• Journal of the Society of Cosmetic Scientists of Korea
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• v.22 no.1
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• pp.3-4
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• 1996

오늘날 화장품 산업은 역동적으로 끊임없이 변화하고 있다. 화장품은 한 사회 구성원들의 다양한 욕구, 가치관 및 생할양식에 영향을 미치며 심지어는 국가의 정치적 기후나 경제적인 상태를 나타내는 지표역할을 담당하기도 한다. 즉, 화장품 과학은 예방의학, 건강과학이라는 차원에서 뿐만 아니라 미적인 차원에서 새로운 상품개발이 진행되어갈 것이다. 지금 우리는 21세기를 향하여 1990년대의 중반기에 들어섰다. 80년대는 물질 문명의 중심으로 생활의 질의 풍요로움을 추구하였으나 90년대는 소비자 우선의 풍요로움을 향수하는 시대가 되었다. 또한 여성이 사회진출, 고령화의 급속한 진전, 고 학력화, 개인의 가치관 존중 및 많은 생활패턴의 변화가 마음의 풍요로움을 구하는 사람들이 늘어나고 물질적 의존도로 부터의 탈피가 크게 강조되고 있다. 이에 마음의 풍요로움을 창조하여 연출하는 화장품산업의 역할이 고기능성에 의한 부가가치를 높이고 마음의 풍요로움을 지원하기 위한 연구개발에 중점을 두고 진행되어 가고 있다. 화장품을 여성들의 치장이라고 하는 주체적 행위에 도움을 주는 하드웨어라고 한다면 소비자의 마음은 소프트웨어로써 소비자 입장에서 만족할 수 있는 전략을 구사하는 아이디어가 있어야 하는데 그에 상응하는 대책으로 스킨케어를 들 수 있다. 스킨케어란 병든 피부를 제외한 여러 가지 유형의 피부를 화장품과 미용기기를 이용하여 그에 맞게 예방관리 하여 건강하고 아름답게 보호 유지하는 전문 분야이다. 즉, 스킨케어는 화장품 이용을 통하여 미래의 소비자들의 다양한 비용 욕구 및 소망에 효과적으로 대응할 수 있는 소프트웨어라고 할 수 있다., 또한 스킨케어는 화장품 뿐만 아니라 신체적 접촉을 통하여 안위를 제공하는 수단으로 단순한 피부손질이라는 문제에 그치지 않고 접촉을 통해 마음과 신체의 균형을 꾀하는 생명현상의 심층과 연관되는 중요한 의미가 있다. 스킨케어는 불어로 Soin Esthetique 라고 하는데 어원을 보면 손질, 처치, 보살핌 그리고 배려를 의미한다. 지금으로부터 200년전 독일의 미학자인 Baumgarten이 미는 인간에게 만족과 쾌감을 주는 대상이며 미는 보는 사람의 마음에 있다라는 감성의 미학에서 Esthetique라는 단어를 처음 사용했다. 다시 말하면 Soim Esthetique는 인간의 마음 만족과 쾌감을 주는 배려 있는 조치로써 여성이 화장을 함으로써 외모의 조화에서 마음과 신체의 균형을 꾀하는 생명현상의 심층과 연관되는 것과 마찬가지로 에스테틱과 화장의 심리는 매우 땔래야 땔 수 없는 불과분의 밀접한 관계라 볼 수 있다.

• Sijohaknonchong
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• v.24
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• pp.173-197
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• 2006

Works recreated modernly succeeding classics often appear in novels, plays and movies. Observing 'modern succession and transfiguration of classics', 1 became curious about 'recreation of classics' in Sijo genre, and in that interest this thesis begins the argument. I identified that many Sijo are recreations of classics, and also classical literature are continually being transformed into modern Sijo. Especially Sijo of Lee Guang-Soo in 1920s and Sijo of Cho Un In 1940s are pioneering works. Thereafter modern Sijo have been continuously recreated from classics. This paper is about what are the meanings of modern Sijo in this category, and how should they advance. Also this argument will indicate how Sijo will be created in the future. Transforming classics into modern works is a valuable task, because it succeeds traditional culture and connects the classics' age to the modem age. For example, the Sijo of Lee Guang-Soo and Cho Un have significance in terms of literature history. The problem lies in modern Sijo that is creatively experimenting with classics succeeding those. Many modem Sijo are created attaching too much importance to the technique of contents, not comprehending the structural principles and formal aesthetics of Sijo. Thus, Sijo that adopt classics modernly reveals the limit of creation. Furthermore, recreating Sijo with the original contents untouched has no meaning at all. From this standpoint, modern Sijo recreated from classics can be reasonable only when they reflect the life, culture. and reality of present and comprehend the formal aesthetics of Sijo.

