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) either. Given everything I’ve said and written about them, I feel they deserved more attention that that (although Dyhouse 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, and didn’t peak until after the war. (See the introduction or from page 134 of the dissertation Hollywood Glamour: Sex, Power, and Photography, 1925–1939, by Liz Willis-Tropea, 2008.)

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:

Korean Sociological Image #82: Pink it and shrink it!

Song Hye-Gyo Pink Icis 8.0(Source: Brand New Day)

Hello everyone, I’m James. I’m 37, male, cisgender, and heterosexual. And I love pink.

It started innocently enough. As “The Korean Gender Guy”™, some splashes of it seemed appropriate here and there. Hence the pink hyperlinks and image borders on the blog in recent months.

Bart in Heels

Then, as a father of two young daughters, I realized I needed to embrace it for their sakes. On the one hand, to demonstrate that it’s not just a girls’ color, so they in turn would be more open to the blue side of the toy aisle. On the other, to make it so uncool, unfeminine, and/or ugly in their eyes that they’d be put off it for the remainder of their childhoods and adolescence, with all the gender socialization that comes with it.

Mostly this meant things like fighting over rare pink game tokens, and drawing a lot of pink planets and rockets for “Extra Burn!”™ our own handmade, much improved version of snakes and ladders. Later, whenever it was an option, pink would also become the default choice for things we bought when out shopping together, like a kitchen tray, or Xylitol gum that came in a pink shiny bag.

Still, there was nothing that couldn’t be forgiven for a guy living with three females. But done so often, it soon became automatic, even for things just for myself. Before I knew it, I’d be leaving for work with my cute pink umbrella, pink socks under my black work pants, pink-tinted sunglasses still in my bag (bought in New Zealand, but which I’d been assured were “just too dam gay” to wear there); pink folders for my class plans; phone with pink Haters to the Leftcover, and neon-pink headphones for my MP3 player. On the subway, I’d take advantage of the wifi to check on the delivery progress of a pink suitcase I’d just bought online, rationalizing my choice by telling myself that the color would make it easier to spot at airports.

So, when the inevitable confrontation came, from a visibly uncomfortable male friend, I admit I shared his double-take. In my case though, I realized I looked…well, just fabulous actually, and wondered what else I could add.

Something drastic had to happen soon. Otherwise, who knows what depths of depravity I would have sunk to?

Fortunately, a reality check was recently provided by Lotte Chilsung through Song Hye-Gyo, who reminded me that I was the wrong sex to enjoy “Icis 8.0,” their latest bottled water…

(“Healthy under-eye areas? Pink! Healthy cheeks? Pink! Healthy fingertips? Pink! Healthy lips? Pink! So…how about healthy water? Invigorating pink energy! Icis 8.0!”)

Squarely aimed at women in their 20s and 30s, alas, I’ve been unable to find a source explaining the rationale behind its pink-centered marketing campaign, and am especially confused about how a pH of 8.0 would be pink exactly (my understanding is that it would actually be blue?). However, I did find the following article on very similar examples of gendered marketing, which I think provides some insights. That is to say, it’s clearly an advertorial on the one hand, but on the other I think no exaggeration or misrepresentation of their marketers’ rationales either, the sheer bullshit required to market something like water to just one sex being nothing short of astounding. Yet, in hindsight, utterly predictable too.

“여자들만 드세요” 여성전용 식음료 제품들 ‘눈길’ “Women Only”: Eye-catching food and drink products exclusively for women

Betanews, 14/09/2009, 이직 기자 (leejik@betanews.net)

여자의 손길을 얼만큼 많이 받느냐에 따라 생사여부가 결정되는 곳이 식음료 시장이다. 관련 기업들은 여성의 감성을 자극하기 위하여 장동건, 정우성, 알렉스 등 한 시대를 풍미하고 있는 ‘훈남’들을 광고 모델로 내세운다. 하지만 정작 여자의 마음은 남자보다 여자가 더 잘 아는 법이다. 이를 반영하듯이 최근 ‘I’m Woman!’을 선언한 여성전용 컨셉 제품들이 잇따라 출시되고 있어 눈길을 끌고 있다.

