• 대한가정학회지
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• 제27권2호
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• pp.1-19
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• 1989

Dress is an expressive art form which involves a human activity; utilizes techniques under sufficient technical control that results in the production of typical forms on the basis of aesthetic standards. This study was conducted to clarify a relationship of Impressionism and it's image in dress-Bustle style. Artists such as Manet, Renoir, Cezanne, Gogh, Gauguin, and Rodin were reviewed. Impressionism was a method of painting that consists in repoducing an impression exactly as it is experienced from contemplation nature. The Impressionists used a technique of separate, fragmented brush strokes and pure prismatic colore, aiming at rendering changing effects of light. Fashion designers such as Charles Worth, Givency, Cardin, Ungaro, and Lacroix were examined. Throughout their fashions, they focused on the naturalism of feminine and seductive image-the touch of Vegetable Venus depicted on the paintings of Manet and Renoir; expressed "unmitigated sexiness" in various forms of Bustle sytle creating a seductive beauty, revealing body contour, breast and legs, and using a fragmented motif and flowers with vivid color.

• 한국의류산업학회지
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• 제8권2호
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• pp.214-224
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• 2006

Computer graphics mean a reproduction of various information through image processing or the technology that is widely thought in makeup areas also, recently. Especially, Adobe Illustrator, unlike Adobe Photoshop used in image editing and correction, is software suitable for image drawing and reproducing beauty makeup. Beauty makeup is a work adorning human body to fit to the aesthetic standard in that period, and is a plastic art expressing shapes, colors and textures using design elements. Adobe Illustrator is a 2D graphics designing images using shapes having plane colors. In this study I studied techniques reproducing each element of contours and colors of beauty makeup through Adobe Illustrator CS. In other words, I have prepared a reference data by studying techniques reproducing beauty makeup using Adobe Illustrator CS. In this study, though, I couldn't try various things, because I limited facial contour and skin color to only one kind. Therefore, I hope, in the future, others can expand the ethnics of using Adobe Illustrator in more enriched ways by working on various facial contours and skin colors.

• 한국의류학회지
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• 제27권3_4호
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• pp.322-332
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• 2003

The purpose of this study was to segment the consumer market for women's street clothes based on benefit sought. The sample was taken from 1106 middle class women who were in their 30's-40's living in Gwangju city. Consumers were classified into three groups by honest sought. The groups were practical benefit seeking group(36.7%), multi-benefit seeking group(32.6%) and symbolic/aesthetic benefit seeking group(30.7%). ANOVA, $\chi$$^2$-test revealed differences among groups according to benefit sought, use of information sources, purchasing behavior variables and demographic variables As a result of comparison for two market segmentations, benefit segmentation was proven to be more useful than segmentations using clothes image preference. But there were differences in psychological variables and demographic variables among the same benefit segments. Therefore hybrid approach on segmentation using clothes images preferences and benefit sought is neccesary.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.181-187
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• 2019

청춘 멜로영화, 장르는 한국 영화업계의 강점으로 해외 시장에서도 통했다. 곽재용, 한국의 유명한 영화감독, 시나리오작가는 화면의 아름다움, 감정의 섬세함, 상상력이 풍부한 '청춘 멜로 영화'를 잘 찍는다. 그의 영화는 독특한 매력과 특징이 있는데, 이 글은 영상 스타일, 인물 만들기, 그리고 주제 사상의 세 가지 측면에서 서술되어 있다. 우선 영상 스타일 차원에서 어떻게 다른 서사적 기법과 렌즈 언어를 구사해 영화의 분위기를 조성하고, 황홀한 동양미를 만들어냈는지 분석한다. 또 감독을 둘러싸고 영화 속 캐릭터를 다르게 그려내고 디테일을 부각시켜 스토리에 복선을 깔고 해석하는 데 주력했다. 다시 한번, 주제사상을 중심으로 곽재용의 멜로영화의 희비가 엇갈리는 깊은 의미를 분석하는 것은 오늘날 현대인의 내면적 지향과 추구를 반영하는 것이기 때문에 사람들은 깊이 생각하고 깊이 생각해야 한다. 경제 글로벌화 된 현대, 각국의 문화교류 협력 한국의 뛰어난 많은 영화들은 연구할 가치가 있으며, 곽재용 감독의 청춘 멜로 영화를 연구함으로써 그 영화가 시장에서 유행하는 원인을 발굴하고 작품에 반영된 심미를 분석한다. 성적 특징을 살려 청춘 멜로 영화를 만든 경험을 정리한다.