• Archives of design research
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• v.14 no.2
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• pp.175-185
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• 2001

This study is concerned about the meaning of space-direction in environmental design and its form for examples of Javacheff Christo's works. As environmental design that space-direction is very important thing, but it is difficult to find some concreted style. Even more there are greatly indistinct in the boundary between environmental art and environmental design. Studying on Cristo's work which is valuable way of using space-direction. We will applicate for needful methods in environmental design. Christo's works are divided three boundary. ai. environmental wrapping, environmental installation, environmental partition. His way of space-direction that is dramatic, participating in process, concentrating in place-specific, and various way of utilizing object. It is meaningful study that survey to Christo's works. They present as environmentally directing object, showing situation, and building experience of space. So it is possible to judge the evaluation of his works. Finally, space-direction that finding in Christo's work is very useful way in environmental design process.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.126-136
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• 2019

The film born by Lumiere brothers in 1895 was not the first. Edison, who invented the Kinetograph four years ago, has already made dozens of films. But it has been relatively undervalued. That's because the platform for projecting a movie was through a single person viewer called Kinetoscope. However, the physical characteristics of the film itself are the same as those of modern films, and have a unique aesthetic distinction compared to other early films. The subject is entertainment-oriented, and the image is characterized by contrast effect. In addition, even before the birth of the film, it shows the important creative elements and genres pursued by fictional films, and has industrial production systems and experts. If Lumiere's film is the beginning of a documentary film that portrays the fact, Edison's film deserves historical value as the beginning of popular film, which is the hallmark of modern cinema.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.13-22
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• 2023

Recently, global luxury fashion brands such as Gucci, Saint Laurent, and Louis Vuitton have been showing special interest in Korean contemporary artists and actively collaborating with them. This can be said to be a new change that is distinguished from previous collaborations of fashion brands. Therefore, this study investigated the cases of collaboration between global luxury fashion brands and Korean contemporary artists, and analyzed the types and characteristics to examine the trends and characteristics and draw meaning. As a result, fashion brands combine the characteristics of Korean art works of various genres with the brand concept and pursued values to create new sensibility and high value-added products. It can be seen that the intention was to prepare a place to draw out. In addition, it was found that collaboration was also utilized in terms of marketing so that domestic customers could visit the brand store with a sense of familiarity by utilizing Korea's artistic and cultural sentiments. Based on the results of this study, we intend to provide basic data for the development of creative contents for various collaborations between fashion and art that can help develop the modern fashion industry.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.163-174
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• 2020

The purpose of this study is to derive the characteristics of the creative process of convergence performing arts. Therefore, the PADAF-Play and Dance Art Festival, a representative convergence performing arts festival in Korea that has been held steadily every year since the first event in 2011, was selected as the subject of the study. Through PADAF, a representative convergence performing arts festival in Korea, qualitative case studies were selected through process-oriented discovery to study the characteristics of the creative process of convergence performing arts, which is a key feature of performing arts in the 21st century. For realistic and empirical research, the 8th and 9th PADAF participated in the entire process from the initial stage of preparation to the closing ceremony and conducted several in-depth interviews with PADAF officials and participating artists. Looking at the characteristics of the convergence performance art creation process through PADAF, creators overcame difficulties that they had not thought of in different ways in the process of meeting different heterogeneous genres, but through understanding other genres, experiential values through convergence, sharing as collaborators, and various ways of communication. The characteristics of the convergence performing arts creation process, which is focused on PADAF, are "Rhizom thinking" by French philosopher Gilles Deleuze(1925-1995), "Collective intelligence," and "Experimental Value for Experimental Creation" by creators. Through this derivation, we will help the changing performing arts scene based on the basic human desire to understand convergence performance art a little more and communicate through the extended expression of convergence.

