• 복식
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• 제66권2호
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• pp.45-60
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• 2016

As a method to satisfy needs and emotions of consumers who pursue diversity, the use of Kitsch in the fashion industry has been increased. Previous studies on Kitsch fashion have focused on qualitative research on the characteristics of Kitsch product, and little empirical researches have been conducted on consumer attitude such as consumer response to Kitsch products and brand equity. Therefore, the purpose of this study are 1) to investigate comparisons of experiential values (i.e., Aesthetic, Amusing, Cultural) with Kitsch product moderated by consumers' characteristics (i.e., consumer uniqueness, fashion involvement), and 2) to explore the relationship between experiential values and brand equity. Factor analysis, reliability analysis, ANOVA, and structural equation model using SPSS 18.0 and AMOS 18.0 were used for the data analysis. 210 questionnaires were analyzed for this study. The results of this study were as follows. First, significant difference in aesthetic values of Kitsch products were shown. Kitsch Product with nostalgic characteristics has higher aesthetic values than others. Specifically differences in experiential values with Kitsch product were partially moderated by consumers' characteristics (i.e., consumer uniqueness, fashion involvement), Second, cultural value had a positive influence on brand awareness, while amusing and cultural values had a positive influence on brand image. Also aesthetic and amusing values had a positive influence on brand loyalty. Academic and business implications were discussed from this study.

• 미술이론과 현장
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• 제5호
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• 한국의상디자인학회지
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• 제17권2호
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• pp.11-25
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• 2015

This study analyzed features in contemporary men's collection to provide data for characteristics of kitsch in men's collection. The research method was to see background of the concept of kitsch through the domestic and international publications, the Internet, paper. Five designers' collections that have characteristics of kitsch were selected. The range of collection is from the 2000 S/S to 2011 F/W in Men's collection. The results are as follows: kitsch characteristics could be classified by amusements, inappropriateness, satire. First, exaggerative amusements in men's collection appeared exaggerated form, large size, which is ridiculous at the same time. Infantile amusements represents the image of a pure concentric matching accessories such as toys to the children express. sensual amusements reveals the sexual instincts and desires and people can feel satisfaction through sensual amusements. Second, inappropriateness is characteristic of kitsch to escape from normal life. Clothing does not fit the body and destroyed the design or design of this feature appears. It looks clumsy and strange. Inappropriateness characteristic in men's collection can be divided into inadequate performance and sexual inappropriateness. Third, satire can be divided into resistant satire, imitative satire, and popular satire. Resistance satire with anti-social tendencies through their clothing is achieved by expressing their needs. It was affected by sub-culture like Hippie or Punk. Imitative satire is to imitate other culture, customs and race. It is to resolve complaints through the consumption of things in disparities of wealth and materialism in the society. Popular satire is to express emotions that are free using materials that can recycling like can, bottle or paper.

• 한국콘텐츠학회논문지
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• 제6권5호
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• pp.96-103
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• 2006

19세기 산업 혁명 이후 등장한 키치(Kitsch)는 대중문화와 고급문화를 연결시키는 역할을 하면서 오늘날에는 산업화된 현대 사회의 다양한 대중문화 속에서 새로운 미적 가치를 지니며 하나의 문화 현상으로 나타나고 있는 자리를 차지하고 있다. 한편 이 키치는 인간생활과 가장 밀접한 관련성을 가진 패션부분에서도 기존의 고정 관념에서 벗어나 파괴라는 형태를 통해 다양하고 새로운 미를 표현하고 있다. 본 연구는 키치에 대한 기본 이해와 아울러 최근의 국내 코미디 영화 속의 표현된 배우들의 패션에서는 키치가 어떻게 표현되었는지 알아보았다.

• 디자인학연구
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• 제18권3호
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• pp.199-208
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• 2005

