• International Journal of Costume and Fashion
• /
• 제8권1호
• /
• pp.75-84
• /
• 2008

This paper starts with the assumption that in order for hanbok to be made known to the world as a cultural code representing Korean beauty, it must first be made familiar among Koreans with opportunities for widespread use of hanbok in a way which forms an understanding with the fashion sense of young generations, and that wearing hanbok must be promoted. We observe the contents and problems of past hanbok festivals and provide methods to promote the wearing of hanbok among the population, creating an occasion for mingling with various cultures in hanbok events which may be experienced by the general population, and developing hanbok as a tourist item and promoting the hanbok industry through standardized hanbok festivals. Globalization of hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of hanbok. The re-creating of traditional hanbok will allow for affirmation of Korean image, a rediscovery of the value of Korean culture, and the establishment of cultural identity. The development of such global designs will form a foundation for hallyu wave culture within popular culture.

• 복식
• /
• 제55권7호
• /
• pp.76-88
• /
• 2005

The aim of this study is to define the concept of the matchless, and its social and cultural origins. I shall also define the different types of Matchless style, the respective characteristics of each style, and the distinguishing features of this style in domestic street fashion. In order to do this, 1 have referred to several published studies and a number of Web-sites of Korean fashion information companies for my research. The results of this study are the following; 1. The concept of matchless is a positive way of self-expression by coordination, created by consumers who attach great importance to their image and to developing their individual style. Also, this concept constitutes a new approach to code which reanalyzes existing styles with a new sensitivity. 2. The social & cultural origins of matchless are the expansion of fear of war and terror, and economic depression, the extension of the 5-day workweek, interest in 'Well-being', and the phenomena of cultural diversity. 3. The types of Matchless are Style Matchless, Theme Matchless, Texture Matchless, Season Matchless, and Complex-Layered Matchless. 4. The distinguishing features of Matchless in street fashion are the distinction of formal & Casual wear's Matchless, the creation of a new Look in Sports & Casual wear's Matchless, the development of a new coordinated, layered look, the immense popularity of Denim, the new fashionable versions of Military style, and the renaissance of the Romantic Feminine Look.

• 복식
• /
• 제45권
• /
• pp.179-199
• /
• 1999

Indeterminancy is one of the thought systems which explains all things with not 'either-or' but 'both-and' the conditions and qualities of human identities and inner state. A view of the world of Dionisos of Nietzsche's and the character of Manneristic trend which has resolved the sense of alienation of men by paradoxic expression has succeeded to romanticism surrealism and postmodernism. 1. Cross-dressing has increased under contemporary conditions. There also have been various cross-dressing phenomena in the past but it appears strongly now that it would destroy the cultural stereotypes and give rise to the cultural insecurities in contemporary conditions. 2. The indeterminancy of status that is wealth versus poverty impacts on variations of contemporary dress. This has been represented by neglecting traditional code which is related to wealth in costume by conversion of the symbols of wealth and poverty as disguise with moderation simplicity and additionally poverty image instead of ostentation. 3. In the cultural aspect that is mother culture/ subculture the author has investigated black street fashion which has newly become visible. The black street fashion is wide spread in black popular music such as jazz Rhythm & Blues Reggae and Rap which is subculture against white. The external values of indeterminancy in fashion are n대-manneristic tendencies as deformation eclectic friction and irrational structure and graffiti method. The inner values by indeterminant expression in fashion are irony and paradox grotesque satire and amusement.

