, popularized by Lana Turner and other movie stars, had its origins in the war years, and women competed in Sweater Girl contests as early as 1943.

In short, the trend is still there, and, “much of women’s social history [being] embedded in clothes, cosmetics, and material culture” (Dyhouse, p. 7.), remains fascinating for how, as a product of the era when cinema first began to have a profound impact on fashion, it set the standard of slim waists and large breasts that largely remains in Western—and global—culture today.

But covering all that in a stand-alone presentation, which I’ve really struggled to get down to an hour a half? In hindsight, it’s a poor, unnecessarily complicated choice to get my point about rapid change across.

Bagel Girl(Source: How do ya like me now?)

Likely, I fixated on glamour because it’s where “Bagel Girl” (베이글녀) derives from, a Korean bodyline that’s been popular for about 4-5 years. A blatantly infantilizing and objectifying term, I was happy to read back in 2011 that Shin Se-kyung at least has rejected being labeled as such (alas, Hyoseong of Secret is quite happy with it), echoing Lana Turner’s distaste at being the first “Sweater Girl.”

Then I discovered the Bagel Girl had a precedent in the “Lolita Egg” (롤리타 에그) of 2003, which, as the following advertorial explains, likewise emphasized the childish features of female celebrities (then) in their early-20s—who would surely have preferred being better known as adults instead. While I genuinely despair that its authors and interviewees actually got paid for their work (you’ll soon see why!), it does demonstrate the remarkable historical continuity to medical discourses about “Western” and “Asian” women’s bodies, and of the incessant drive to infantalize their owners.

Lee Hyori Lolita Egg‘롤리타-에그’ 얼굴 뜬다…2000년대 미인은 ‘어린소녀+계란형’ The “Lolita Egg” Face …Beauties of the 2000s have ‘Young girl + Egg Shape’

Donga Ilbo (via Naver), November 2, 2003

이승재기자 sjda@donga.com, 조경복기자 kathycho@donga.com / By Lee Sung-jae and Jo Gyeong-bok

‘롤리타-에그 (Lolita-Egg)’형 얼굴이 최근 뜨고 있다 The ‘Lolita Egg’ Face Trend Has Been Booming Recently

1990년대 성숙한 미인상으로 각광받던 ‘계란(Egg)’형 얼굴의 연장선상에 있으면서도, 길이가 짧은 콧등과 좁은 턱, 넓은 이마 등 어린 아이의 이미지로 ‘롤리타 콤플렉스’(어린 소녀에 대한 성적 충동·롤리타는 12세 소녀를 향한 중년 남자의 광적인 사랑을 담은 블라디미르 나보코프의 동명 소설에 등장하는 소녀 이름)를 자극하는 ‘이중적 얼굴’이 주목받고 있는 것.

While the 1990s trend for mature, beautiful women with egg-like faces continues, now it has combined with a short nose-bridge, narrow chin, and wide forehead, reminiscent of a child’s. This ‘double face’ stimulates the ‘Lolita Complex’, based on the Lolita novel by Vladimir Nabokov (1955), about a middle-aged man’s insane love and sexual urges for a 12 year-old girl of the same name.

Lolita Cover Detail(Source)

‘롤리타-에그’형의 대표는 탤런트 송혜교(21)와 가수 이효리(24)다. 또 드라마 ‘선녀와 사기꾼’(SBS), ‘노란손수건’(KBS1)에 이어 SBS ‘때려’에 출연 중인 탤런트 소이현(19)과 영화 ‘최후에 만찬’에 비행(非行) 소녀 ‘재림’으로 나오는 신인 조윤희(21)도 닮은꼴이다.

Representative stars with the Lolita Egg face shape are talent Song Hye-Kyo (21; Western ages are given) and singer Lee Hyori (24). Other women that resemble them include: the drama talent So Yi-hyun (19), who has appeared in Fairy and Swindler (SBS), Yellow Handkerchief (KBS1), and is currently starring in Punch (SBS); and movie rookie Jo Yoon-hee (21), who played the character Jae-rim in The Last Supper (2003).

