• Journal of the Korean Society of Costume
• /
• v.51 no.3
• /
• pp.87-98
• /
• 2001

The purpose of this study is to examine the tattoo look in modern fashion from the aspects of 'expression techniques' and 'aesthetic properties'. Tattoos are one of the body decoration which have been continued for a long time all over the world and have contained various meanings in : invocation. symbolization. solidification, exotic tastes, and body decoration. While tattoos have been progressed for the past time, they have been enlarged into body painting, make-up, and even into body art. Besides, their technical skills and equipments have been also developed. Therefore, tattoos are neither tabooed nor restricted in lower class, such as gangsters, bickers, prostitutes, etc., any longer. They are showed in everywhere of our society, running on the fashion. Specially, in fashion, they are shown through the 'tattoo look' designed by talented fashion designers. Futhermore, tattoos are one of the things which have gotten a new value under the Post-modernism and the turning of the century. The various tattoo looks in modern fashion are classified into four categories, according to the expression techniques, the use of see-through, reappearance of primitive body-decoration, application of tattoo patterns, application of street styles'tattoo patterns, make-up & body painting. And, they are also classified into four categories, according to the aesthetic properties Exoticism, Eroticism, Primitivism, and Grotesque.

• Fashion & Textile Research Journal
• /
• v.5 no.5
• /
• pp.453-464
• /
• 2003

This study is to analyze that the pluralism is the main aspect of the modem fashion which examines the definition and the character of the pluralism. This will also consider the pluralism that appeared on the modern fashion which is based on them. The main point of pluralism is that the world is necessarily aware of plural and difference. Also many values which is focused on the previous generation, for instance disorganize of westernism, androcentrictrism, christianism and powerful nationalism, what is called unfamiliar, heterogeneous, the others and the circumference things. As these were rehabilitated, morality, ethics, religion or politics were all became possible to choose for one's taste. The pluralism expressed in modern fashion can be divided as collapse of genre, grafting the lower and higher orders cultivation, variety way of approaching in time, internationalism. The result for the consideration is that the pluralism has candid attitude for everything so that in the modern fashion is importing variety range of artistic definition. Namely, it is not only containing previous pure art, elegance art and element of artistic sublime beauty, but also has aesthetics of ugliness, deconstructive art and anti-fashion so that the definition of the art is getting vagueness and diverse.

• Korean Institute of Interior Design Journal
• /
• v.20 no.4
• /
• pp.46-53
• /
• 2011

Popular culture in modem society is that research is to understand the lives of the public. Since post-modem ism, in a clear perspective of the rapidly developing modern society, and the appearance of various societies have been drawn. Of the phenomenon is playing a large role in the admission of the public can see this was: strange places for the properties in the popular culture to analyze and find the meaning makes carry through their own perspective. It also dominates the field of spatial design for the public to understand cultural perspectives and positions should be aware of the importance of thinking. The relationship between spatial design and popular culture, modern society has become an essential point is changed popular culture that has more space, the design characteristics of the new changes will affect their position. In this study, playing a large role in the modern of culture properties, spatial design, looking at areas of social and cultural positions that are clearly focused. Therefore, the cultural phenomenon here in the popular culture of the design characteristics of the space, according to the visual design direction of modern society present in the space is presented.

• Journal of Fashion Business
• /
• v.3 no.4
• /
• pp.113-129
• /
• 1999

The purpose of this study is to discover the changes and characteristis of modern knitwears from the 1920's to the 1990's. The result of this study is as follows: The popular knitwears in the 1920's had a simple boxy-line and modern unisex image with a sporty look. The knitwears in the 1930's-1950's had seen more short, feminine detail and texture, fit silhouette with syntheyic fibers. In the 1960's, the knitwears of sporty look and unisex style was popularized by young peaples, and crochet with handkniting by the fiber artists was popularized. In the 1970's-80's, the layered looks and unisex styles of knitwears were popularized by influence of a ecology mood and a woman movemant. And various patterns was developed with the computer machine. The items of outer knitwear was increased by the use of fancy yarns and the knitwears as the total fashion was popularized. In the 1990s, the knitwears had a very forceful characteristics by the mixed style and the technique of design developed into the post-modernism. The key words of the character of the modern knitwears are funtional pursuit, unisex, high value, hightechnique, art. By the change of the life style and the develope of technical innovation, the knitwears will be the key item to leading the fashion in the 21th.

• Journal of architectural history
• /
• v.15 no.4
• /
• pp.37-56
• /
• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.63-78
• /
• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.

• Journal of the Korean Society of Costume
• /
• v.60 no.7
• /
• pp.131-142
• /
• 2010

The ethnic image in modern fashion can be interpreted as a trend of post-modernism, which appeared after modernism's established style. It has relativity, pluralism and variety, and it tries to revive style of the past. This makes style that borrows and combines image and style of different era and culture as distinctive feature, and in turn is expressed by a new image that is combined with the country's clothes. Also, thanks to the customers who are tired of artificiality and convenience, gift of modern science and technology, simple and natural sensitive marketing and being 'raw' are getting popular as new trend. Today's ethnic image is not merely borrowing visual, superficial image of culture and clothes of other ethnic group, but pursuing natural as purely created by human senses rather than being polished. In terms of ethnic image's formative beauty and aesthetic value, foreign and domestic collections are compared. But for domestic image, only Korean ones are researched, and for foreign designer's fashion image, there are ethnic styles of Japan, China and Korea. Although the documents of domestic designers that I investigated is not sufficient, canonic simple being of oriental image that is seen by the westerners is summarized.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.1 no.1
• /
• pp.91-107
• /
• 1999