• 비교문화연구
• /
• 제25권
• /
• pp.35-54
• /
• 2011

Magnum Korea, a 2008 exhibit at the Hangaram Art Museum in the Seoul Arts Center, introduced representative images of Korea to commemorate the 60th year of the founding of the nation. Twenty photographers of various backgrounds participated in Magnum Korea. This study focuses on one of the exhibited photographers, the French photographer Bruno Barbey. Born in Morocco, Barbey occupies a special position in today's modern photography not to mention in the Magnum group of traditional medium of photography. His photographic world is affiliated with the humanism of Robert Diosneau, particularly as his photographic medium is based on communication and code. Among the photographs in the Magnum Korea collection, Barbey's photographs can be organized into six different subjects: industrial structures in nature, industrial buildings, traditional relics of culture, terminals, markets and restaurants, and daily life. This paper takes special interest in Barbey's unique perspective on Korea's traditional cultural assets focusing on 'Seoul, Jogyesa'. What is the uniqueness of our culture as contained in Barbey's works? In other words, how did he capture the special characteristics of our culture that are often overlooked or ignored because they are so familiar to us? A semiotic approach is used to discover what common but special situations and realities of Korea attracted this photographer and how he managed to capture them in his photographs.

• International Journal of Advanced Culture Technology
• /
• 제12권3호
• /
• pp.290-302
• /
• 2024

The collaboration between art and fashion goes beyond simple marketing strategies and creates new cultural and aesthetic values through the fusion of the two art forms. This collaboration enhances the brand's image and value, provides consumers with new aesthetic experiences, and provides artists with the opportunity to publicize their works. Fashion can also break away from the existing stereotyped patterns and express the zeitgeist contained in modern society in a much more diverse way through collaboration with works of art, which has cultural and social significance. Therefore, the purpose of this study is to rediscover the meaning of fashion in art based on human life and the spiritual world, and to explore how fashion is expressed as a cultural code in modern society. In the past, most of the views looked at the relationship with art as fashion was the subject, but this paper focused on analyzing the interaction between fashion and art from an artistic point of view. This effect could be demonstrated through the analysis of the convergence case of fashion and art. It is expected that various forms of collaboration will continue in the future, especially fashion, which is based on the researcher's abstraction of color, absorbs and inspires each other's elements, and is related in various aspects such as color symbolism, emotional expression, and design composition principles.

• 벤처창업연구
• /
• 제6권1호
• /
• pp.59-81
• /
• 2011

21세기는 지식과 정보의 창출 및 활용이 모든 경제활동의 핵심이 되는 지식기반 경제로 접어들고 있다. 이 시대의 문화는 단순히 인문학적 개념의 문화를 벗어나 산업성이 강조된 문화로의 모습을 확보함으로 사회적 역할을 배가시키고 있다. 문화산업, 문화콘텐츠 산업에 대한 관심 확대는 중앙정부는 물론 대다수 지방정부에서 지역경제 활성화의 명분아래 진흥하고 있는 사업이 되고 있다. 문화산업은 한 국가나 사회의 고유한 문화적 내용을 창조적인 기획력을 바탕으로 재창조해 내는 산업으로 대표적인 고위험 고수익(high risk and high return)산업이며 창조산업과 벤처산업의 특성이 어우러진 독특한 산업적 특성을 지니고 있다는 점이다. 이러한 시대와 산업적인 흐름에 일조 할 수 있는 우리의 소중한 문화자산이며 역사인 의병운동사는 또 하나의 원천 자원이 될 것이다. 역사적으로 보면 외부의 침략으로부터 나라를 구하기 위하여 자발적으로 일어난 의병운동은 우리의 가장 진솔한 민족문화의 하나 일 것이다. 우리나라는 과거부터 수많은 외침으로부터 나라를 지켜왔다. 임진의병, 정유의병 그리고 구한말의병으로 이어져 오는 그 정신과 문화 그리고 관련 유적 등은 전국 방방곡곡에 산재해 있다. 이에, 본 연구에서는 이러한 의병운동을 문화관광산업과 연계 할 수 있는 방안과 활성화를 위한 방안을 제시하고자 한다.

