• Journal of the Korean Society of Costume
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• v.41
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• pp.117-138
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• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1325-1336
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• 2009

This study is to find the interpretation of Korean aesthetics with emotional, relative, synthetic thinking in the ambiguity of characteristics of multi-culturalism and ambivalence in contemporary beauty design. Beauty design incorporates makeup and hair design to complete the total images with clothing in fashion shows and Korean aesthetics based on Korean religion and art that include the symbolism of humor, irregularity, moderation, harmony, unification, and emptiness. This study analyzes 864 works of make-up and hair design from 2001 S/S to 2009 F/W to understand the beauty design to summarize the natural, eclectic, classic, poor, humor, and decadent tendencies. The characteristics of aesthetics sense of Beauty Design are summarized as artless naturalism, integrate pluralism, de-constructive deviation, and temperate poverty.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Archives of design research
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• v.19 no.2 s.64
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• pp.365-374
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• 2006

A 'Readymade' is an everyday object selected and designated as art. The term was coined by Marcel Duchamp to describe his artistic process based on the attempt to destroy the notion of the uniqueness of the art object: his influence went for beyond the art world affecting all design activities based on creativity. The purpose of this study is to investigate the ready-made technique from an educational point of view. Starting from Duchamp experience and his further influence on the design world, the study aims to demonstrate the value of the ready-made technique as a basic element in the education of young designers. The research method is based on the empirical observation of the results of the same project assigned to forty different students in different universities. The collected results were grouped in four families according to each specific generative method: constructive, conceptual, aggregative and elaborative. These four categories, derived by the observation of the results, represent tangible variations of the same disciplined technique. This flexibility demonstrates the value of the ready-made process as a foundation practice particularly indicated for young designers. These are the main skills students developed through its application to design projects; exploring and reconsidering attitude, recycling issues, new identity to familiar objects, focus on ideas.

• Journal of Convergence for Information Technology
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• v.10 no.1
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• pp.251-259
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• 2020

This study is an analysis of the relationship between self leadership and self-efficacy in learning for Chinese students majoring in beauty. It is a research article that describes the factors that affect self-efficacy in learning. From July to October 2019, 440 Chinese students were investigated with questionnaires to collect data. The results show that the inferior factors of self leadership of Chinese students majoring in beauty are: The results showed that behavior awareness & volition, and constructive cognition, which are the Subfactor of Chinese students in beauty major, had a significant positive influence on the task difficulty preference and self-regulatory efficacy of self-efficacy. Therefore, raising the level of behavior awareness & volition, and constructive cognition of Chinese students in beauty majors can help Chinese students in beauty majors to acquire major knowledge and professional strength. In particular, In university education, we can provide systematic curriculum education on self-leadership understanding and strategy for Chinese students.

• Journal of Digital Convergence
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• v.18 no.7
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• pp.405-410
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• 2020

Fashion is a visual means of expressing identity, position, marital status, personal inclination, etc. along with beauty, and it is an important practical cultural heritage that can infer past lifestyle habits. In modern society, fashion such as women's suits, high heels, hats, gloves, handbags, necklaces, etc., as well as beauty such as hair, make-up and nail art. It is a model of innovative women's prize and presented a sample of femininity that responds to the radical development of science and technology in the 21st century. Therefore, it is a driving force for a genuine gender equality society. It serves as a stepping stone for futuristic future design. This study, which analyzed the factors of women's sexuality from the viewpoint of beauty college students in the fashion style of the newcomers, makes it possible to present a sample of women' s sexuality that establishes constructive self - help theory. It is thought that a solid foundation of femininity will be provided.

• (The) Research of the performance art and culture
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• no.32
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• pp.269-305
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• 2016

in the conclusion, appealing ways of expression regarding a wider and more variated range are to be tested and it is stressed the necessity of this to be shown to the general public through an ongoing constructive research on the originality of contents arising from the diversity of music genres And, concerning dance music, it is also pointed out the necessity of in-depth research on the rhythms that take into account the universal emotions of the general public to create diverse music that harmonizes with the dance and can be enjoyed by all. In the world of music, just a simplest attempt can bring about many changes. Depending on the identity of those who lead it, that change's appearance or shape may also be different. Moreover, changes arisen from testing simplified rhythms will let experts to create new music. K-Pop is to test, more than anything, diverse strategies and new changes to be selected by such a wide public. However, such changes ought not to degenerate into mere imitations and can neither become obsolete. The reason lies in the fact that the current efforts for the sake of diversification and creativity of K-Pop genre might well remain as the traditional elements of the K-pop of the future.

• Journal of Korean Philosophical Society
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• v.142
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• pp.193-220
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• 2017

In times when identity-principles dominate through culture-industry, it appears to be the idea of the perfect identity-knowledge which Hegel had required for philosophy to become true. By being produced, cultures, according to the principle of production for production itself, became commodities which can be exchanged in the market. So what cannot be exchanged in the market is excluded as worthless and useless. As culture-industry gets rid of room for the new and the experience of it, the experience of what is new became impossible. In such degrees the consciousness is reificated, and the freedom as autonomy becomes an empty concept. But if there is not the freedom of will, conscious thought will not be possible, and human beings will degenerate into a simple species. Nevertheless, freedom which becomes meaningless in reality is an essential element for a human being to be human, so in the times when consciousness is reificated by means of the culture-industry, as the autonomous art awakens a reificated consciousness, it will be the antidote of a reificated consciousness which makes free thought and action possible. In this sense, this study will try to justify the aesthetic experience as shudder through the experience of what cannot be exchanged that becomes possible with critics regarding the constructive imperfection of identity-knowledge. Then it will argue that the aesthetic experience as shudder makes the autonomous art possible.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.74-90
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• 2008

Since the late of 20th Century, philosophy, art, and aesthetics have attention to the movement of object that persue the dynamics and qualitative change, not existing fixed and quantitative object. Qualitative continuity, including discontinuity of specific spot and surface that occurs sudden change, is distinct characteristics considered in contemporary logo civilization, which combines and disperses according as various purpose among the different elements and objects. Therefore, I studied about the characteristics of qualitative continuity that creates the change and the differentiation continuously through the "formative characteristics of the continuity expressed in contemporary fashion" of my preceding paper. This paper is the following study of above mentioned paper, and Investigates about aesthetic consciousness leading to the various change. This is intends to consider the trans-aesthetic consciousness that accepts dynamic movement and change the different object and reforms new relationship continuously. This studies' conclusion is as follows; 1) sublimity-Infinity, de-constructive, excessive 2) jouissance - functional, structural 3) paradox-perceptual, spatial. A study about the trans-aesthetic consciousness would help to offer philosophical basis, and make a change building aesthetic foundation in explaining various relationship like as phenomenon of the retro, neo, post, fusion expressed since the late of 20th Century.