조용진 한서대 부설 얼굴연구소 소장은 “이 얼굴형은 자기중심적이면서도 콧대가 높지 않아 ‘만만한’ 여성상”이라며 “경제 불황이 장기화하면서 퇴폐적이면서 유아적인 여성상을 찾는 동시에 수렁에서 구원해 줄 강력하고 성숙한 여성상을 갈구하고 있다는 표시”라고 분석했다.

Jo Yong-jin, head of the Face Research Institute affiliated with Hanseo University, explained “While this face shape is self-centered, the nose bridge is not high, making it a manageable female symbol,” and that “While the recession prolongs, people long for a decadent but childlike female symbol, but at the same time also strongly long for a mature female symbol to save them from the depths.”

롤리타 에그’ 얼굴의 특징 Unique Points about the Lolita Egg Face

얼굴선은 갸름하지만 전체적으론 둥그스름하고 부드럽다. ‘롤리타 에그’형은 90년대 채시라와 최진실에서 보듯 갸름한 듯하면서도 약간 네모진 미인형에 비해 특징이 적다. ‘어디선가 본 듯한’ 느낌을 주어 대중성이 강하다.

The face-line is slender, but overall it is roundish and soft. As you can see from images of Chae Shi-ra and Choi Jin-sil, in the 1990s the Lolita Egg face shape The Wrong Deodorantalso looked slender, but compared to slightly square-faced beauties didn’t have many characteristics. It was massively popular, because it gave the feeling of a face you could see anywhere (source, right).

얼굴의 포인트는 코. 채시라 등의 코는 높으면서도 콧등이 긴데 반해 이 얼굴형은 콧등이 낮고 그 길이가 짧아 ‘콧대가 높다’는 느낌이 없다. 다만 코끝이 버선코 모양으로 솟아올라 비순각(鼻脣角·코끝과 인중 사이의 벌어진 정도·그림)이 90도 이상인 것이 특징. 코가 짧은 동양적 특징과 비순각이 큰 서양적 특징(한국인은 평균 90도가 채 못 되나 최근 120도까지 끌어올리는 성형수술이 유행이다)이 동시에 나타난다.

The point of the face is the nose. Compared with the cases of Chae Shi-ra and so on, whose noses are high and have long nose bridges, the nose bridge of a Lolita Egg face is low and short, so it doesn’t give the feeling of a high nose bridge. However, the tip of the Lolita Egg nose is marked for resembling the tip of a bi-son (a traditional women’s sock), soaring upward, and the philtrum is more than 90 degrees (see picture). A Lolita Egg face has a combination of this philtrum, which is a Western trait (Koreans typically have one less than 90 degrees; however, the trend in cosmetic surgery is to get one between 90 and 120 degrees) and a short nose, which is an Asian trait.

미고 성형외과 이강원 원장은 “다소 나이 들어 보이고 노동을 즐기지 않는 듯한 느낌을 주는 긴 코에 비해 짧고 오뚝한 코는 귀엽고 애교 있으며 아이 같은 이미지를 준다”고 말했다. 이런 코는 이미연의 두텁고 귀티 나는 코가 주는 ‘접근하기 어려운’ 느낌에 비해 ‘만인이 사랑할 수 있을 것 같은’ 느낌을 유발한다.

Migo Cosmetic Surgery Clinic head Won Chang-un said “A long nose gives an impression of age and that one doesn’t enjoy one’s work, whereas a short but high nose gives one of cuteness and aegyo. A thick but elegant nose like that of Lee Mi-yeon’s [James—below] gives a cold, stand-offish impression, but a Lolita Egg one gives off one that the woman can be loved by all.

이미연 (Lee Mi Yeon) and Niece(Source)

턱은 앞으로 다소 돌출했지만 턱의 각도가 좁아 뾰족한 느낌도 든다. 이는 일본 여성의 얼굴에 많이 나타나는 특징. 28∼32개의 치아를 모두 담기엔 턱이 좁아 덧니가 있는 경우가 많다. 어금니가 상대적으로 약해 딱딱한 음식을 씹는 것에는 약한 편.

[However], while the jaw of the Lolita Egg protrudes forward, it is narrow, giving a pointy feeling. This is characteristic of many Japanese women [James—see #3 here]. But because 28-32 teeth are crammed into such narrow jaws, there are also many cases of snaggleteeth. The molars also tend to be weak, making it difficult to chew hard food.

