• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.1 s.1
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• pp.21-33
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• 2004

The main focus of this study is to provide the interrelation about the defining fashion model image by the fashion trend since 1960. This is expressed as follows, First, in the 60s'; 1) Image of innocent dolly style, Jean Shrimpton 2) Image of sexual style, Celia Hammond 3) Image of art style with charicteristic mask, Peggy Moffitt 4) Image of immature boyish style, Twiggy. Second, in the 70s'; 1) Image of natural and intelligent style, Larun Hutton 2) Image of exotic style with black beauty, Imman 3) Image of graceful and sexal style, Veruschka 4) Image of glamour and sexual style, Jerry Hall. Third, in the 80s'; 1) Image of unisexual style with power, Grace Jones 2) Image of graceful and noble style, In`es de la Fressange 3) Image of healthy and sexy style, Christie Brinkley 4) Image of sexy style with good sense, super model. And fourth, in the 90s' and now; 1) Image of glamour sexual style with self-consciousness, Claudia Shiffer 2) Image of graceful style with dignity, Christy Turlington 3) Image of asexual and androginous style, Stella Tennant), 4)Image of Twiggy style with immature and slender, Kate Moss 5) Image of new glamour style, Giseel Bundchen 6) Image of new style with unique beauty, Amber Vaiietta 7)Image of exotic style, Devon Aoki 8) Extraordinary, image of various style. The result of thir study, fashion models image have played a role in transmitting the style of fashion trend in their relevancy. Anyway it can be said that fashion models imply figurative meanings of the fashion trend.

• Human Ecology Research
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• v.52 no.1
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• pp.33-42
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• 2014

The purpose of this study is to analyze the internal meanings of dolls and dolls' images expressed in modern fashion show. Dolls are used as sacred object, decoration object, playing object, personified object or cherished object. The expression types of doll image in modern fashion are as following; substitutes of multi-ego, object of sexual desire, objectified creature, and medium of transcending fantasy. First, dolls image as substitutes of multi-ego had been expressed in magical expression, disgusting mask, transparent mannequin, expressionless, horror, conflict, loss of identity, exaggeration or escapism. Second, as object of sexual desire, dolls image are expressed as naked baby, ambiguous expression, naked body, voluminous body, emphasized specific bodypart, heavy makeup or wax doll of sexy actresses. Third, as objectified creature, dolls are human body in passive form. Human bodies are disassembled and reassembled as dolls. Such dolls reflect serious reality. They wrap up human like product and objectify it. Fourth, dolls image expressed as medium of transcending fantasy recollects youth age or expresses imagination on ambiguous virtual reality. Like this, dolls have value as creatures in various fields of modern fashion. Dolls contribute a lot in creating important inspiration. Dolls also expose internal mentality and represent ego. Externally, dolls express human shape becoming more and more materialized and objectified by advancing scientific technology in digital capitalistic society.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.460-472
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• 2011

This paper developed motifs through the use of images of masks with which the Korean innate consciousness of aesthetics is expressed. The motifs were applied to fashion items. This paper investigated the concept, origin and types of traditional masks through the existing literature. Using the computer graphic programs of Illustrator and Photoshop CS2, three basic motifs were set from the images of the nobleman, Bune of Hahoi Tal and Byeongsan Tal. Each motif was extended into two motifs by changing shape and color. For the basic motif design, this study sought to express contemporary images, suitably for each fashion item, while maintaining the basic shape of the masks and their traditional images. In addition, this study set the concept of the design so that could be accepted by various age groups. For the design of handkerchiefs, a rotating array, involving enlargement, reduction, repetition, and the gradation of motifs, as well as a diagonal symmetric array, and all-over patterns were developed. The T-shirt design created here was divided into a half-sleeve box type, a round neckline sleeveless type, a V-neckline close-fitting sleeveless type, and a V-neckline close-fitting cap sleeve type. For the design of necklaces, OLED or LED, which are considered as a future display type, was used. Additionally, the production of an entertainment styled new atmosphere is proposed.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.337-338
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• 2022

본 연구에서는 마스크 착용이 필수가 된 시대를 살고 있는 20대를 대상으로 하여 마스크에 대해서 어떤 인식을 가지고 있는지를 조사하여 그 인식을 유형화하고 유형별 특성을 알아보고자 하였다. 이를 통해 마스크를 착용하는 사람들이 어떤 생각을 가지고 마스크를 사용하는가와 어떤 제품을 원하는지를 분석하고자 하였다. 본 연구는 Q방법론을 사용하였으며, 분석에는 쿼넬 pc프로그램을 활용하였다. 마스크에 대한 인식유형은 3개로 분류되었다. 유형 1은 마스크를 늘 착용하며 마스크가 비언어적 커뮤니케이션과 착용자의 이미지에 영향을 미친다고 생각하는 '상시 착용 영향 중시형'이었다. 유형 2는 마스크를 세균을 막기 위해 착용하며 마스크가 부정적 영향이 크다고 생각하는 '기능 중시 부정 인식형'이었다. 유형 3은 얼굴을 가리기 위해 마스크를 착용하고 마스크 착용 시 사람이 젊어 보인다고 생각하는 '은폐 착용 긍정 이미지형'이었다. 본 연구는 20대만을 대상으로 하여 다른 연령대의 마스크에 대한 인식을 알아보지 못하였다. 향후 연구에서는 다양한 연령대의 마스크에 대한 인식을 알아볼 필요가 있으며, 인식유형에 따른 마스크 디자인 개발에 관한 연구가 이루어져야 할 것으로 생각된다.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.14-25
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• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.