The food and drink marketplace is where products with a woman’s touch will succeed or fail. Some companies have used currently popular handsome men like Jang Dong-gun, Jung Woo-Sung, and Alex Chu to appeal to women. However, in real life, women know women’s hearts and minds much better than men. With this in mind, several companies have launched products following an “I’m a Woman!” concept.

Panablu Sure(Source; sources far above — unknown)

파나블루 ‘슈어’ – 피부에 좋은 미네랄 성분, 여자 손에 맞는 용기 디자인, Pink & Purple 컬러.

Panablu’s “Sure” — [A water drink] with mineral components good for the skin, and in a pink and purple container that fits perfectly into women’s hands.

국내1호 해양심층수 기업 파나블루(http://www.panablu.co.kr / 대표 설동환)는 올 여름 여성을 위한 뷰티(Beauty)워터 ‘슈어(SURE)’를 출시했다. 슈어는 물의 성분부터 용기 디자인까지 철저하게 여성을 형상화 한 제품이다.

Panablu is the first domestic company to sell mineral water sourced from the ocean depths, with company representative Sol Dong-Hwan explaining that Sure was launched this summer for women’s beauty. From the mineral components to the container design, it is a product thoroughly designed for women.

[James: Panablu wasn’t the first — Lotte Chilsung was using Olympic swimmer Park Tae-Hwan to sell “Bluemarine” at least a year before the first news reports about “Sure” I can find.]

슈어는 세계 최고 깊이인 수심 1500m의 해양심층수로 여자 피부에 좋은 미네랄이 일반 먹는샘물 제품 보다 10배 이상 함유되어 있는 ‘여자의 물’이다. 용기 디자인도 여성의 S 라인과 바다의 물결을 형상화 한 아름다운 곡선이 물병 전체를 감싸고 있다. 하지만 이 곡선은 단지 미(美)를 표현한 것만은 아니다. 신비스러운 여자의 신체 비밀도 담겨 있다. 이 물결 무늬는 20~30대 여성 300명을 대상으로 실시 한 ‘보틀 핸드프린팅 테스트(bottle hand printing test)’의 결과로 여자 손에 가장 편안한 그립감을 안겨줄 수 있게끔 디자인 된 것이다.

Sure water is taken from a depth of 1500m under the sea, the greatest depth of any mineral water source, and this “women’s water” contains 10 times more minerals that are good for women’s skin than regular bottled waters. Also, the curve of the bottle beautifully captures both the swell of sea waves and women’s S-lines. However, it doesn’t just visually capture their beauty — it also holds the secrets to their mysterious bodies [James: *Cough*, *Splutter*]. It was tested on 300 women in their 20s and 30s in a “bottle hand printing test,” and they selected it as the most convenient and comfortable to grip and hold.

파나블루 마케팅팀 이만 팀장은 “먹는샘물 시장 조사 결과 휴대용 물을 구입하는 소비자 가운데 80% 이상이 여성이었다”면서 “이에 맞춰 슈어는 여성 몸에 꼭 맞는 물의 성분과 그립감 뿐만 아니라 기본 색상도 그동안 생수 제품에 많이 사용되어 왔던 블루(Blue)계열 대신 핑크앤퍼블(Pink & Purple)톤을 채택하게 되었다”고 말했다.

Panablu marketing team manager Lee Man said, “The results of a survey of the bottled water market showed that over 80% of consumers were women,” and that “Sure is not just a product with a grip and components perfectly designed for women’s bodies, but so too were the colors pink and purple chosen rather than the blue which most bottled waters have.”

[James: Strangely, hourglass-shaped bottles have also been claimed to be the perfect shape for women’s hands, and indeed Icis 8.0’s ribbed bottle too.]

