• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.115-132
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• 2023

The globalization of Korean culture has spurred a steady increase in the participation of domestic fashion designers in global performance art. This study analyzes the formal elements of stage costume designs by fashion designers, and further evaluates the impact of these designers' aesthetic philosophies on overall performance. This analysis seeks to provide a foundation for the development of new directionality in performance art, with an enhanced competitiveness derived from diversity and creativity. The scope of this research spans 15 performances and eight fashion designers' works in the post-2010s era. These performances are characterized by their break from traditional artistic norms, illustrating the modernization of the performing arts and reflecting the designers' aesthetic philosophies. This modernization incorporates inspirations drawn from a diverse selection of movements, such as fusion, culture clash, kitsch, and minimal avant-garde. As a result, in combination with a pure reflection of the designers' aesthetics, these designs heighten overall performance, suggest a new direction for traditional performance art, tap into a popular sensibility to expand communication to a wider audience, and push the boundaries of tradition through artistic innovation.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.436-499
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• 2000

The purpose of this study is to be inquired social and cultural significance of the Grotesque phenomenon in the late 1990's make-up, as well as its experimentalism and avantgardism. The Grotesque is the aesthetic concept, which is composed of ambivalent structure of humor and horror, interest and disgust through join of heterogenous factors, distortion, extreme and overstatement in the patterns and materials of make-up. The Grotesque in the modern make-up is represented in the make-up advertisements and collections. In this paper, the author classified the Grotesque phenomenon with the Kitsch, the Machine, the Animal and the Devil, focused on heterogenous factors. The results are as follows. 1. The Kitsch in the make-up uses not cosmetics but imitations, ready-made goods, and ordinary materials. It expresses modern culture's laziness through shocking self-expression. 2. The Machine in the make-up means silver or white color's make-up, and represents cyber period's arrival through contrary irony, loss of the human value and the personifications of machine. At the same time, it is understood as the curing of human alinetion. 3. The Animal in the make-up utilizes the wild animal's horn, the reptiles'sputum, and the legend's animal. It points out a human false virtual image, and overturns make-up's traditional aesthetic concept. 4. The Devil in the make-up shows vampire's cuspid, demon's horn, artificial nail, and black color's make-up. It raises social irrationality and discrepancy of capitalism, and expresses paradoxically the nature of human life. The Devil in the make-up expresses the creator's innovation, anxiety of fin-de-siecle, and simultaneously criticizes and cures confused reality. It shows also avantgarde implementation of dissolution of traditional aesthetic concept and acceptance ugliness.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.153-168
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• 2009

The purpose of this study was to identify the clothing attitude of Chinese students in korea according to gender, socio-economic level and resident period. The survey was conducted from October 30th to November 25th 2008, and 267 questionnaires were used for the analysis. Data were analyzed by factor analysis, T-test, ANOVA, Duncan's Multiple Range Test with SPSS 12.0. The results were as follows: 1. Most of Chinese students were middle-class Han race and they have been staying in Korea for 3 years. 2. Fashion leadership was classified as Innovation and Opinion leading factor; conformity as Nonconformity, Identification, and Norm consciousness; pursuit benefit as Practicality, Economy, and Aesthetic. 3. The Innovation factor was highly marked in female student group, the Opinion leading factor was higher in high-class group, and the pursuit benefit factor was significantly different between less than three years group and over three years group who have been in Korea. 4. We need to recommend best-design clothes for high-class Chinese female students who have been in Korea for over three years, and low-price clothes for less than 3 years.

• The Research Journal of the Costume Culture
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• v.26 no.2
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• pp.157-171
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• 2018

As the next generation of smartphone and tablet computers, wearable devices are currently being developed and available in market in various forms. Smart clothing is a wearable device that holds the greatest potential for future development but low in market penetration. This study was designed to identify factors that influence adoption and diffusion of smart clothing. In-depth interviews with potential consumers who were knowledgeable about and interested in smart clothing were conducted. A semantic network analysis method was used. The results showed that consumers perceived smart clothing as a garment rather than as a type of wearable device and had a positive perception of smart apparel as more convenient and advanced than functional apparel. At the same time, however, consumers had a negative perception of smart clothing as unnecessary, ugly, and injurious to health. Consumers also worried that wearing smart apparel over long periods of time would negatively impact their health. Factors affecting resistance to smart apparel included low utility, perceived risk, and lack of aesthetic completeness. Usefulness and convenience were factors that affected the acceptance of smart clothing. The innovativeness of the product was more influential than consumer innovativeness in the process of adoption and diffusion of smart clothing.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.409-414
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• 2023

In recent years, the emergence of a number of AI image generation software represented by [Midjourney] has brought great impetus to the development of the field of AI-assisted art creation. Compared with the traditional hand-painted digital painting with the aid of electronic equipment, broke the traditional sense of animation character creation logic.This paper analyzes the application of AI technology in the field of animation character design through the practice of two-dimensional animation character . This is having a significant impact on the productivity and innovation of animation design and character modeling. The key results of the analysis indicate that AI technology, particularly through the utilization of "Midjourney,"enables the automation of certain design tasks, provides innovative approaches, and generates visually appealing and realistic characters. In conclusion, the integration of AI technology, specifically the application of "Midjourney," brings a new dimension to animation character design. The utilization of AI image generation software facilitates streamlined workflows, sparks creativity, and improves the overall quality of animated characters. As the animation industry continues to evolve, AI-assisted tools like "Midjourney" hold great potential for further advancement and innovation.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.139-148
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• 2010