• Korean Journal of Human Ecology
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• v.8 no.2
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• pp.327-337
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• 1999

Primitive men's primordial formative activity derives from incarnation contained in intensive vitality and strong creativity mind. The trend of modern fashion requiring the boundless imagination can be called that it, just, itself, has something in common with basic spiritual activity that primitive men had. What is concerning how modern fashion designers have developed formative language through enchanting primitive art is as follows. 1. The nature's mysterious power appears to be transformed into personified image. The incarnation for acquiring beauty, power, prestige of genius appears in the form of personification, making use of mask in modern fashion. 2. As for primitive men, the whole universe has a potentiality as a symbol. The symbolism of primitive art based on religion and myth appears in modern art as the form of presenting oppositional objects together in one space. 3. Primitive art is the purest form and the most unpolluted. This shows the natural quality being assimilated into nature, which is expressed in modern fashion as intensity, free-spirit, simplicity, etc. 4. The primitive men's anxiety to the outside world appears as impulse. The geometrical form of primitive art occurred in the shape of impulse appears in expressional form of modern fashion. 5. The real existence in primitive art inducing real materials and objects, in themselves, into formative world appears in modern art in the way of expression such as repetition, enlargement, exact reproduction.

• Journal of Environmental Health Sciences
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• v.47 no.3
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• pp.292-301
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• 2021

Objectives: Wearing medical masks has been recommended since the declaration of coronavirus disease-19 (COVID-19) as a pandemic disease. Certified medical masks are evaluated according to filtration efficiency and facial inhalation resistance. However, some people use non-certified common masks. This study aimed to evaluate various non-certified commercial masks based on the certification criteria for medical masks. Methods: Twenty mask products (three anti-droplet, three disposable dental, eight fashion, three cotton, and three children's masks) were selected. For performance evaluation, filtration efficiency and facial inhalation resistance tests were conducted. The evaluation method followed the certification method for KF-certified masks of the Ministry of Food and Drug Safety (MFDS) and the N95 respirator of the National Institute for Occupational Safety and Health (NIOSH). Results: None of the 20 masks met the KF94 certification standard set by the MFDS. Four and three masks respectively met the KF80 certification standard and the N95 standard of NIOSH. Filtration efficiency was significantly higher in three-layer masks than in single layer masks. Pleated-type masks had higher filtration efficiency than cone-type masks. There was no correlation between the structure of masks and facial inhalation resistance. Conclusion: While no masks complied with the KF94 certification standard, a few masks met the KF80 and the N95 certification standards of NIOSH. Although some people wear non-certified commercial masks, protection from aerosols is not guaranteed by such masks. Evaluation of the protection efficiency of non-certified mask against microbiological infection is needed for the prevention of infectious disease.

• Journal of the Korea Society of Computer and Information
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• v.27 no.9
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• pp.157-167
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• 2022

This study attempted to investigate what kind of perception people in their 20s have about masks and to find out the characteristics of each type by categorizing the perception. The Q methodology was used for the study. The cognition types of masks were categorized into three. Type 1 was a 'always wear impact-important type' that always wears masks and thinks masks affect non-verbal communication and the wearer's image. Type 2 was a 'function-important negative recognition type' that wears masks to prevent germs and thinks that masks have a great negative impact. Type 3 was a 'concealment wear positive image type' that wears a mask to cover the face and thinks that a person looks young when wearing a mask. It is thought that the development of masks of various designs and functions reflecting the needs of consumers should be carried out. Also, it is thought that various products should be developed and sold so that consumers can choose according to important considerations such as design, fit, and function.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.97-111
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• 2007

This study was motivated not only by the curiosity of clown as a comedian, but also by the clown's special makeup coordination. To analyze the clown makeup coordination Carnivalism, the researcher inquired 1) clown's meaning, sorts, periodic roles and stages, 2) Mikhail Bakhtin's Carnival theory, and 3) makeup coordination of clowns (Harlequin, Pierrot, Auguste and White Face Clown) as the theoretical background. The clown makeup coordination carnival characteristics were shown in masquerade, amusement and ambiguity. The masquerade was expressed on the mask for Harlequin and white makeup for Pierrot, Auguste and White Face Clown. The amusement was revealed on the fall and the inharmony of the grotesque makeup and childish costumes. And also the ambiguity was expressed on the sexless and the infant of clown's real nature and costumes.