S Beer Korea S-line(Sources: HiteJinro, ThinkFood)

하이트맥주 ‘S’ – 여자를 위한 저(低)도수, 저칼로리, 식이섬유 첨가로 장 운동 촉진까지

Hite “S Beer” for Women — Low alcohol level, low calories, added fiber, designed to aid bowel movements

하이트맥주는 올 여름 여대생 홍보대사를 대대적으로 모집하는 등 ‘여성’과 ‘S라인’에 컨셉을 맞춘 여성전용 맥주 ‘S맥주’의 마케팅 활동을 대폭 강화했다. S맥주는 식이섬유 첨가, 저 칼로리, 저 도수, 매혹적인 에메랄드 빛깔 용기, S라인 모양의 전용 잔 등 여러모로 여성을 닮은 맥주다.

This summer, Hite Beer recruited female university students on a grand scale to market “S Beer,” a beer designed for women combining the concepts of “woman” and “S-line.” S Beer as added fiber, low calories, low alcohol content, a seductive emerald bottle, with glasses in S-line shapes that resemble women’s bodies in many ways.

[James: These are the glasses referred to (has anyone seen one in real life?). In contrast to those claims about them, much of the early marketing for the product — when this article was written — seemed to center on how much women’s bodies could resemble the bottles rather than vice-versa, such as on the left above.]

S맥주에는 여성에게 꼭 필요한 식이섬유가 다량으로 함유되어 장 운동을 촉진시키고 체형관리에 도움을 준다. 칼로리도 100ml당 40~50kcal인 다른 맥주와 달리 30kcal로 낮춰 다이어트 하는 여성도 부담 없이 마실 수 있도록 했다. 평소 술을 잘 못하는 여성을 고려해 알코올 도수도 4.0%로 낮췄다.

S Beer has a large amount of the fiber absolutely essential for women, and through aiding bowel movements helps them to maintain their figures. Whereas most beers have 40-50 kcal per 100ml, this has been reduced to 30 kcal in S Beer, allowing even women on diets to drink it freely. Also, the alcohol content has been reduced to 4.0%, making it suitable for women who can’t usually drink.

이 외에도 국내에서는 처음으로 용기 전체에 매혹적인 에메랄드 컬러를 적용해 세련된 느낌을 표현했다. 가장 눈에 띄는 것은 S맥주의 전용 잔으로 ‘S라인’으로 날씬하게 굴곡진 여체를 형상화 한 점이 특징이다.

In addition, S Beer is the first domestic beer to have a seductive, emerald-colored bottle, giving off a sophisticated feeling. But the most notable thing are the exclusive glasses, slender and curved in the shape of a woman’s S-line.

Paris Baguette Royal Pudding(Source: Ncyberzone)

파리바게뜨 ‘로얄푸딩’ – 작고 투명한 유리병이 핸드백에 쏙… 휴대성 높이고, 칼로리 낮추고

Paris Baguette’s “Royal Pudding” — With a small, clear glass container, just drop it in your handbag…high portability, low calories

파리바게뜨는 2030 여성들을 위한 유럽식 프리미엄 디저트 ‘로얄푸딩’을 출시했다. ‘로얄푸딩’은 신선한 우유와 달걀, 카라멜 시럽이 독특한 맛의 조화를 이루는 제품이다. 입안에 넣는 순간 여느 푸딩에서 맛 볼 수 없는 부드러움과 달콤함을 느낄 수 있다. 하지만, ‘로얄푸딩’은 달콤한 맛에 비해 칼로리는 낮다. 80g 제품 한 개 당 칼로리는 140kcal로 일반 테이크 아웃 카페라떼의 칼로리(300kcal) 보다 저 열량을 자랑한다.

Paris Baguette has launched its premium, European-style desert “Royal Pudding,” aimed at 20 and 30-something women. Royal Pudding is a product with a taste that has achieved a unique harmony of fresh milk, eggs, and caramel syrup. Unlike most puddings, you can taste the softness and sweetness as soon as you put in your mouth. Yet despite that sweetness, it is low in calories. It boasts only 140kcal per 80g, whereas a takeout cafe latte has 300kcal [James: Granted. But how big would that latte be?].

‘로얄푸딩’의 용기는 작고 귀여운 숙녀를 닮았다. 그래서 여성들의 큰 호응을 얻고 있다. 한 손에 잡히는 투명하고도 깜찍한 용기는 시각적 만족감과 함께 핸드백 속에도 부담 없이 들어가 휴대의 편리함을 높였다.