As a designer, Rei Kawakubo had become one of the most influential woman of the 20th century. Comme des Garçons, which means "like boys"-what women in the early 1980s were least supposed to be-expressed criticism of the prevailing social construct of women and, importantly, of the very concept of fashion. The press had a field day with the so-called post Hiroshima look, with its aesthetic of destruction, poverty, and hunger and with its depressing mood engendered by the use of the color black. This research divided the change of design transition on Kawakubo's fashion by the three categories. The first category was experimental pattern, the second category was esthetics of omission and the third category was innovation of body consciousness. The costume messages through these design works of Kawakubo could summarize 5 items, punk sprit, beyond sex, reality, proposal of new body consciousness and representation of black.

• Archives of Plastic Surgery
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• v.37 no.2
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• pp.202-205
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• 2010

Purpose: Male nipple hypertrophy is a rare condition but is a social embarrassment for individual. The currently available techniques of nipple reduction already described in the literature for female patients are discussed, but the goal of treatment is different in male patients. In male patient, the diameter as well as vertical height should be reduced simultaneously to achieve better aesthetic results. Our new technique can reduce the diameter of the hypertrophic nipple as well as the vertical height efficiently and simply. Methods: A 19-years-old man with nipple hypertrophy on the right chest presented. The flap is designed based on the site of left nipple, symmetry, the diameter, and the projection desired. The widths of the V flaps determine projection, whereas the diameter of the C flap determines the diameter of the nipple and top of the new nipple. Unnecessary hypertrophic tissues are extirpated and the V flaps are elevated. The nipple base is reduced by purse-string suture technique. The V flaps are wrapped around, and C flap is used as a cap. Results: No complication including nipple necrosis or sensory loss were found during follow-up period. The normal symmetry of the nipple contour was restored. Conclusion: We describe a simple technique for male nipple reduction using a C-V flap with purse-string suture. In our experience, this technique has provided good aesthetic result and patient satisfaction.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.113-127
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• 2008

Artificial lights have effected the changes of art and fashion concepts as well as human life since the invention of electric light bulb in late 19th century. Artist and designer have had more interested in these artificial lights as the development of digital technology and the change of millennium and they have tried to apply the lights into their works. The purpose of this study is to analyze the aesthetic characteristics of contemporary fashion design using artificial light as a medium. Artificial light for fashion design means the light using luminescent material like phosphorescent and fluorescent materials or in combination with electroluminescent digital technology or the light that can be perceived as images when light projects from media using a light projector or other digital equipment. Fashion design using this light type can change colors or form temporarily and it can playa role as a gadget for hm or as equipment to provide information much as a computer monitor does. And designer can create virtual patterns on the surface of clothes, or virtual fashion like a 3-dimensional holography in empty space. In these fashion designs, the virtual image of light is substituted for physical formative elements in fashion, and the viewer can experience an ambiguity between reality and virtuality. The results of the study were as follow; The formative characteristics of those fashion designs were identified as visibility, indeterminacy, integration and virtuality. And they reflected the internal meanings; the persue of protection and safety, the search for experiment and innovation, the will for interaction and communication and the desire for the deviation and fun.

• Archives of Plastic Surgery
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• v.36 no.5
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• pp.642-648
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• 2009

Purpose: Hexadactyly without thumb is a rare congenital anomaly of the hand where six triphalangeal digits are symmetrically distributed without thumb. Contrary to mirror hands, triphalangeal six digits are symmetrically distributed on each side at the midline with well - differentiated carpal bones, extensor tendons, one ulnar and one radius. The authors developed a new surgical technique based on a three - dimensional concept to correct the hexadactyly and applied to 2 cases of hexadactyly with good functional and aesthetic results. Here we document the surgical technique and its result. Methods: A 16 month old male patient visited our clinic with chief complaints of bilateral hexadactyly deformity. On physical examination most radial first and second digits showed no opposition and adduction motion on both side hands. Radiography showed 6 triphalangeal digits with normal development of carpal, radial and ulnar bone. Right side abnormality was corrected by removal of most radial side extra - digit, rotation and migration of 2nd ray to thumb position and creation of 1st web by transposing a mid - palm based rectangular palmar flap as in Snow & Littler procedure which has been being applied for correction of 1st web syndactyly in cleft hand deformity. Seven months later, left side abnormality was also corrected with the same procedure. Results: Postoperative appearances of the both hands were satisfactory. Flexion, extension, opposition and grasping were possible with the pollicized 2nd ray. Pinching power was 3.0 kg 15 months after surgery and 2.5 kg 22 months after in right hand respectively. Conclusion: In correction of hexadactyly deformity, satisfactory aesthetic and relevant functional results can be expected with authors' newly developed technique: removal of most radial digit, rotation and migration of 2nd digit to thumb position as well as creation of the 1st web space by transposition of mid - palm based rectangular flap.