• 복식문화연구
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• 제6권2호
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• pp.55-65
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• 1998

Actually, Cyberpunk is a compound word joined by cybernetics, which was used in control theory, and punk, was symbolized as anti-culture. Today, however, the definition of the term has been extended by various fields, used in many meanings. Therefore, the purpose of this study was to apply the Cyberpunk concepts to understand today　s fashion because understanding of the present fashion is a means to interpret our culture. For this purpose, the phenomenon of Cyberpunk in fashion was subdivided into three factors material, color, and style. The results of the study were as follows : First, the materials used were techno material, special print by computer for future feeling and geometrical pattern, optical pattern to improve visual effects. Second, the colors mainly used were silver, black and white, bright color, and off-color of computer animation to present future-oriented feeling. Third, the general styles used were fit and slim, simple and liner, dualistic style to express future　s image. In conclusion, the phenomena of Cyberpunk in fashion were expressed in material, color and style of fashion. Cyberpunk fashion was evident in T-shirts, sweaters, jackets, or as items of ornamentation such as pins, pendants, belts, and earrings, etc.

• 복식문화연구
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• 제7권5호
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• pp.104-121
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• 1999

The purpose of this paper is to make sure of identity as a paradigm of new fsahion to introduce the concept of Sumulacres by J. Baudrillard, For converting to new aesthetic value. To do this, we started observing the general concept of Simulacres, and examined Cyberpunk within thinking of Simulacres and Cyberpunk fashion at virtual space, and then divided aesthetic consciousness appeared at Cyberpunk fashion centering on the concept of Simulacres into inwards sense and outwards sense. Cyberpunk is understood to be one of tendency in the cyber cultures controlled by computer and electronic technology. It is not yet defined clearly and therefore ambiguous and still being elaborated. However, the form started changing our sense sinking into overall cultures in the World, including even movie, literature, music and fashion, and giving complex, deep cultural and artistic possibilities. Also, as a subculture, Cyberpunk is building its own cultural territory in cyber space and is experiencing more real Simulacres than that of it in the ordinary life.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.34-45
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• 2004

Hair styles which independently coexist by transcending the time and space under the environment of highly developed information and communication technology of recent years, were analyzed. Moreover the concerned trends of art which influenced on these styles were introduced in this study. Through IT based information exchange produced new hair styles which have the technological images. The characteristics of these hair styles are investigated also. For the examination of yearly trends, hair styles in fashion collections of Yves Saint Larent during 1962 to 1999 were examined and classified. The results show that time variated trends are appeared in this period. For the analysis of the trends of hair styles featuring technological images, hair styles in fashion collection of Christian Dior, Giorgio Armani, Gucci, Jean Paul Gaultier and Chanel in the early 2000s are quoted.

• 한국의류학회지
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• 제37권7호
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• pp.837-851
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• 2013

This study investigates the relationship between dystopian ideas and fashion since the $20^{th}$ century and examines the social meaning of fashion influenced by dystopian ideas. From the 1900s to the 1950s, the idea of dehumanization by authoritarian governments and technology gave rise to fashion for freedom and self-introspection, which includes surrealistic fashion and beat style. In the 1980s and 1990s, a society marked by monopolistic power and the hi-tech control of humans was regarded as dystopia. It influenced a fashion that expressed dehumanization by hi-tech means such as cyberpunk style and designs that depicted or used electronic elements. The ongoing fear of ecological disaster since the late $20^{th}$ century also influenced designers to present collections concerned with environmental problems. Designers have created designs with printed messages on environmental issues or designs that express environmental devastation, and protective designs that use hi-tech fabrics or mechanical devices. Fashion influenced by dystopian ideas expressed contemporary fears, provided a critical view of society through defamiliarization, and sought problem-solving actions and alternatives to change or cope with the dystopian situation. Dystopian fashion gave society a chance to face contemporary problems and pursue a better society.

