• 한국의류학회지
• /
• 제31권7호
• /
• pp.1052-1063
• /
• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• 대한가정학회지
• /
• 제40권7호
• /
• pp.173-192
• /
• 2002

This study is intended to observe the meaning, aesthetic formative characteristics of the human body which is introduced and applied to the fashion design. The analysis of the modern fashion design describing the human body refers to the extracted fashion design which expresses the human body appearing in domestic & foreign fashion magazines as well as publications associated with it and published since 1990. The analysis of the way of expression, the image and the design elements in these fashion design works, has had to formative characteristics in each of the three parts. The pursuit of formative characteristics through simplifying the expression of the human body, uprising of anatomical expression, and metaphorical expression with the help of personification and objectification can be thought of as characteristics of expressing pattern. And the op-art, optical illusion by virtue of pointillism, the use of non-woven molding, and action painting technique can be described as expression tools to recognize the human body. Images are presented in the characteristics of being grotesque, humorous, erotic, futuristic and mysterious. The characteristics of designs are expressed in creative detail, trimming, pattern and accessory using the form of human body itself as an item of clothing tends to show the unity of human body and clothing. The human body in the modern era reflects the post human image as well as its meaning as a medium and tool. It is also perceived as a specific object to be self-conscious of in this reality with the loss of humanity, alienation and the confusion of identity. The analysis of the image and way of expression of human body in the fashion design, and the meaning of human body will play an important role of identifying tole viewpoint about human body as well as prospecting what the human being will be in the future.

• 한국지능시스템학회논문지
• /
• 제13권4호
• /
• pp.403-408
• /
• 2003

캐리커처의 일반적인 의미는 어떤 사람이나 사물의 특징을 추출하여 익살스럽게 풍자한 그림이나 글이다. 다시 말해, 캐리커처는 사람의 얼굴에서 특징을 잡아 과장하거나 왜곡하여 그린 데생이라고 한다. 컴퓨터를 이용한 기존의 캐리커처 제작 방법으로는, 입력 이미지 좌표의 통계적인 차이 값을 이용하는 PICASSO 시스템 방법, 제작자의 애매한 느낌을 퍼지 논리를 이용하여 표현하는 방법, 이미지론 와핑하는 방법, 여러 단계의 벡터 필드 변환을 이용하는 방법 등이 연구되어 왔다. 본 논문에서는 실시간 또는 준비된 영상을 입력으로 받아 저장한 후, 네 단계의 과정으로 처리한 후 최종적으로 캐리커처 된 이미지를 생성하게 된다. 각 단계별 처리 내용으로는 첫 번째 단계에서는 영상에서 얼굴을 검출하고 두 번째 단계에서는 특정 얼굴부위의 기하학적 정보를 좌표 값으로 추출한다. 세 번째 단계에서는 전 단계에서 얻은 좌표 값으로 로컬 와핑 기법을 이용하여 영상을 변환한다. 네 번째 단계에서는 변형된 영상으로 퍼지 논리를 이용하여 보다 개선된 윤곽선 이미지로 변환하여 캐리커처 이미지를 얻는다. 본 논문에서는 영상 인식, 변환 및 윤곽선 검출 및 등의 여러 가지 영상 처리 기법을 이용하여 기존의 캐리커처 제작 방식보다 간단하고, 복잡한 연산 과정이 없는 캐리커처 제작 시스템을 구현하였다.

• 한국의류산업학회지
• /
• 제11권6호
• /
• pp.867-877
• /
• 2009

These days, the fantastic in opposition to classic beauty becomes a genre of creative body expression. The purpose of this study was to analyze the expressive characteristics of body types and meanings in recent fantastic fashion illustration. The method of this study was to analyze recent documentaries, fashion books, internet web site and so forth. The results were as follows: In literatures, pictures and movies, the category of the fantastic body's expressive types were classified as dominant mutant based on SF, multi body or fragment body by disruption, heterogeneous compound based on myth, personified humanoid and non substance in supernatural boundary. The dominant mutant based on SF was expressed image morphing, composition of machine image with body and modern metamorphosis of classic SF body. It means propensity to post-feminism and reservation of meaning analysis based on human unconsciousness. The multi body or fragment body by disruption in fashion illustration was expressed distorted composition of same body pictures, replacement of different bodies, deconstruction and partial omission of body and composition of meaning or non meaning images. It means permanence of self and basic narcissism. The heterogeneous compound based on myth was expressed general composition or optical illusion of various and aggressive animal motive. It means reinterpretation of original myth, metaphor of basic femme fatale, pursuit of permanence and sign of primitive mind in unconsciousness. The personified humanoid was expressed real human body description of mannequin or ball joint doll and anthropomorphism of robot image. It means representative satisfaction and nostalgia of childhood. The non substance in supernatural boundary was expressed grotesque description of ghost, zombie, vampire, angel, fairy, using of symbolic red, black color and non body. It means human's basic desire about immortality and taboo. Through the result of these study, the expression of fantastic body in fashion illustration will expend expressive method and we will understand human and cultural codes of today.

