• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.17-31
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• 2007

Fashion of one period is symbolic and figurative means of expression reflecting spirit, ideology, emotion and aesthetic values of that period. Designs of school uniforms fer girls also went through changes in various shapes along with changes in sociocultural and philosophical backgrounds in each period. Thus, in this study, in examining girls' school uniforms, how girls' school uniforms have evolved with what kind of design characteristics was observed along with process of historical changes, and investigation was made on realistic conditions of girls school uniforms since 1996 when active advancements in school uniform design were started. Also, through examination of girls' school uniform designs from homepage of large student uniform companies and catalogues, characteristics of girls' school uniforms after 1996 were observed. On the result, we could know that girl's school uniforms from 1996 to 2006 were designed in various forms compared to those of the past time and changing Arends of the era were reflected on the school uniform designs. Narrow waistline, shorter blouse, changes in the length of jacket and skirt showed that current school uniform designs pursue the fashionable and trendy designs unlike those of the past times that were uniform and strict. This study include organizing characteristics of girls' school uniform designs by each period, providing fundamental and realistic data for clothes manufacturing and marketing activities through analysis on designs of girls' school uniforms since 1996, and providing directions for future school uniform designs.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.108-121
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• 1999

Creative spatial production in Environmental design relies, in large part, on the artistic talent of the designer(s) that is applied to the design solutions or schematic plans. This study proposes the importance and necessity of the use of 'Plastic Arts" or the technique of artistic manipulation and definition of space in Environmental Design studio programs. This fundamental design approach is currently lacking in Korean design studio programs. Moreover, the current trend of interdisciplinary design (that is, between landscape architecture, architecture, urban and environmental planning) emphasizes the importance of such techniques. "plastic Arts" techniques can serve as a basic code of communication between design disciplines and can in itself be a common approach. The method of this study is based on the empirical datas, that is, the educational performances which are executed in Landscape studio programs of some Korean Universities. The results are summarized as follows; 1. The program, "Plastic Arts" Should be included in the basic organization of Landscape design studio programs. 2. Unlike France where "Plastic Arts" program is implemented through out Landscape Architecture programs in Korea, "Plastic Arts" should be intensified and continued for longer period of time for students in the initial years. 3. In creation of "Plastic Arts" programs for Korean Landscape Design studios, the traditional and contemporary values of aesthetic of the Nature should be taken in consideration. 4. In order to confirm the necessity of "Plastic arts" program in the organization of landscape curriculum, more studies should be done, with empirical datas.pe curriculum, more studies should be done, with empirical datas.

• Archives of Plastic Surgery
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• v.36 no.4
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• pp.365-371
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• 2009

Purpose: Good color match holds a key position in facial reconstruction for good aesthetic result. To correct the wide facial soft tissue defect were usually used the tissue expanded cheek flap, deltopectoral flap or radial forearm free flap. This study is aimed to analyse the color difference after flap surgery by using chromameter. Method: From August 1995 to December 2006, 30 patients underwent flap operations were chosen randomly and evaluated color differences between flap site and adjacent skin. Reconstructive procedures included tissue expanded cheek flap(n = 10), deltopectoral flap(n = 10), and radial forearm free flap(n = 10). The measured sites were flap center within a radius of 1 ㎝ and four points of adjacent skin along the flap margin. The color was quantified in a three dimensional coordinate system $L^*$ (brightness), $a^*$ (redness), $b^*$ (yellowness). Results: There was no significant color difference between the pedicled flaps(tissue expanded cheek flap and deltopectoral flap) and adjacent skin area. On the other hand, color values of the radial forearm free flap were statistically different from those of adjacent skin area. Total color difference(${\Delta}E$) of tissue expanded cheek flap and deltopectoral flap were $7.45{\pm}5.78$ versus $9.41{\pm}7.09$, and that of radial forearm free flap was $11.74{\pm}3.85$. They suggest that pedicled flaps have a potential of better color match than radial forearm free flap. Conclusion: Thus, better esthetic result and satisfaction is more likely to be expected in pedicled flaps as long as it could be applied comparing radial forearm free flap.

• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Journal of Fashion Business
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• v.24 no.2
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• pp.85-99
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• 2020

The purpose of this study is to investigate the fashioning phenomenon of Muslim women's clothes and its significance for Islamic culture around Malaysia and Indonesia. The study examined the phenomenon of hijab, a cultural symbol of Muslim women, emerging as a 'fashion' rather than folk or religious costume, as well as its significance. As for methodology, the investigator reviewed research reports, previous papers, and literature studies home and abroad since 2010 and conducted an interview with seven female college students from Indonesia and Malaysia and one fashion editor from Malaysia staying in South Korea. The findings suggested that the high level of women's education and entry into society along with the Pop Islamic created an opportunity for hijab among Muslim ladies. The balance between religion and fashion leads to happiness among young Muslim women. Second, the modest fashion and global fashion retrends present a fashion culture and identify the diversity of aesthetic values around the globe. Finally, SNS and hijabista activities have promoted individual means of direction based on hijab to represent the identity of Muslims on SNS, they play an important role in the acceptance of global fashion and the fashioning and globalization of Southeast Asian Muslim clothes. The findings understanding of the consumers and markets of Muslim fashion related to global industries and contribute to the multicultural and diverse aspects of research and development in the field of apparel study.

• Archives of Plastic Surgery
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• v.35 no.4
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• pp.461-464
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• 2008

Purpose: Although the demand for the mammoplasty including reduction or reconstruction is remarkably increasing, the anthropometric measurement for the breast, especially about the nipple areola complex(NAC) of Korean women has not been reported recently. Therefore, the anthropometric measurement about the NAC was performed to suggest the standard size of NAC for Korean women. Methods: Two hundred and twenty five female volunteers in 20's through 50's were included for the study. Questionnaires including the diameter of NAC, the diameter, height of nipple, age, marital status, delivery and lactation history were distributed to the volunteers and collected. Results: The mean values of our study are as follows: the areola diameter is $30.93{\pm}10.07mm$, the nipple diameter is $10.21{\pm}4.14mm$ and the height of nipple is $6.54{\pm}3.74mm$. The diameter of nipple areola complex(NAC) is bigger in old ages. If the volunteers have the history of marriage, delivery and lactation, it is bigger, as well. The height of nipple closely related to individual characters except the correlation between height of nipple and age. Conclusion: It is important to have standard data for the nipple areola complex in order to have good aesthetic results of mammoplasty. Despite the importance, there are a few measurement data for the nipple areola complex(NAC) of Korean women. The result of our study is not the absolute parameter for breast surgery, however it can be used as the standard size for NAC in the Korean female during breast surgery.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of Fashion Business
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• v.15 no.3
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• pp.1-21
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• 2011

This study is designed to identify how Demographic Factors affect Fashion Orientation(value), Fashion Response, and Buying Criteria. A total of 355 usable data was collected from housewives in three metropolitan cities(Seoul, Daejeon, Sungnam) in Korea. Young housewives who have one child are a market segment whose buying power is recognized by both the retailers and the market. The housewives' fashion orientation consists of four categories : social orientation, practical orientation, political orientation, and aesthetic orientation. The housewives' fashion response is classified into three areas : self conscious, self esteem, and self monitoring. The criteria of buying children's wear consists of nine components. As a result, the key reason for buying children' wear was 'attractive design'. Research result showed that POLITICAL ORIENTATION(SE beta=.229, p<.001) was more effective than AESTHETICS ORIENTATION(SE beta=.203, p<.001), for enhancing SELF-CONSCIOUS RESPONSE and SELF-ESTEEM RESPONSE. Therefore, this study suggests that the key factor for understanding trend can be a human self concept, consciousness, values, and orientation. The housewives' fashion orientation is responsible for 18.7% of BRAND ROYALTY(F = 20.172, p<.001) from among nine buying criteria. More poignantly, POLITICAL ORIENTATION covered 66.9% of selection of BRAND ROYALTY, and it explained 34.6% of selection of DESIGN among nine buying criteria. Thus, it showed that POLITICAL ORIENTATION(SE beta=.331, p<.001) is more effective than SOCIAL ORIENTATION(SE beta=.146), for upgrading BRAND ROYALTY. In addition, it showed that POLITICAL ORIENTATION(SE beta=.238, p<.001) is more effective than AESTHETICS ORIENTATION(SE beta=.040) for upgrading DESIGN evaluation. Housewives' fashion orientation, and fashion response are differentiated by demographic factors, such as occupation, women's career, husband' job, income, and location related to social status.