• Trans-
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• v.12
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• pp.1-19
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• 2022

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• Archives of design research
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• v.15 no.4
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• pp.47-56
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• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• Journal of the Korean Society of Costume
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• v.32
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• pp.163-182
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• 1997

The purpose of this study was intended to analyze artistic formativeness represented in the modern fashion design materials. Nowadays the modern fashion design materials is characterized by variety. The fashion materials the most important of fashion is called a softwear in textile industry and emerged as a new field. Fashion design also escaped from the tra-ditional restraint and extended to pursue lib-eral clothes and the designer's creative inten-tion has resulted in conceptual and conven-tional alteration as a new mode of plastic ex-preseeion. As a results of analysis of the formative fea-ture of Art style represented in the modern fashion design materials. First Surrealism had been searching for a new way of confronting a social and rtistic environment that was stifling and repugnant to them. Accordingly the wide applicaytion of the various object due to the thought of Sur-realism through the modern fashion materials brought the diversification and individua-lization of the modern fashion design. Second Pop Art that is made modern mech-anic culture and commercialism brought the great transformation in the history of Art out of the existing style and the sense of ex-pression. And the plastic characteristics of Pop Art that has a gravity as modern fashion materials on a them of the elements of popular consumer's society. That is the common and cheap objects were introduced into fashion materials itself or pat-tern. Third Minimalism is a trend in art att-empting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means. The features of external form are simplicity clarity unrelated composition and symmetrical structure. Mini-malism was a quest for basic elements repre-senting the fundamental esthetic values of art. The minimal expression in modern fashion materials mean fabrics with simple surface and is contained using simple geometric pattern or utilizing textiles without any patterns. Fourth Eroticism is a kind of psychological revolution in the development of human civilization and is deeply rooted in the cultural tradition of myth religion customs and art. So Eroticism must be distinguished from a mere animal reproduction. These erotic char-acteristics were holded the meanings of sexu-ality through the modern fashion materials. Especially it was expressed the sexual part of body was nakedly showed through trans-parent materials or semitransparent like metalic and opaque materials. Recently the various kinds of new materials such as paper vinyle plastic metal as well as human body were applied to new fashion de-sign. First of all the new materials will give modern fashion designers stimuli and inspi-ration. It can also express values of moderners to despise materialism and uniformed modern society and to recover humanity and self-actualization.

• Journal of Physiology & Pathology in Korean Medicine
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• v.21 no.5
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• pp.1072-1080
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• 2007

Taijiquan is possible for us to use not only as a martial art, but also as a physical exercise and a way to discipline human mind, and so it is called 'moving-Zen' and is a martial art to discipline human body and mind against different diseases and stress of modern adult people caused by our modern advanced civilization. We can look at natural passion as one of the most fundamental categories in Philosophy as a minimum material unit comprising all nature. Taijiquan is an exercise with natural passion, flowing through all the body, leading the natural passion with our mind, and moving our body with the natural energy. Also, all the motions in Taijiquan were made based on Yin and Yang. Taijiquan is a discipling way to reach Taegeuk through Yin and Yang and to train ourselves together. The realization of Taegeuk is to reach Taegeuk through the discipline of Taegeuk and can lead to Taegeuk through the unification of the inside and the outside(內外合一), the mutually complementing(剛柔相濟), the circling of the heavenly body(周天) of Taijiquan. The strength and the weakness help each other, the mind and the body is unified, the mixture of the rapidness and the slowness is appropriate, the form and the consciousness are combined into one and move, naturally unified into one(形意結合), and progressive and regressive Junsakyung are combined and move, naturally forming Turoh(套路) where Yin and Yang are unified. The discipline of Taijiquan is not only for maintaining our health, but also for leading to Taegeuk, an ultimate entity, which had existed before the day when all things were generated as its essence and has existed since then.

• Journal of Fashion Business
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• v.18 no.1
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• pp.182-198
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• 2014

The main purposes of this study is to evaluate clothing behaviors according to cosmetic surgery parts and to research how the clothing style preference is expressed depending on each clothing behavior group. This study focuses on women in their 20s and 30s living in Seoul and Gyeonggi area whom have cosmetic surgery experiences. From the women being evaluated, the following groups are divided and then surveyed with equal frequency and ratio: 'facial surgery', 'face contour surgery', 'breast surgery', and 'body figure revision'. When comparing the changes in clothing style preferences before and after the cosmetic surgery, they prefer silhouettes which show body shapes, diversity of color tones, and more overall exposing preferences. After investigating the preferred clothing styles based on cosmetic surgery parts, it is being analyzed that body exposure is more aggressively expressed upon after taking the surgery because the self satisfaction is increased according to the changes in their body shapes after the surgery. Lastly, after looking into the cosmetic surgery and the clothing preferences styles of each clothing behavior group, there seems to be more breast surgeries and body figure revisions for aggressive and extroverted characters: the sex-appeal and mood switching type. It is also being analyzed that facial surgeries are more common in the passive group: information collection, trend alignment, and beauty preference. Such results are also reflected in clothing preferences styles: the biggest change is shown in the aggressive and extroverted group, the sex-appeal types.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.675-689
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• 2014

This study developed an ideal jeggings pattern with an improved body fit for 20-24 year old females. The results of the study are as follows. First, samples for wearing test were made using jegging patterns from three manufacturers; subsequently, one pattern with a relatively outstanding body fit was selected from the first test. The selected pattern suggested a tight knee, belly, and crotch, high front waist line, and low back waist line. The side lines were also lean to the front; consequently, the front hip width was extended for 0.5cm for more space around the belly and the extended front knee part for 0.2cm to increase moving suitability to fix the leaning side lines. A 1cm front waist line was extended for 0.5cm to fix it lower; in addition, the back waist line 3.0cm was extended for 0.5cm to heighten it. The crotch width was also extended for 0.5cm to add more space. The second wearing test for the fixed forms were evaluated for their outstanding features in appearance as well as moving functions that were proposed as final jeggings forms. The results of the study suggested a jeggings pattern with a better body fit using manufacturer patterns that can be used as basic data for pant patterns with better fitting using various stretch fabrics.

• Journal of the Korean Home Economics Association
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• v.28 no.1
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• pp.9-20
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• 1990

The purpose of this study was to identify the original quality of design by Issey Miyake and the relationship between the modern expression of art and his design regarding the form, internal symbolism, and Japanese tradition. The bottom current of the modern expression of art has two current: intention to autonomy or purism and intention to contingency. According to analysis of Miyake's design, it was found that Miyake has directed his attention to coexistance of fabric and the body with a pure fluid sculptured form based on two dimensional rectangular fabric. And his plasticity of dress was also made against the fitted structure form and idea of Haute Couture, emphasizaing on his own creativity and insisting on a creative collaboration between the designer and wearer. Finally, the fact that his design was inflnenced by traditionalison of Japanese costume and current modern expression of art was proved.

• Korean Journal of Human Ecology
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• v.11 no.4
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• pp.321-334
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• 2002

This study is a non-structured developmental art-therapy case study having done 134 times of total treatments for a 12 years old girl, having extremely poor verbal communication ability and sociality comparing to her ability in perception and motion. I presumed the cause of this gap between perceptibility and the communication ability was a problem related to self-consciousness. To cure the problem, I provided treatment programs designed to use material which can create a stable and reliable environment and can give body experiences such as painting and play-dough. As the treatment programs progressed, I found she had changed gradually to lead the game by herself and to express her favorite colors and shapes. Also she became to be able to express her experience as a simple word and to response short answers for questions.