• 한국의류학회지
• /
• 제35권9호
• /
• pp.1085-1098
• /
• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 복식
• /
• 제52권6호
• /
• pp.139-164
• /
• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• 복식
• /
• 제45권
• /
• pp.179-199
• /
• 1999

Indeterminancy is one of the thought systems which explains all things with not 'either-or' but 'both-and' the conditions and qualities of human identities and inner state. A view of the world of Dionisos of Nietzsche's and the character of Manneristic trend which has resolved the sense of alienation of men by paradoxic expression has succeeded to romanticism surrealism and postmodernism. 1. Cross-dressing has increased under contemporary conditions. There also have been various cross-dressing phenomena in the past but it appears strongly now that it would destroy the cultural stereotypes and give rise to the cultural insecurities in contemporary conditions. 2. The indeterminancy of status that is wealth versus poverty impacts on variations of contemporary dress. This has been represented by neglecting traditional code which is related to wealth in costume by conversion of the symbols of wealth and poverty as disguise with moderation simplicity and additionally poverty image instead of ostentation. 3. In the cultural aspect that is mother culture/ subculture the author has investigated black street fashion which has newly become visible. The black street fashion is wide spread in black popular music such as jazz Rhythm & Blues Reggae and Rap which is subculture against white. The external values of indeterminancy in fashion are n대-manneristic tendencies as deformation eclectic friction and irrational structure and graffiti method. The inner values by indeterminant expression in fashion are irony and paradox grotesque satire and amusement.

• 복식문화연구
• /
• 제28권5호
• /
• pp.692-704
• /
• 2020

The aim of this study is to select MLMA and Noen Eubanks as representatives of Gen Z's unique subculture 'E-girl' and 'E-boy' to analyze fashion images and determine their meaning through the perspective of persona. To conduct this study, a literature review and case studies were combined and fashion images of E-girl and E-boy appearing on social media were analyzed to identify the personas they expressed. A case study of MLMA and Noen Eubanks' Instagram and TikTok account posts showed that grotesque, kitsch, and gender-related images stand out. The digital personae demonstrated by E-girl and E-boy fashion images were demonstrated to be a strange persona that reject perfect beauty and a playful persona escaping from reality and anxiety. Lastly persona of individual identity was shown to be formed. This study provides a basis for understanding and interpreting Gen Z's culture and aesthetics that will lead to future trends. Based on this study, I hope that various studies on E-girl and E-boy apparel will be conducted, and that by understanding the importance of E-girl and E-boy culture for Gen Z (which is paying attention to fashion trends), this can be used as a marketing strategy to consider their characteristics, with data used to inform design development.

• 패션비즈니스
• /
• 제9권6호
• /
• pp.86-100
• /
• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• 한국정보통신학회:학술대회논문집
• /
• 한국해양정보통신학회 2011년도 춘계학술대회
• /
• pp.358-361
• /
• 2011

영상에서 보여지는 이미지는 정보제공과 커뮤니케이션을 목적으로 한다. 원활한 커뮤니케이션을 위해 수용자의 입장에서 제작자는 다양한 해석을 유도할 수 있도록 흥미와 신비감을 가진 캐릭터를 차용하게 되었고 이러한 캐릭터는 수용자의 입장에서 자유롭고 다의적인 해석을 가능하게 한다. 현재 Fantasy 영상에서 차용된 신화적 마법적 세계가 급변하는 사회 속에서 불안정함과 합리적인 것만을 추구하는 대중에게 오락과 시각적 유희의 만족감을 주면서 다양한 캐릭터 개발이 이루어지고 있다. 과거의 지시적이고 구체적인 이미지가 아닌 편재하고 상징적이고 추상적인 형태로 나타나게 되면서 숭고의 미가 아닌 추악함의 미까지 미학의 범주 안에서 발전하고 변화되고 있다. 이러한 양상으로 과거의 전설적인 캐릭터가 현재적인 시대상을 반영하여 본연의 의미에서 해체되고 변질되는 개념적 형태적 특성을 보인다. 따라서 그 변화의 중심이 되는 신화차용 캐릭터에 관한 연구를 통해 영상 커뮤니케이션에 대한 인식 범위의 확대를 기대할 수 있다.