• Journal of the Korean Society of Costume
• /
• v.58 no.6
• /
• pp.158-171
• /
• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.109-152
• /
• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.5-50
• /
• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.1
• /
• pp.85-99
• /
• 2005

This study is to know the blue jean image according to type and its constituting element. and also to analyze image according to the sex of wearers and recognizers, the existence and nonexistence of blue jean affect the wearer's body type. Thirty-six photo stimulus material attached to men and women wearers selected as people of skinny types, average types and fat types, were seen to 1,354 men and women university students and had them measure blue jean image and element of twenty one items. 1, The blue jean image was different according to design type. The broad blue jean was active but it looked fat. The bleached blue jean matched with any clothing. The legs looked long. Painting blue jean seemed o be new, colorful, splendid, The torn blue jean appeared to match with any clothing. And lap seam blue jean was active but the waist seemed as thick image. 2, In the wearer's body type, the jeans image strengthen the wearer's body image. The legs looked long. The fat type appeared high in the item like this; they looked fat. The waist looked thick. It was courageous and casual. It appeared that the fat element appeared as blue jean image of fat type. 3, In the relation of wearer's sex and blue jean image, when the wearers were men, the image was passable. It matched with anyone. It was splendid and refined. The legs appeared long. When the wearers were women, the blue jean image was economic. It had no relation with a fashion. It was active, comfortable, free, casual and fat. The waist looked thick. In image element, activity and fat element appeared as a main element of the blue jean image.

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.225-242
• /
• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Fashion & Textile Research Journal
• /
• v.25 no.6
• /
• pp.739-744
• /
• 2023

With the popularization of 5G networks and the development of AI (artificial intelligence) technology, Metaverse, which creates production capacity by combining virtual space and reality, is attracting attention. In this study, we searched for makeup applications with more than 100 million downloads from October 11, 2020 to November 3, 2020 through the Google Play Store. As a result of the search, four applications were found: YouCam Makeup, YouCam Perfect, Beauty Plus, and Sweet Snap. Based on the functions provided by the four applications, we attempted to suggest makeup functions applicable to Zepeto's avatar. Functions for the eyes (eyeliner, eyelashes, mascara, eye shadow, eye shape, eyebrow shape, lenses, double eyelids), functions for the nose (nose shape), functions for the mouth (lipstick, lip shape, smile function) ) Functions corresponding to the facial contour (contour, skin foundation, blusher, shading, highlighter, face painting, theme makeup) and functions corresponding to the body (body adjustment) were proposed. This study is the first in the beauty field to propose a method of applying the functions of the Metaverse platform as the importance of digital platforms is highlighted, and is the first to propose a makeup function applied to the Metaverse so that it can be used as important basic data in the future.

• Journal of the Korean Society of Costume
• /
• v.63 no.4
• /
• pp.84-100
• /
• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• The Research Journal of the Costume Culture
• /
• v.15 no.6
• /
• pp.965-981
• /
• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• Journal of the Korea Society for Simulation
• /
• v.21 no.2
• /
• pp.91-101
• /
• 2012

Automobile manufacturing consists of body-line, painting-line, and assembly-line. These production lines are disposed in series and go through a flow process, so according to the status of pre & post processing, a suspension happens in a line by a starvation(impossibility of production by insufficient supply) or blocking(impossibility of production by exceed capacity). Therefore, to prevent a loss of production coming from a starvation or blocking, a storage such as WBS or PBS is independently owned and operated. The paper suggests the simulation model of integrated storage which can operate it by integrating each storage performing a role as a buffer of line. Specifically, the paper found the answers about reasonable number of Stacker Crane and AGV(Automatic Guided Vehicle) and suggested a methodology of operation which is available to operate them. Also, it compared an efficiency between a model of current storage and integrated storage through simulation. As a result, it turned out that the model suggested in the paper was more efficient on suspension of painting-line stop than a current storage.

• Journal of the Korean Society of Costume
• /
• v.63 no.8
• /
• pp.106-124
• /
• 2013

Compared to traditional fashion design, modern fashion design is used as a means that creates original and multiple types of beauty beyond fixed and standardized concept and form. Overlapping technique is the most suitable means to shed classical, authoritative and conservative form and it enables diverse borrowing and quotation for creation. This study aimed to analyze overlapping techniques that are expressed in art, architecture and fashion to find out its characteristics in the field of fashion. The result of this study is as follows. Based on theories of visual perception and advance research, types of overlapping technique were classified as pile, repetition, penetration and transparency. When comparing overlapping techniques in modern fashion with those of painting and architecture, fashion was distinctive in that it had movement and communicativeness through overlapping of fashion and the human body. Therefore, the overlapping technique has wide application and adaptation and can cause specialty, movability, communicativeness and collectivity, which can arouse psychological inspiration.