The primary purpose of this study is to inquire into the characteristic of exposure presented in fashion, identify the correct concept of exposure from an aesthetic perspective, and grasp the contemporary meaning of exposure presented in fashion. As a result of study, the following findings were obtained: First, the surrealist style of fashion exhibited representations such as the relocation of the partial details, the harmonization of the natural and the artificial, the emphasis or expansion of each part of the body, and the like. It used highlighted the genital region with ornamentations or used the technique of paradoxically exposing the part of the body always covered. And it exbibited the paradoxical relationship of exposure and concealment by exposing the concealed part of the human body. Second, the post-modern style showed the complicated phenomenon that the values of several meanings such as the historic, the folk, and the like appeared in its fashion. It shares in spatiotemporal eclecticism, pluralistic characteristics and the like found in the post-modern culture. Third, the deconstructive style gets rid of the distinction between the external space and the private space by translating underwears into outer garments. It destroys clothing by tearing or perforating clothing whereby it represents the poor image. Coupled with women‘s psychology of exposure and the new generation’s way of thinking indifferent to others‘ eyes, this fashion of deconstruction occupies the great current of fashion. Deconstructive fashion gets away with the rule of ‘having to wear clothing to suit TPO(Time, Place and Occasion), the traditional norm of wearing clothing.

• Strategy21
• /
• s.30
• /
• pp.286-311
• /
• 2012

한국은 세계 유일의 분단국가로서 대륙으로는 북한과 대치 중에 있으며, 해양으로는 세계 강대국인 중국, 일본, 러시아 등에 의해서 둘러 쌓여 있다. 이러한 안보환경에서 최근 북한은 김정은 후계세습을 위해 천안함 피격사건과 연평도 포격도발 사건을 감행하였으며, 이러한 북한의 도발위협은 김정일 사후 지속되고 있다. 그러나 한국은 북한이라는 현존 위협에 대비함과 동시에 주변국으로 상정할 수 있는 잠재적 위협에도 대비해야 한다. 특히 잠재적 위협의 경우 해상에서 한국과 국가이익이 상충되고 있으며, 이들 모두 한국보다 강한 해군력을 보유하고 있을 뿐만 아니라 최근 들어 해군력을 강화하고 있다. 따라서 최근의 안보정세는 한국해군이 향후 어떠한 해양전략을 추구해야 하는지에 대한 재정립을 요구하고 있다고 할 수 있다. 본 논문은 한국의 잠재적 위협인 러시아와 일본 간에 발생한 러일전쟁을 통해 미래 위협에 대비한 최정예해군(Post modern navy)으로 도약하기 위한 한국해군의 발전방향을 도출하고, 이를 달성하기 위한 4가지 핵심개념을 제시하였다. 구체적으로 이는 최정예해군으로서 해양통제와 거부를 균형적으로 갖추고, 원정작전 수행능력을 보유하며, 해양경찰과 결속력이 있는 유대관계를 형성 및 북한의 비대칭전력에 대한 대응능력을 갖춘 해군이라고 설명할 수 있다. 결국 한국해군은 대륙세력인 북한의 위협에 대비하고 동시에 미래 잠재적 위협에 대비함과 동시에 해양에서의 국가이익을 보호해야 한다고 할 수 있다. 한국은 해양국가이다. 한국은 결코 바다를 포기할 수 없으며, 한국해군이 추구하는 해양전략은 국가의 운명을 결정짓는다고 해도 과언이 아닐 것이다. 이러한 측면에서 본 논문은 향후 한국해군이 어떠한 해양전략을 추구해야 하는지에 대해 하나의 방향을 제시하고 있다.

• Journal of Korean Academy of Nursing
• /
• v.34 no.3
• /
• pp.389-399
• /
• 2004

Purpose: The purpose of this study was to illustrate the main stream of postmodernism which has influenced theory and research in the nursing science, and then to consider the meaning and value of what the postmodern perspective has meant to nursing science in the 21st century. Method: Derrida and Foucaults philosophical thoughts that characterized postmodernism through the interpretation of their major literature was studied. Based on their philosophy, it was shownhow Derrida's idea could be applied in de constructing the core paradigm in modern nursing science. In terms of Foucault's post-structuralism, reinterpretation of the nursing science in relation to power/knowledge was completed. Result: Postmodernism created multiple and diverse paradigms of nursing theory as well as nursing research. This was accomplished by de constructing the modernism of nursing science which was based on the positivism and medical-cure centralism. Specifically, the post-structuralist perspective revealed issuesaround the relationship of power and knowledge, which dominated and produced modern nursing science. Contemporary nursing science accepts pluralism and needs no unitary meta-paradigm, which can reintegrate multiple and diverse paradigms. Conclusion: In considering the issue of nursing science in postmodernism, it can be summarized as follows: the postmodern thinking discovers and reveals diverse and potential nursing values which were veiled by the domination of western modem nursing science. These were motivated to create nursing knowledge by conversation in interpersonal relationships, which can contribute to practical utilities for the caring-healing situation.