• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.11-26
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• 2022

The Hallyu wave based on K-pop and K-culture has increased the global interest in Korean culture. Therefore, to satisfy consumer demand, there is an attempt to develop a variable fashion design using traditional Korean culture. Transformable fashion design causes changes in form and meaning according to various situations and needs and can induce active participation of consumers. Therefore, we intend to propose a transformable fashion design that is based on traditional Korean culture but appears in a new form and meets the needs of consumers of fashion design. Among Korean traditional culture, wrapping cloths, bojagi are practically used by ordinary people until now, and their shape and use change according to the user's needs. This study intends to derive expression characteristics by examining the expression tendencies of bojagi and to develop transformable fashion designs through the derived data. The purpose of this study is to make and propose transformable fashion designs in real life using the expression characteristics of Korean bojagi. As the method of this study, we first conducted a literature review. Through this, a case study of empirical production was conducted in parallel with the development and production of transformable fashion designs using bojagi. A total of three illustrations and six variable fashion designs were developed. Two of the six works are transformable fashion design that change through movement and expansion of the square shape, the prototype of the bojagi, and two works are modular, bringing changes in function through combination and separation. The work was produced as a multi-purpose transformable fashion design that can be used as clothes or a bag.

• 중국학논총
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• no.62
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• pp.85-100
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• 2019

The article purpose is 'Reading Chinese translation text as a Korean integrated education for Chinese students'. Although number of foreign students has increased rapidly to the economic growth of Korea, the influence of Korean Wave, and the popularity of Korean popular culture like K-pop at domestic universities but the problems of their curriculum have been found in many places. Korean literary education through novel text has an important place in Korean studies, but literary education is often excluded in Korean language education as a foreign language education. Chinese students already have background knowledge of Korean translation novels through Chinese novels. They can get the learning effect as the Korean language study. Second, they can compared with Korean national violence and Chinese national violence through 'Red Revolution' and understand about Korean-Chinese understanding of the times, social and cultural phenomena, Third, they are able to study the theory of literature itself. also It was the educational purpose pursued by the humanities. Chinese students develop their Korean language skills by studying the Brothers which are translated into Korean, and we can see the similarities and differences of national violence by comparing Korea's '4.19' with China's 'Cultural Revolution' After comparing people, background, dynamics of the space where they are located, we can raise awareness of the historical and social problems of both countries. It is possible to study subjects' memories of space, change of local meaning, the formation of urban space or individual space in the text in the specific space where national violence occurs. In this way, the method of learning Korean integrated education through Brothers of the Chinese translation novels makes an opportunity to look at national violence in the Korean-Chinese space of the 1960s and 1970s. It has a subjective perspective from subordination to the nationality of the modern nation-state. This is an educational effect that can be obtained through reading a Chinese translation novel as a Korean language integrated education.

• Journal of Fashion Business
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• v.7 no.2
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• pp.122-142
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• 2003

This study examines the meaning of retro phenomenon and its background of establishment that showed in the pop culture. And it finds out the retro phenomena in the domestic fashion trends. And it defines the characteristics of dress and its ornament in the retro phenomena that have shown in the Korean movies since 1998. By doing this, it examines the relationship between movie dress and street fashion while it compares the styles in the 50s 70s with the retro fashion that is currently emerging. The results of the study are as follows. First, the hippie look in the 60s represented a distinctive characteristic of how they rejected traditional lifestyles. Hippie's romantic femininity that showed in the movie of 'Oollala Sisters' received a spotlight as a necessary style in the modern fashion trend. Second, while the funk look in the 70s was a style of disorder and disgust, the movie gives it a possibility of fashion with a converted sense as a vanguard fashion while embracing the funk look. Third, the layered look in the 70s was expressed with layered items, while the current layered look emphasizes layered textiles as shown in the movie of 'Hae-Jeok Became The Disco King'. Fourth, the feminine look which was a symbol of restraint shows a mixed style with delicate feminine items as shown in the movies, 'The Harmonium In My Memory' and 'Ditto'. Fifth, the training look that has two stripes as shown in the movie 'the Friends' is considered as casual wear, which is functional and easy to move at the end of the 20th century. Finally, the romantic images of school look, as shown in the movies 'the Friends' and 'Hae-Jeok Became The Disco King', show a renewed mixed & unique style. This study has its significance in the sense that it verifies the fact that the movie dress does not show the characteristics of the works that momentarily passes the screen, but it becomes a foundation of the future fashion design. At this time that Korean movies are highly developing, a through study on the movie fashion will not only give a direction of future in the modern fashion, but it will also give a developing momentum in the Korean movie dress.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• The Journal of Art Theory & Practice
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• no.10
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.