• 복식
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• 제61권3호
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• pp.36-50
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• 2011

The traditional masculinity has been gradually diversified towards the 21th century due to a new social environment. Men embrace his feminine side with heightened aesthetic sense using cosmetic products for better skin, hair, and nails. This diversification of male image and his beauty style proves the addition of feminity to masculinity. C. G. Jung felt that we are all really bisexual in nature. The anima is the female aspect present in the collective unconscious of men and it is the archetype through which we communicate with the collective unconscious generally, and it is important to get into touch with it for self-realization. This study analyzes subconscious desire based on the anima archetype in the collective unconscious of men through the diversity of the gender identity shown in men's cosmetic advertisements, and therefore it aim to help developing a marketing strategy of male beauty industry in the future. For this purpose, it conducted an empirical analysis of male beauty style in cosmetic advertisements through the Jungian anima theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was typified as Retrosexual, Ubersexual, Metrosexual, Cross sexual. Second, the anima archetype stimulates feminity in male beauty style. Cross sexual type has the highest feminine tendency. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. Cross sexual type is most similar to the female beauty style. This feminization of male beauty style is the external expression of collective unconscious and affords human being to reach self-realization.

• 미술이론과 현장
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• 제5호
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• pp.7-24
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• 2007

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other". From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic". However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "more than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimit$\'{e}$", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being", not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's a successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

• 한국콘텐츠학회논문지
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• 제8권12호
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• pp.366-374
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• 2008

본 연구에서는 그동안 대체적으로 학문적 관심에서 소외되었던 예비 초등 교사들을 대상으로 그들이 인식하는 체육수업에 대한 재미거리, 흥미거리, 또는 체육수업 참여 촉진 요인을 알아보고자 수행되었다. 이를 위해 G 교육대학교 3학년에 재학 중인 30명에게 보고서 형식의 개방형 질문지와 면담을 실시하였다. 수집된 자료에서 먼저 연구자는 체육수업에서 재미있었던 부분의 원자료에서 구체적인 주제나 의미 있는 개념이 무엇이지 결정하였다. 다음으로 의미 있는 주제라고 간주되는 요인의 귀납적인 분석을 거쳐 일반적인 개념이나 상위의 개념으로 통합 분류하였다. 또한 연구자료의 신뢰성과 진실성을 확보하기 위해서 연구 참여자와의 검토, 전문가 협의 과정을 거쳐 자료의 진실성과 타당성을 확보하였으며, 다음과 같은 결론을 얻었다. 예비 초등 교사들이 인식하고 있는 체육수업에 대한 재미 선호요인, 또는 체육수업에 적극적 참여를 유도하는 요인으로는 첫째, 적극적 신체활동에 대한 욕구해소, 둘째, 체육교사의 인간적 유대관계, 셋째, 신체활동을 통한 성취의 기쁨, 넷째, 아동의 입장에서 칭찬을 통한 자신감 부여, 다섯째, 흥미유발 위한 다양한 프로그램 제시, 여섯째, 공동체 의식과 상호작용의 즐거움 이었다.

• 복식문화연구
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• 제19권2호
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• pp.389-401
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• 2011

Jewelry is not only symbolic meaning of the fortune, but also it completes or redound to fashion style and its image in this modern times which diverse culture live together. The instinct for adornment which is long as human cultures is developed as Artwork genuinely to show effective self-expression that is aesthetic and distinguished. It would be from that it made by using metallic materials. In contemporary fashion, jewelry takes so much importance that it sets the trend. They carry a sensible message that expresses esthetic desire and originality. Among the so many kinds of jewelry, especially the necklace is located beneath the face and linked as a part of fashion, so it frequently has showed in Fashion Collection, We tend to study the effect of that the form, hue and character of materials of necklace that is expressed in fashion collection influence fashion image. The method of this study is comprised with precedent studies and analysis of necklace photos in fashion collection. For the analysis of data, we implement content analysis and statistical analysis using SPAW Statistics 18. As the result, fashion and jewelry effect interactively and share esthetic forms, in the view of total image necklace image is more strong than fashion image. Because the hue and the form of necklace take a great role to make fashion image with the sense of its eyesight, its effective coordination go up the delicate feelings of the fashion. So, it is very effective things that we predict the trend of fashion, then, coordinate with well-matched necklace.

