• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1229-1240
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• 2003

The purpose of this study was to review such results of the scientific and technological development as women's changed status, sexual identity and their views of physique in the cyber space based on cyber feminists' theories, and thereby, examine the concept of space during the medieval age, and then, the fundamental spiritual concept involving the fetishism of women's body as sexual objects in the materialistic space of the digital age in terms of the consciousness of trend or supra-sensual perceptions, and thereby, review the effect of the cyber terrorism and violence on the fashion in sub-cultural terms. Some researchers distinguish psychedelic styles from cyberdelic ones to assume such psychiatric visions as psychedelic fashion characterized by resistance and delinquency-cyber punk fashion, cyber hippie fashion, cyborg fashion- and then, define them all as cyber resistant culture fashion or as a sub-cultural style of the cyber culture. As a result, it was found that human bodies are being encoded with the networks, various cyber characters or avatars are emerging, while human bodies are being distorted or exaggerated with human beings and machines being imploded.

• Journal of the Korean association of regional geographers
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• v.19 no.2
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• pp.324-339
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• 2013

This study aims to investigate the characteristics of cyber communities composed of migrant workers from communities without propinquity in Korea. Its methods are both qualitative and quantitative. It further seeks to discover the relationship between the social capital formed and reproduced within these cyber communities and participants' cultural adaptation to Korean society. The study revealed that ethnic and non-ethnic communities differed in terms of strength of cohesion, space constraints, and links with the outside world. The former showed characteristics of a localized community type. The main motivations for migrant workers' participation in the ethnic cyber community were communication and friendship rather than cooperation and sharing among members. They usually used cyber communication media to communicate with one another. Conversely, the latter showed characteristics of an integrative type. Despite the difficulties in applying for membership and information provided in Korean, a high percentage of migrant workers participated in the community to obtain crucial information. The results did not show a significant correlation between social capital and migrant workers' traits within the cyber community, while a strong correlation emerged among four factors of social capital: faith, norms, networking, and political participation. The study showed that social capital in the cyber community was in direct proportion to an integrative type of cultural adaptation to Korean society. In particular, there was a strong connection between the cultural adaptation exhibited by members of the migrant subculture and their participation in discussions on political issues and human rights, with some migrants even functioning as agents of social change as participants in citizens' movements. The findings suggest that the cyber community facilitates the migrant subculture's communication with and integration into the indigenous Korean culture. Migrant workers' participation in the cyber community is therefore validated as an instrumental practice for members of this subculture to adapt to Korean society.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.104-121
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• 1999

The purpose of this paper is to make sure of identity as a paradigm of new fsahion to introduce the concept of Sumulacres by J. Baudrillard, For converting to new aesthetic value. To do this, we started observing the general concept of Simulacres, and examined Cyberpunk within thinking of Simulacres and Cyberpunk fashion at virtual space, and then divided aesthetic consciousness appeared at Cyberpunk fashion centering on the concept of Simulacres into inwards sense and outwards sense. Cyberpunk is understood to be one of tendency in the cyber cultures controlled by computer and electronic technology. It is not yet defined clearly and therefore ambiguous and still being elaborated. However, the form started changing our sense sinking into overall cultures in the World, including even movie, literature, music and fashion, and giving complex, deep cultural and artistic possibilities. Also, as a subculture, Cyberpunk is building its own cultural territory in cyber space and is experiencing more real Simulacres than that of it in the ordinary life.

• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.