• 한국의류학회지
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• 제29권7호
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• pp.926-937
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• 2005

The analysis category of Art to Wear was text analyzed from the research material of 100 projects put together by fashion specialist. The conclusion of Art to Wear was comprehended the general features of it were compared and analyzed from a semiotics context. According to this analysis, the formative features of modern Art to Wear is categorized into three different dimensions from a semiotics light. The formative features of modem Art to Wear in the light of syntactic dimension was divided as an open constructed shape of Space Extension, non-typical Deformation, Geometrical Plasticity. The formative features of modem Art to Wear in the light of semantic dimension express symbolic meaning through metaphorical sign. These sign reflect the body image of the life and death and its objective of Abjection, Hybrid of discultural appearance and the image of Hyper-reality, which are features used to comprehend the inner meaning. The formative features of modem Art to Wear in the light of pragmatic dimension divided the artist emotion and meaning system delivered by Emotive Image, the Phatic Image that arouse inner signification and the Poetic Image which contain artistic and aesthetic meaning within it.

• 한국의류학회지
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• 제37권2호
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• pp.174-185
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• 2013

This study examines shopping orientation regarding bedclothes and the effect of the segmentation of consumers on the image of Hanji yarn bedclothes derived from mulberry fiber in order to contribute to the development of Hanji bedclothes products and consumer marketing segmentation. Data from 294 questionnaires filled out by female consumers in their 30s to 50s were used for statistical analysis. The shopping orientations for bedclothes are classified into six groups (trend oriented, material oriented, price oriented, convenience oriented, individuality oriented, and assurance oriented). Consumers were subdivided into four consumer segments (show-offish, self-confident, reasonable, and unconcerned case) based on shopping orientations for bedclothes. The images of Hanji bedclothes are categorized into four types (classic, practical, aesthetic, and natural) as related to the shopping orientations of consumers. In terms of consumer segmentation, the 'reasonable' segment is more likely to consider the 'classic' image of Hanji bedclothes as the highest image value; however, the 'show-offish' segment provides the highest value to the 'practical' image as compared to other segments.

• 복식문화연구
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• 제5권4호
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• pp.44-53
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• 1997

The purpose of this study is to analyze dress meanings painted by elementary school girl. As in language, the dress is the symbol and form of non-verval communicator its wearer by means of the mentalistic semantics. Also it is to analyze meanings of dress by applying the semantics of Geoffrey Leech. The followings are the findings of the analysis 1. The conceptual are the findings of the analysis 2. The social meaning is indicating the feminine image. 3. The offective meaning is indicating the aesthetic value.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.168-178
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• 2015

본 연구는 츠카모토 신야의 영화 <철남>(1989)의 기계적-몸 이미지에 대한 연구로 탈인간화 하는 몸 그리고 욕망에 대한 해석을 시도 하였다. <철남>에서 살펴본 기계적-몸 이미지는 초현실주의적 이미지, 그로테스크적 이미지, 그리고 에로스적 이미지로 관찰되었다. 기계적-몸의 초현실주의적 이미지는 <철남>의 변화과정에서 보이는 변용, 파괴, 착란, 그리고 환상에 대한 과장으로 파악되었고, 그로테스크적 이미지는 인물의 일상적인 공간에서 기괴한 형태로의 변형으로 인간의 내재된 실체를 보여줌으로써 엽기성과 나약함이 혼합된 이미지로 관찰 되었다. 그리고 에로스적 이미지는 불완전한 존재가 완전함을 추구하고자 하는 욕망에 의해 스스로의 파괴와 재탄생을 이루는 과정에서 나타났다. 위의 세 가지 이미지 유형에 대한 분석은 세계정복을 꿈꾸는 과부화된 인간의 욕망이 탈인간화된 기계적-몸으로서 비유기체로의 시각화로 귀결된다.

• 복식문화연구
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• 제13권5호
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• 조형예술학연구
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• 제8권
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.