• 한국의류산업학회지
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• 제22권3호
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• pp.287-295
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• 2020

This study examined body perception, body design behavior and clothing style for women in their 20s according to the period of body design experience. Body perception was analyzed from the two viewpoints of seeing the body as the subject of social suppression and as the means of self-expression. This could lead to understanding how modern women perceive their bodies based on experiences of body design. In-depth Interviews conducted through semi-structured questionnaires among women in their 20s were divided into body design experience less than 24 months and the group of body design experience more than 24 months. The results of this study are as follows. First, both groups did not feel satisfaction in terms of body perception. Women in the less than 24 months group showed their eager for firm body as well as skinny body influenced by social media, while the group with more than 24 months, felt a strong suppression to have a perfect body as a professional due to the expectations of others. Second, the group with less than 24 months conducted body designs to satisfy themselves, while group with more than 24 months focused on the body shape changes through systematic exercise and a strict diet plan that indicated a strong desire to show their perfect body to others. Third, the two groups showed differences in their clothing style.

• 복식
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• 제61권2호
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• 복식문화연구
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• 제22권5호
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• pp.760-775
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• 2014

In the era of 2.0 web, blog has become the media that men can express themselves with fashion more actively and independently, as paying much attention to their personal appearance and cultivating an upscale lifestyle. They often create their fashion images in the virtual space where enables a free and creative operations of self-expression. The study aims to identify the types of men's ego-images represented on the personal fashion blogs based on the framework of analysis from the previous research (Suh, 2014), to build the base data for analyzing men's fashion style in $21^{st}$21st century that reflects changes in men's sexual images, and to verify the framework as comparing with the previous case study about the women blogs (Suh, 2014). The case studies conducted 5 men's personal blogs such as bryanboy, iamgala, little fashionisto, katelovesme, and stylentonic. The study results almost same types of women's ego-images as following. The imaginary ego-image is classified as narcissism, regression, identification, and virtuality, the social ego-image as symbolism of roles and others'desire, the real ego as primary instinct, practical reality, object a, jouissance and sexual perversion. The personal style of men shown on the fashion blogs appears as a significant factor to analyze male customers in the growing men's beauty and fashion market.

• 패션비즈니스
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• 제14권5호
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• 복식문화연구
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• 제23권2호
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• pp.337-352
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• 2015

This study suggests designs of maternity clothes wearable after childbirth and aims at confirming that maternity wear is continuously wearable during a post-natal period. As for research methods, theoretical and empirical studies with research on a production of work were conducted, focusing on the design development of the maternity dress which may be worn even after childbirth. The results of theoretical and empirical studies possibly presented various designs which require fashionability going with the trend of time. The maternity wear also requires the adaptability for a changing body shape to enable a woman to wear it during a pregnancy period and after childbirth. Besides, the convenience of dressing and undressing with wearing comfort is considered. 6 sets of one-piece dress were made as the result of the study and three factors of fashionability, adaptability and convenience were considered. The conclusions are as follows : Firstly, it verified that the maternity wear is fashionable clothes not to cover protruded abdomen but to satisfy women's desire of self expression. Secondly, it overcame the limit of dress design through fitting it to completely different two body sizes and shapes with design factors and patterns. Lastly, it suggested a research model of maternity wear corresponding to economical, environmental and ethical principles as giving an effect of "two" dresses with one. This study presented a new direction of design study with meaningful actions of fashion designing in the aspects of economical, environmental and ethical consumption unlike artificial disposal on SPA brands.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2008년도 춘계 종합학술대회 논문집
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• pp.743-748
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• 2008

디자인은 인간의 미적활동을 객관화하고 보편화한 것이다. 본래 디자인의 출발은 '대중의 삶에 풍요로움 주고 그들의 삶의 질을 향상'시키는 데 있었다. 그러나 그 동안 디자인교육은 오랜 기간 동안 '기업을 위한 중요한 생산적 수단' 이라는 미명 아래, 기업의 생산 활동 극대화 위한 인력양성에 치중하는 방향으로만 발전해 왔다. 따라서 디자인을 향유하는 일반 대중에게는 교육적 기회가 매우 희박하였다. 이러한 교육대상 및 기회의 편협성으로 인해 대중의 욕구충족이 어렵게 되었고, 디자인을 일부 디자이너만의 영역으로 점유하는 것에 대한 국민적인 저항을 일으키는 현상이 나타나기도 했다. 따라서 이제는 그 동안 디자인전문가 양성에 편중하였던 디자인교육에 대한 대상의 확대 및 내용의 전환이 무엇보다도 시급하다 하겠다. 이 연구는 대중의 생활 속에서 보편화 되어있고, 그들의 미적생활추구에 대한 욕구가 강하게 표출되고 있는 각종 사회현상을 토대로 하여 디자인 대중교육의 필요성 인식시키고, 삶의 질을 제고하기 위한 하나의 방편으로서, 디자인 대중교육의 지향점(자기표현, 향수, 교양, 생활의 지혜)에 대해 연구하였다.