• 한국콘텐츠학회논문지
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• 제5권5호
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• pp.92-99
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• 2005

특정 문화 콘텐츠에 대한 대중적 호응의 이면에서 펼쳐지는 정치경제학과 개인의 심리학에 이르기까지의 드라마를 완전히 이해하기란 쉽지 않다. 다만 장르영화의 흥망성쇠에서도 볼 수 있듯이 대중은 영화라는 문화 콘텐츠를 통해 새로움과 진부함이 교차하는 지점, 즉 자신이 알고 있는 세계의 현존을 확인하는 동시에 그 너머의 세계에 대한 비전을 통해 삶의 의미를 재구성하고자 한다는 것은 분명하다. 본고는 이와 같은 맥락 안에서 <매트릭스> 시리즈의 서사가 제시하는 혼성적 특징을 서사와 인물, 함축적 의미의 저장고로 존재하는 종교적/철학적 질문의 측면에서 분석하고자 한다. 이러한 분석은 새로움과 진부함의 경계 사이에서 현란한 곡예를 보여줌으로써 대중성을 획득한 동시에 SF 영화의 담론을 활성화시킨 <매트릭스> 시리즈의 전략을 이해할 수 있는 하나의 방안이 될 것이다.

• 한국의상디자인학회지
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• 제7권2호
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• pp.159-170
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• 2005

In this paper we examine the patterns of the subcultural fashion styles in the 20th century in terms of various subcultures in the period. First, we define the concept of the subcultural fashion styles and in turn, examine the subcultural fashion styles from 1950s to 1990s while focusing on the way each generation resisted against the mainstream through its styles. The subcultural fashion styles examined and analyzed in this study are mainly British and American styles. some of European and Western Indian styles are also included. In this paper, a subcultural fashion style is understood as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity. And as a result, it is realized in a form of a fashion with its repressed subconsciousness, with resistance to the alienation from the society, and with deviation from the normative ethics and the morality of a society. In conclusion, we classify the subcultural fashion styles into two patterns based on their form of resistance which tries to distance itself from the ritual code of the day: the dressing of the escape from time and the dressing of the escape from space. The first pattern is characterized by nostalgia or futurism, and includes psychedelic, rastafarian, raver, techno style. The second Pattern includes surfer, folky, hippy, new age traveller, cyberpunk style. Especially, an emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space.

• 복식
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• 제33권
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• 패션비즈니스
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• 제1권1호
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• 비교문화연구
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• 제40권
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• pp.111-131
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• 2015

본 논문은 <공각기동대>의 주인공인 사이보그 여전사 쿠사나기 소령에 초점을 맞춰, 포스트휴머니즘과 퀴어이론의 시각에서 <공각기동대>를 재해석하는 것을 목적으로 한다. 기존비평에서 쿠사나기 소령의 몸이 여성해방의 상징으로 극찬 받거나, 아니면 그 성적 함의로 인해 여성성의 상품화란 비난을 받았다면, 포스트휴머니즘과 퀴어 이론은 인간/비인간, 남성(성)/여성(성)이란 이분법을 넘어 소령의 몸을 보다 급진적으로 해석할 여지를 준다. 즉, 이분법의 해체를 통해 이미지에 함몰된 현실 속에서 과연 현실이라는 것이 얼마나 "현실적"이며, 현실 속의 다양한 대립범주들이 얼마나 인위적인 것인지 재고해 보게 해주는 것이다. 이러한 해석의 틀로 본다면, 쿠사나기 소령의 몸은 현실 속 여성상의 "반영"이라기보다 그 자체로 존재의의를 지닌 아니메 속 허구 존재, 인간/비인간, 여성/남성의 범주에 속하는 대신 SNS와 정보화사회 속에 점점 내면을 잃어가는 현대인의 불안을 구현해주는 혼종적 존재이다. 많은 포스트휴머니즘 이론가과 퀴어 이론가들이 경고하듯, "포스트휴먼"이나 "퀴어"란 용어는 너무도 종종 인간중심적 사고를 재확인하기 위해 대중문화텍스트에서 남용된다. 이런 점을 염두에 두며, 본 논문은 소령의 혼종적 몸이 인간과 기계의 결합이기에 의미 있는 몸이라고 단순하게 주장하거나, 혹은 피상적인 포스트모던 읽기를 통해 경계를 넘나드는 해방적 몸이라고 미화하지 않을 것이다. <공각기동대>가 거두고 있는 성취는, 소령의 몸 속에 어지럽게 구현되고 있는 개인성, 동물성, 그리고 기술의 결합이 인간이 "언제나, 항상" 포스트휴먼적 존재였음을 깨닫게 해주는 것이다. 본 논문은 <공각기동대>가 유려한 영상을 통해 그려내는 이러한 인식의 전환, 즉 억압적인 인간중심 휴머니즘에서 퀴어한 존재들과의 공존이라는 인식의 전환이 윤리적 함의를 지녔음을, 그리고 이러한 윤리적 시도가 바로 이 영화의 가장 핵심적인 성취이자 지속적인 매력임을 주장하려 한다.