• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.413-427
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• 2023

This study, centered on the artworks of Julius von Bismarck and Hito Steyerl, elucidates the aesthetic role that fashion plays in Berlin's contemporary art as an art medium. To this end, the following research questions are addressed: What are the characteristics of Berlin's contemporary art and contemporary fashion? What are the artistic styles and features of Julius von Bismarck and Hito Steyerl, and what attributes of fashion as an artistic medium are embedded in their works? How can the attributes of fashion, leveraged as an artistic medium in Berlin's contemporary art, be identified? The research methodologies used in this study include literature review, content analysis, and case analysis. The analytical findings of this study reveal that 1) Berlin has established itself as an international center of culture, yielding keen insights into artistry with reflections on technological media, and 2) the contemporary artworks of Julius von Bismarck and Hito Steyerl in Berlin feature some significant attributes of fashion as an art medium such as contemporary antisociality, metaphorical theatricality, and the tangible and intangible properties of algorithms.

• 한국패션뷰티학회:학술대회논문집
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• 2004.11a
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• pp.27-28
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• 2004

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.99-100
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• 2015

과거와 달리 현재는 소비에 대한 인식이 바뀌어 상품을 공급받는 소비가 아닌 이미지와 가치를 중시하는 차별화된 소비를 원한다. 따라서 고객의 주목을 끌어 판매를 유도하는 매장 쇼윈도우 디스플레이의 중요성이 높아졌다. 쇼윈도우 디스플레이에 있어서 오브제(object)는 제품의 가치를 향상시킬 수 있는 수단이자 방법으로 시각적 매체이다. 이러한 오브제 연출 기법을 살펴보기 위해 구상적 매체와 추상적 매체로 구분하여 패션 플래그쉽스토어 사례를 분석하였다. 따라서 본 연구에서는 오브제 연출 기법의 적극적인 도입으로 과거의 획일화된 디스플레이 연출에서 탈피하여 제품의 가치 증진과 소비자와 유대관계를 맺고 시선을 유도할 수 있는 차별화된 패션 플래그쉽스토어 쇼윈도우 디스플레이로 거듭나는 것에 의의를 둔다. 또한 디스플레이 쇼윈도우의 효과적인 시각전달과 새로운 디자인의 개성화를 추구하고자 한다.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1915-1926
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• 2008

Although we know that images of a country or an industry are influential factors in product evaluation, there has been little discussion about the channels through which consumers form a country or an industry image. Guided by the assumption that the image of the Korean fashion industry conveyed through U.S. media will likely affect the evaluation of Korean fashion products, we decided to examine articles published between January 1998 and June 2008 in Woman's Wear Daily(WWD), a prestigious U.S. daily trade newspaper covering all aspects of the national and international fashion business. By using the "Korean", we found 329 relevant articles. Through content analysis, we identified the aspects of the Korean fashion industry that have been considered salient to U.S. fashion media professionals. We set up categories based on the contents of the articles that discussed segments of the supply chain of the fashion industry. We found more comments on the Korean fashion industry as fiber and fabrics supplier or apparel manufacturer than in any other categories, which reflects that South Korea has been traditionally one of the most attractive sourcing countries for the U.S. fashion business. We identified significantly less coverage on the designing, branding, marketing, and retailing aspects of the Korean fashion industry. Due to economic boom in Korea, the country's fashion industry is recognized as having a highly fashion-conscious market that can afford the world's premium brands. However, the industry is viewed as being rather vulnerable to changes in the macro economic environment.

• Archives of design research
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• no.16
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• pp.161-170
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• 1996

In an attempt to teace trands in fashion journalism based on the examination of recent fashion magazines in korea, this study has dealt with the followings: the number of articles on fashion, image of fashion, characteristics of articles, change in "coordinate" and titles, and length of time of publication. The results of this study follow: 1. Among the general magazines for ladies whose titles have been changed, those dedicated to the "Ms class" have increased the pages on fashion and coverage of casual brand: those for housewives have shown no change in contents despite the change in titles, 2. The length of time of publication does not affect the change in the number of articles on fashion. General magazines for ladies have shown the greater "coordinate" in articles on fashion. 3. In terms of the contents of articles on fashion, those devoted to fashion and clothing are specialized and innovation-oriented, whereas general magaines stress the provision of more practical information. 4. The emergence of the X-generation and the newer generation has resulted in positioning of clothing crand, making them chief tarhet readers.ing them chief tarhet readers.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.97-99
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• 2003