The Royal Pudding container resembles a small, cute lady, so it has a wide appeal to women. Conveniently fitting in one hand, the small, cute container is highly portable. It can be simply dropped in a handbag and carried without a thought.

Dr. Chlorella S(Source: 하하하)

대상웰라이프 ‘닥터클로렐라S’ – 여성전용 클로렐라 제품, 복용 간편하고 변비와 피부미용에 효과

Daesang WellLife “Dr. Chlorella S” — A chlorella product for women, an easy, effective medicine for constipation and skin beauty

대상웰라이프의 ‘닥터클로렐라S’는 외부 이동이 많고 바쁜 커리어 우먼을 위한 여성전용 클로렐라 제품으로 성분부터 형태까지 여성을 중심에 두고 만든 건강기능식품이다. 닥터클로렐라S에는 ‘락츄로스’가 첨가되어 직장인 여성에게 많이 나타나는 스트레스로 인한 만성 소화불량과 변비를 해소하는데 도움을 준다. 또한 각종 식물성 영양성분을 비롯한 식이섬유질이 들어있어 업무에 지친 직장인 여성들의 피부 건강을 회복하는데도 효과적이다.

From its mineral components to its shape, Daesang WellLife’s Dr. Chlorella S is a chlorella product with many health functions centered on career women who are often on their feet. Dr. Chlorella S contains added lactulose, which helps relieve the stress and chronic digestion problems and constipation which many career women suffer from. It also has many vegetable nutrients and added fiber which is effective for recovering the health of tired women workers’ skin.

닥터클로렐라S의 포장은 개별 낱개 형식으로 가볍고 부피가 작아 여성들이 시간과 장소에 구애 받지 않고 복용할 수 있도록 구성되어 있다. 또한 제품의 형태도 목 넘김과 소화 시킬 때 부담이 적고 장에서의 흡수가 빨라 여성들이 선호하는 과립형으로 만들었다.

Dr. Chorella S consists of small, light pills that are easy to take wherever and whatever you’re doing [James — It also came in powdered form]. The shape makes them easy to swallow, with the granules inside, which are quickly absorbed in the intestines, making them women’s preferred choice.

[James — Judging by the lack of news articles and blog posts after 2009, Dr. Chlorella S was a failure. I’m guessing, because it wasn’t pink? ㅋㅋㅋ]

파나블루 마케팅팀 이만 팀장은 “전통적으로 여성 소비자들에게 성공한 브랜드는 향후 브랜드 확장을 할 때 비교적 쉽게 안착할 수 있었다”면서 “식음료 시장에서 브랜드 확장이 활발하게 이뤄지고 있다는 점을 감안한다면 여성전용 식음료 제품은 앞으로도 꾸준히 출시 될 것”이라고 말했다.

Lee Man, the Panablu marketing team manager, said “Brands that were traditionally successful with female consumers could relatively easily reach them when they wanted to expand,” and that “In the food and drink product, many brands are actively considering women-targeted products. Expect to see many more of them in the future.” (End)

IU SHINee Pink is for girls(Sources: hayena2000, Vingle)

Before I forget, sorry again for the slow posting everyone, but I was very busy at work, and caught a frustrating, lingering cold. Meanwhile, have any readers encountered similar gendered campaigns for unisex products, in Korea or overseas? Also, how do any parents among you deal with your children’s attitudes to pink and blue? Please let me know!

p.s. I wasn’t joking about my own, “pink strategy” in the introduction, or about any of my purchases. I really do think I look fabulous with them! :D

Update: I forgot to mention these his and her “V-line” face-shapers, the ads for which can be seen almost on every other website at the moment (if you live in Korea).

V-line Face Shaper Women 2V-line Face Shaper MenAlso, management company E-tribe contracted their girl-group Dal Shabet to endorse the product. Such endorsements by Korean Wave stars likely play a strong role in the propagation of Korean beauty ideals overseas:

V-line Face Shaper WomenRelated Posts:

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