• Journal of Distribution Science
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• v.9 no.3
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• pp.73-82
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• 2011

This study presents an effective and distinctive marketing strategy through the implementation of the aesthetic art marketing communication technique of storytelling. The reason applying art to marketing is effective is that it gives "class" and aesthetic beauty to the brand's image, which will lead to an increase in revenue and loyalty of consumers. The story stands in for the brand's subject of "desire." Luxury brand customers not only consume high-quality products, require the utmost in service, and value of the brand, they also appreciate the story the brand is telling. The story, combined with art, is called art marketing communication; it makes the brand more unique through its enhanced visual elements. The study discusses art collaboration, art exhibition, a transforming architecture project, art advertisement, a flagship store, and a human resource training center. Based on the "desire," I adopted the element and principle of storytelling. By visualizing the brand with a symbol, the company is able to relate to consumers' sentimentality. Through storytelling art marketing communication, and the strategy using relevance of brand and artist's popularity, the research shows efficient art marketing influences to the brand's image. The results of the research indicate that by using adequate art marketing communication that best reflects the identity and story of the luxury brand, it produces great results; the research also demonstrated, in various ways, that art marketing will succeed. The case showed the following outcomes. First, consumers have a tendency to choose a brand that is associated with an empathizing story. World renowned brands see through the market's "desires" for unique stories, and they also provide the ability to amuse consumers. The story in a product will become an important competitive element in future markets. Second, the art marketing communication applying a story rendered a brand with distinction. The most effective art marketing communications are art collaboration, art exhibition, locomotive architecture project, and others that are adopted as various means. Third, the brand's products were considered as an art piece, which led to not only strengthening the loyalty of consumers but also an increase in sales. In addition, the company could sustain a premium price for the goods sold. By adapting art to a brand's tradition, an innovative and creative new product provides consumer satisfaction, and producing goods in limited editions creates enthusiastic collectors. Fourth, this study suggests an abridged report, implication, limitation of the study, and directions for further research. Referring to the case for the adaptation of luxury brands, efficient art marketing strategies considering Korean company brand and efficiently study preceding Korean company brand art marketing strategy could be proposed.

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.133-142
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• 2012

The Purpose of the study is to identify the aesthetic of anxiety and horror in Roman Polanski's films, focusing on , , and . Polanski's films, of which main concern lies in veritable human under the circumstance of the closed space which is stained violence and horror, present a tendency of instability and brute force in the same age and individual's enervation and solitude isolated from the value of society. Eventually, it steadily deals with the origin horror of being. In this study, I analyzed Polanski's special feature of directing centering on three facters, such as visual storytelling, space design of isolation and enervation, and accompanying sight as a visual point of suspense. The style of Polanski's films, based on the classical priciple for suspense construction and variegated image making, shows that the incapable individual's awkward suffered in the closed circumstance, the strength of horror from the unknowable outside, and human's belief broken by brutal violence. These commonly connect to the theme of Roman Polanski's films.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.171-187
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• 2002

The purpose of this study is to grasp the meanings of retro-fashion, to research the design characteristics and background on the birth of repro-fashion. It can help to confirm the importance of aesthetic marketing which is based on human feelings, the roles and cultural and industrial meanings. Reto-fashion Is one of the mediums between the expression of Post-modern fashion and emotional sympath of human beings as consumer and fashion creators. So this inspiration is the way of fashion creativities. The backgrounds of appearance repro-fashion are reflection about materialism and technique and 20th century, the sense of instability and finding new ideas from the past. The characteristics of retro-fashion designs are as follows : First, the styles have been come from 50's. 60's, 70's, and 80\`s. It means that the styles not just expressed to return to the past simply but an expression the emotional state for missing the past. Second, the colors and materials are various also as like styles. Third, the decorations of repro-fashion are more crafts by human. The roles of retro-fashion are for creation of high valued product in fashion design, expression of individuality with disharmonized coordination and application as a fusion style. The cultural and industrial meaning of repro-fashion are endowment of aesthetic marketing using human feeling in fashion marketing area and pursuing of the Renaissance of fashion culture and industry. Therefore it is needed that design critics and analysis going side by culture and industry condition for fashion study with human feelings in 21th century.