메이크업은 대중매체의 발달, 화장품 산인의 발달, 토탈 패션 개념의 발달 등으로 패션에 편승하여 그 중요성이 점차 높아지면서 최근 들어 메이크업에 관한 연구 또한 의류학 분야에서 차지하는 비율이 점차 증가하고 있다. 그러나 이러한 중요성에도 불구하고 아직까지는 메이크업에 관한 연구가 미흡하게 이루어지고 있는 실정이며, 세부 연구 분야 역시 다양하게 이루어지고 있지 않다. (중략)

• Proceedings of the Korea Society of Costume Conference
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• 2002.05a
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• pp.31-31
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• 2002

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.79-94
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• 2005

The goal of this research, contorted from the perspective of media aesthetics, is to uncover the ways how mechanical/cybersensual fashion products express aesthetic characteristics of cybernetics, by comparing them with digital products designed by an application of cybernetics. The other goal is to provide a cultural and design framework of cybernetics as d digital-environmental medium for fashion in which hightech and human sensibilities are fused. The results urged to explore two new contrasting perceptual possibilities for an understanding of digital technology application: negative and positive feedbacks. Cybernetic optimism, centered on technological dimensions, focuses on a concept of fashion that emphasize instrumental aspects-efficiency and convenience. In contrast, cybernetic pessimism focuses on digital fashion that expresses environmental destruction and the loss of human identity. A comparative analysis of the aesthetics of expression in digital fashion design and digital industrial products from a cybernetic perspective showed that in digital environment society, the combination of negative and positive feedbacks resulted in design products in which internal and external aspects of beauty complemented each other.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.214-217
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• 2009

현대 패션분야에서 디자이너들의 예술적 표현의 주제이자 매체로서 활용되고 있는 빛은 보다 감성지향적인 방향으로 발전되는 추세로서, 빛을 활용한 감성 패션디자인에 대한 표현 방법과 조형적 특성을 분석하는 것은 매우 의미있는 일이다. 패션디자인에서 빛을 표현하는 방법으로는 빛의 반사, 이미지 표현, 발광, 투사에 의해 독창적으로 응용되어져 표현되어 왔으며, 다양한 빛의 표현을 위해 재료의 물성을 조작함으로써 얻을 수 있는 빛의 유희, 명암이나 형태, 색채를 통한 빛의 재현, 발광물질이나 인공광에 의한 발광, 프로젝터를 통한 빛 이미지 등 다양한 표현방법이 활용되고 있었다. 빛이 활용된 감성 패션디자인의 조형적 특성으로는 상호작용성, 영상성, 투명성, 실험성으로 분류되었다. 상호작용성은 착용자의 행위에 의한 변형과 신체의 변화나 감정의 변화에 의한 불빛이나 영상 패턴이 바뀌는 등 형태나 컬러, 영상의 변형 등 착용자의 메시지 전달이나, 감정표현, 신체보호, 그리고 재미를 유발하는 효과를 자아내는 것으로 나타났다. 영상성은 디지털 이미지를 활용한 것과 내부 광원에 의한 발광성으로 분류되며, 드레스에 장착된 수많은 LED 에 의한 영상을 만들거나 이미지를 확대시키는 방법으로 표현된 영상성은 심미적인 효과가 우선시되었다. 투명성은 주로 비닐, 플라스틱, 기능적 소재 등 투명한 소재들을 이용하여 대부분 재료의 특성이 조형적 특성으로 분석되었고, 외부와의 개방성과 위장가능성의 효과를 준다거나, 투명한 재질에 이미지가 변화하는 이미지의 중첩성과 같은 효과를 나타내었다. 실험성은 새로운 실험적 도구로서의 패션을 표현하고자 할 때, '빛'을 매개체로 하여 관심을 유도하고 재미를 더해주며, 신비주의적 환상이나 호기심을 불러일으키는 효과를 나타내었다. 이처럼 빛을 활용한 패션디자인은 빛을 매개체로 하여 다양한 표현방법으로 활용이 가능하며 특유의 조형적 특성을 가지고 있음을 알 수 있었다.