• 한국재난정보학회 논문집
• /
• 제16권2호
• /
• pp.364-373
• /
• 2020

연구목적: 각 지자체들은 다양한 문화공간을 보유하고 있다. 하지만 이용자들은 문화 관련 정보나 위치 등을 정확히 알지 못한다. 따라서 필요한 정보들을 지역주민들은 물론 외지인들에게 효과적으로 전달하기 위한 정보기술 적용 방법이 필요하다. 본 논문에서는 지역문화 공유를 위한 정보의 자발적인 생산과 이용자 스스로의 환경보호를 위한 방법을 연구하였다. 연구방법: 이를 위하여 QR코드, 빅데이터 분석, SNS에 기반을 둔 상호작용 홈페이지 등의 정보기술을 활용하였다. 연구결과: 그 결과로 이용자들에 의한 자생적인 커뮤니티 형성 방법과 이런 활동에 따른 개인정보 보호 방안을 도출하였다. 결론: 이 연구로 이용자들이 지역문화에 대한 이해를 높이고, 자율적인 환경 개선 참여를 유도하여 지역문화 발전에 기여할 수 있을 것이다.

• 한국의상디자인학회지
• /
• 제8권3호
• /
• pp.59-71
• /
• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• 복식
• /
• 제67권4호
• /
• pp.131-152
• /
• 2017

The purpose of this study is to analyze modern fashion culture in the 20th century through changes in transmedia in order to better understand characteristics of fashion contents. The study also strived to identify the characteristics of remediation in modern fashion and media by exploring the cultural code, and use it to establish an integrated view. The subjects and the method of the study are as follows. First, the study analyzed the development of transmedia and fashion culture since the 20th century. Second, it identified the transitional characteristics of transmedia. Third, the study analyzed the characteristics of remediation in modern fashion culture by using the characteristics of mediation, which appeared with the transitional characteristics of transmedia. The study results are as follows. First, the types of remediation are 'borrowing,' 'Representation,' 'Expansion,' 'Refashion,' and 'Absorb.' In old and new media, each type can be aesthetically experienced in 'transparency,' opaqueness,' 'Hypermediacy,' and 'Immediacy.' Second, fashion culture can undergo a transformation from its original form to a second and a third iteration, and this process allows for possibility of an expansion of multiple plots and well-rounded character settings. This opens up the possibility for fashion consumer participation, and signifies a transition into an environment where expansion of time and space is possible. The third finding is the non-mediation of fashion objects. The mediating relationship between clothes and media is directly connected to the development of new media. The immersion of new media by fashion consumers has the characteristics of 'transparency'/'Non-mediation,' and the reinterpretation and reproduction of original fashion styles have the characteristics of 'opaqueness'/'Hyper-mediation.' Fourth, fashion culture has data variability. Through 'Borrowing,' 'Representation,' 'Expansion,' 'Remodeling,' and 'Absorption,' the cultural hierarchy of reproduced fashion forms a multi-layered integrated network. Mediation code, which repurposes fashion culture contents, also creates new media fashion through transmedia.

• 한국실내디자인학회논문집
• /
• 제16권4호
• /
• pp.12-20
• /
• 2007

This study, as discussed herein, tries to understand how modern commercial buildings occur and develop in certain type of social and cultural conditions. There are many words standing for modern society, of which the most remarkable one is 'commercial society'. Commercial society is where goods are manufactured to one's taste and consumption is a way of communication and a way of discriminating one from the others by using different code. Nowadays, architecture gets more and more popular and becomes commercial object which is intended to the sign of the social meaning. So, the sign of commercial buildings varies according to the social and cultural backgrounds and kitsch is applicable to it. The original meaning of kitsch, which usually is considered an inferior copy of an existing style, is examined and applied to architecture in order for comprehension. Throughout this study, the types of commercial buildings are selected and immanent meaning to the psychology of consumers as applicable to commercial buildings is considered. Also, the trend of kitsch in commercial buildings is analyzed by classifying the image and code of a building's shape. In a conclusion of the study, two major points can be found; commercial building has a significant meaning in terms of design, and commercial building is the conceptual result of a continuous change in the relationship between society and art.