본 연구는 키치와 버내큘러 개념이 앞으로의 산업사회 속에서 제품디자인을 위한 문화 요소로서 존재할 수 있는지 살펴본다. 왜냐하면 키치와 버내큘러 개념의 기능과 미적가치는 공예 적 성격의 제품뿐만 아니자 일반 제품디자인 분야들을 위한 적용 가능성을 충분히 가지고 있기 때문이다. 이를 위해 본 연구에서는 포스트 모더니즘, 키치, 버내큘러를 주된 범위로 한정하고 그 상호관계를 분석한다. 기능주의에 반대하여 대중적인 취향에 접근한 포스트모더니즘은 문화적 다원주의를 표방했으며, 그 노력의 일부는 유희적 디자인으로 나타났다. 특히 포스트모더니즘 디자인들이 장식을 배제하지 않거나 또는 특정 사물의 상징적 형태를 구현하여 인간의 감성을 자극한 것은 키치와 버내큘러 개념이 갖는 상징성과 지역성, 또는 다원화와 유사하다. 키치는 특정한 사조에 속하지 않는 자유로운 양식으로서, 디자인 및 기타의 장르들에 영향을 끼쳐 온 메타문화이므로 키치는 제품이나 디자인과 동등한 위치를 갖지 않는다. 제품디자인에서의 키치는 기존 사물의 이미지를 모방하는 행위로서, 모방한 결과와 그에 따른 분위기에 따라 디자인의 유희성이 나타날 수 있다. 비록 모방의 결과가 저급한 것이 되더라도 키치를 통해 인간이 즐거움을 느낀다면 그것은 포스트모더니즘의 방향과 공통되는 것이다 제품의 키치 적으로 느껴질지의 여부는 디자인의 분위기에 의해 좌우되는데, 그 것은 객관적으로 정량화 할 수 없으며 사람에 따라 다르게 느껴진다. 상징성과 지역성을 갖는 키치라 버내큘러는 일반의 필요에 의해 자연발생적으로 생성된 것으로서 키치가 소비자 취향 중심이라면 버내큘러는 문화적 전통 중심이다. 키치는 제품의 기능이나 디자인 컨셉을 구체화차는 상징성을 갖는데 이것은 인간과 제품 사이의 의사소통 도구이다. 버내큘러는 향토적인 성격을 가지며, 지리적 생활환경과 문화적 차이에 따라 여러가지의 양식을 갖는다. 따라서 버내큘러 적 디자인은 계승된 전통적 생활양식들을 반영한다. 복고적 향수, 지역성, 문화적 다원주의, 유희성, 상징성에 의해 이들은 포스트모더니즘의 하기 또는 병렬적 개념으로 이해될 수 있다. 키치와 버내큘러 개념은 서구 디자인에 민족적 성격을 가미한 것으로 오해되기 쉽지만, 포스트모던디자인의 다원주의를 차용하여 키치와 버내큘러 개념 속에서 과거를 현대화하려는 시도는 긍정적으로 평가되어야 한다. 그러므로 앞으로는 제품디자인 뿐만이 아닌 다른 다양한 분야들에게로 그 범위가 확대되어 디자인 문화적 정체성을 확립하는 연구가 뒤따라야 할 것이다.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2002년도 가을학술발표대회 디자인학 연구
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• pp.122-123
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• 2002

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2005년도 춘계 종합학술대회 논문집
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• pp.248-251
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• 2005

19세기 산업 혁명 이후 등장한 키치(Kitsch)는 대중문화와 고급문화를 연결시키는 역할을 하면서 오늘날에는 산업화된 현대 사회의 다양한 대중문화 속에서 새로운 미적 가치를 지니며 하나의 문화 현상으로 나타나고 있는 자리를 차지하고 있다. 한편 이 키치는 인간생활과 가장 밀접한 관련성을 가진 패션부분에서도 기존의 고정 관념에서 벗어나 파괴라는 형태를 통해 다양하고 새로운 미를 표현하고 있다. 본 연구는 치치에 대한 기본 이해와 아울러 최근의 국내 코미디 영화 속의 표현된 배우들의 패션에서는 키치가 어떻게 표현되었는지 알아 보았다.

• 한국생활과학회지
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• 제9권3호
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• 복식
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• 제64권6호
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• pp.102-119
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• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• 한국실내디자인학회논문집
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• 제16권4호
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• pp.12-20
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• 2007

This study, as discussed herein, tries to understand how modern commercial buildings occur and develop in certain type of social and cultural conditions. There are many words standing for modern society, of which the most remarkable one is 'commercial society'. Commercial society is where goods are manufactured to one's taste and consumption is a way of communication and a way of discriminating one from the others by using different code. Nowadays, architecture gets more and more popular and becomes commercial object which is intended to the sign of the social meaning. So, the sign of commercial buildings varies according to the social and cultural backgrounds and kitsch is applicable to it. The original meaning of kitsch, which usually is considered an inferior copy of an existing style, is examined and applied to architecture in order for comprehension. Throughout this study, the types of commercial buildings are selected and immanent meaning to the psychology of consumers as applicable to commercial buildings is considered. Also, the trend of kitsch in commercial buildings is analyzed by classifying the image and code of a building's shape. In a conclusion of the study, two major points can be found; commercial building has a significant meaning in terms of design, and commercial building is the conceptual result of a continuous change in the relationship between society and art.