눈과 눈썹은 끝이 살짝 치켜 올라가 90년 대 미인상과 유사하나, 눈의 모양은 다르다. 90년대 미인은 눈이 크면서도 가느다란 데 반해 이 얼굴형은 눈이 크고 동그래 눈동자가 완전 노출되는 것이 특징. 가느다란 눈에 비해 개방적이고 ‘성(性)을 알 것 같은’ 느낌을 준다.

The end of the eyes and eyebrows raise up slightly at the ends, resembling the style of 1990s beauties, but the shape is different. Compared to that large but slender style, the Lolita Egg eyes are rounder and more exposed. This gives a feeling of openness and greater sexual experience.

얼굴에 담긴 메시지 The Message in a Face

‘롤리타 에그’형의 여성들은 남성들의 ‘소유욕’을 자극하는 한편 여성들에게 ‘똑같이 되고 싶다’는 워너비(wannabe) 욕망을 갖게 한다. 예쁘면서도 도도한 인상을 주지 않아 많은 남성들이 따른다. 이로 인해 이런 여성들은 선택의 여지가 많아 독점적으로 상대를 고르는 듯한 인상을 주기도 한다.

you chumpsOn the one hand, the Lolita Egg stimulates men’s possessiveness, whereas to women it turns them into wannabees. It’s a pretty face shape, but doesn’t give off a haughty, arrogant impression, proving very popular with men. Women who have it can pick and choose from among their many male followers (source right: unknown).

인상전문가 주선희씨는 “낮은 코는 타협의 이미지를 주는 데 반해 선명한 입술 라인은 맺고 끊음이 분명한 이미지가 읽힌다”며 “이런 얼굴은 남성을 소유한 뒤 가차 없이 버릴 것 같은 느낌을 주기 때문에 여성들이 강한 대리만족을 얻게 된다”고 말했다.

Face-expression specialist Ju Seon-hee said “A low nose gives an impression that the owner will readily give-in and compromise, whereas the clear lipline of a Lolita Egg gives an image of decisiveness,” and that women with the latter can gain a strong sense of vicarious satisfaction through using (lit. possessing) and then discarding men.”

최근 인기 절정의 댄스곡인 이효리의 ‘10 Minutes’ 가사(나이트클럽에서 화장실에 간 여자 친구를 기다리는 남자를 유혹하는 내용)에서도 나타나듯 “겁먹지는 마. 너도 날 원해. 10분이면 돼”하고 욕망을 노골적으로 강력하게 드러내는 이미지라는 것이다.

Like the lyrics of Lee Hyori’s song 10 minutes say (about a woman who seduces a man at a nightclub while he is waiting for his girlfriend in the bathroom), currently at the height of its popularity, “Don’t be scared. You want me too. 10 minutes is all we need”, this a strong and nakedly desiring image. (End)

Western vs. Eastern Ideals of Beauty(Source)

For more on the negative connotations of “Asian” bodily traits, perpetuated by cosmetic surgeons and the media, please see here (and don’t forget Lee Hyori’s Asian bottom!). As for the infantilization of women, let finish this post by passing on some observations by Dyhouse, from page 114 (source, right; emphasis):

Nabokov’s Lolita was published (in Paris) in 1955: the book caused great controversy and was banned in the USA and the UK until 1958. Baby Doll, the equally contentious film with a screenplay by Tennessee Williams, starring Carroll Baker in the role of its lubriciously regressive, thumbsucking heroine, appeared in 1956. The sexualisation of young girls in the Glamour Women History Feminism Carol Dyhouseculture of the 1950s had complex roots, but was probably at least in part a male reaction to stereotypes of idealised, adult femininity. Little girls were less scary than adult women, especially when the latter looked like the elegant Barbara Goalen and wielded sharp-pointed parasols. Images of ‘baby dolls’ in short, flimsy nightdresses infantilised and grossly objectified women: they segued into the image of the 1960s ‘dolly bird’, undercutting any assertiveness associated with women’s role in the ‘youthquake’ of the decade.

Did I say you shouldn’t project Western narratives onto Korea? I take that back. Because goddamn, would that explain a lot of things here!

Update: See here for a Prezi presentation on “Trends of beautiful faces In Korea.”

The Revealing the Korean Body Politic Series: