• Journal of Distribution Science
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• v.18 no.3
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• pp.37-41
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• 2020

Purpose: The purpose of this paper is to examine the recent resurgence of popularism and the possible impacts it may have on contemporary business and economics. Research design, data and methodology: This is an exploratory case study that examines the rise of popularism and identifies and analyzes the likely implications for contemporary business and economics. Results: Although populists tend to reject elitism, capitalism, economic globalization, and political establishment, their ethnocentric behavior is no different from those of the corrupt political and economic elites. Popularism does enable nationalism and protectionism and negatively impacts business and economic growth. Conclusions: Popularism existed for a long time, and this phenomenon will continue to exist as long as a triggered mechanism exist, e.g., income inequality, resurgence of immigration, recession, insufficient factors of resources and social welfare. The recent rise of popularism is not a fad or a short-lived anti-establishment and anti-elitism movements but, rather, a force to be reckoned with in the near future. The rise of economic nationalism limits international trade, integration, and cooperation. As a result, international capital, service, and product flows will decline, and countries and multinational corporations have to develop and restructure their international supply and value chain to cope with this phenomenon.

• Korean Journal of Legislative Studies
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• v.27 no.1
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• pp.117-155
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• 2021

The purpose of this study is to identify the relationship between people's ideological orientation and the populist attitude in terms of demand of populism. The influence of subjective ideology evaluation and political party support on anti-elitism (AE), people centrism (PC) and anti-pluralism (AP) are analyzed in detail. To research this, the socioeconomic factors, democracy recognition and the method of political participation are set as control variables, and the ideologies are classified into extreme conservative, conservative, moderate, progress, and extreme progress. The data are collected through nationwide online survey. The results of the analysis are as follows: First, the powerful affinity between ideological orientation and populist attitude are confirmed. The support for conservative ideology (especially extreme conservative) and the conservative party are affecting the AE and AP, and the ideology of extreme progress and support for the progressive party are influencing the PC and AP. When putting together 3 types of attitude, the conservative (especially extreme conservative) and extreme progressive ideology are the factors that determine the populism attitude. Second, There was no impact of socioeconomic variables except gender (female) and age. Third, populist attitude have a multidimensional nature determined by democratic satisfaction, government trust, external efficacy, voting and non-voting activities.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1427-1438
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• 1997

The art plastique is the part from which designers draw their inspirations to create fashion design. Many designers look for their inspirations from Art Plastique. Since the early 20th century, lots of designers led by Paul Poiret drew their inspirations from Art and co-works with artists. The direct involvement of those artists helped to position Fashion to be an art. Also, these co-works brought the mass media's attention and commercial profit. The most prevalent relationship between the fashion design and art plastique is the reproduction of art such as the 1960s 'Pop Art printed on T-shirts, which can be seen easily todays. After World War ll, art was popularized in a new society where young generation played a major role. Pop Art having image of the freedom and the rejection of tradition was considered as the major trend of 1960s. This study considers reflection of anti-traditionalism, anti-elitism and popularity as the kitsch of Pop. That is the attraction which youth culture looked for from Pop Art and the reason that 60's avast-garde cloth could position itself into the masses. Therefore, this study examines the influence of the kitsch of Pop and the expression of parody upon the major changes in 1960s fashion from which are the mini-look and women's trousers wearing. This study examines Andra Courreges who led 1960s Mini look and Yves Saint Laurent who introduced Pop dress, Smoking look and transparent blouse to find the way which makes it possible for avant garde fashion to have a close relationship with the public and to position itself to be a art.

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.