• 한국의류학회지
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• 제26권9호
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• pp.1308-1319
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• 2002

The purpose of this is to analyze the aesthetics characteristics of our modern sports fashion, and thereby, discuss them in the light of the overall mentality or the 20th century, and thus, present the conditions or sports fashion design meeting modem people's divers aesthetics values and desired. Modern sports fashion sues can be categorized into futurist sports style, erotic sports style and American sheet sports style. And the 20th century mentality characterized by changes of lifestyle, identity and aspiration has influenced the aesthetic features of such sports fashion sues, which can be summed up as follows; first, the futurist sports style applies the functional items and details of active sportswear to design, while heralding a positive and hopeful message of technology and future by using the material of hi-tech functions and senses. This sports style was affected much by shift from social status, attraction and wealth to demonstration of state-of-the-art science, pursuit of functionality in terms of shapes and materials, convenience through See combinations of sportswear items or design elements. Second, the erotic sports style based on minimalism attempted to express the erotic body beauty indirectly by exposing some parts of body or using the material pressed against the body. This sports style was closely related with the changes of sexual identity such as neutral sexualism, bi-sexualism and homo-sexualism. Lastly, the American street sports style was born from black Americarns' sports and dances. This spors style pursues “youth” beyond TPO concept As mass media and commercial sports developed, the young generation copied sports stars' uniforms or fashions to share honor, wealth and youth with them. In sort, the American sheet sports style was affected much by the so-called “heroism”. Such a changed object of aspiration influenced the aesthetic characteristics of American shot sports style directly.

• 디지털융복합연구
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• 제18권12호
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• pp.513-523
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• 2020

후(後)구조주의 철학자 질 들뢰즈(Gilles Deleuze)는 감각과 신체에 대한 논의를 심층적으로 전개한 바 있다. 본 연구에서는 들뢰즈의 신체 미학의 핵심 사상, 즉, 기관 없는 신체이론을 기초로 현대 패션과 그 신체와의 관계를 재해석한다. 본 연구의 결과는 다음과 같다. 첫째, 기관 없는 신체는 그 강도에 따라 '충만한 기관 없는 신체'와 '텅 빈 기관 없는 신체' 그리고 '암적인 기관 없는 신체'의 세 가지로 분류할 수 있다. 둘째, 현대 패션은 착용 방식의 변화에 따라 새로운 신체관계를 창조할 수 있고 충만한 기관 없는 신체를 형성할 수 있다. 셋째, 텅 빈 기관 없는 신체 상태에서는 옷을 훼손함으로써 부정적인 의미의 암적인 기관 없는 신체를 만들 수 있다. 현대 패션디자인에 반영된 들뢰즈의 기관 없는 신체론과 강도 분석을 통해, 신체와 의복의 상관관계를 더욱 깊이 이해하고, 이를 통해 패션디자이너들의 창의적 표현의 근간이 되기를 바란다.

• 한국의류산업학회지
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• 제9권6호
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.167-175
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• 2013

This study aims to suggest a direction for interior space design for fashion flagship stores in the future where the brand identity can become correctly recognized by the consumers, and consumers can have various and differentiated experiences. As research method, theoretical concept review and case study on brand communication and VMD were used. Specifically, for review on brand communication, concept, strategies, and space types were explored, and, for review on VMD, concept, purpose, and expressive elements were researched. Also, the study looked at the relevance between and importance of strategy types of brand communication and VMD. Through these reviews, strategy types of brand communication and analysis criteria for VMD application were written based on the research and analysis of 8 cases in Korean and elsewhere. The results of this study is as follows: Based on marketing-oriented thinking with understanding of VMD, the plan must accurately understand the image and identity pursued by the brand, take into account the store layout, atmosphere, product concept, trend, and display, so that the store can communicate with the customers with cognitive consistency, diversity of senses, and differentiation from other companies. Currently, fashion flagship stores in Korea are concentrated on sales in expressing VMD, and, therefore, are difficult to deliver brand identity to consumers and they require diversity in expressive elements in doing so. Therefore, in the interior space design of fashion flagship stores in Korea, brand communication must enhance cognitive, behavioral, relationship, and culture marketing, and, requires confirming VMD expression in details by linking with brand communication and specific expressions based on it.

• 한국의류학회지
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• 제35권9호
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 한국의상디자인학회지
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• 제11권3호
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• pp.125-134
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• 2009

The purpose of this study is to analyze the formative characteristics of power-shoulder jacket shown in 08/09 F/W and 09/10 F/W London, Paris, Milan, New York collection and extract main expression words for development of semantic differential scales of visual image according to the change in shoulder angle and width of power-shoulder jacket. The result of this study is as follows. Power-shoulder jacket which were worn by 1980 business women have similar cutting with men's suit jacket, but have characteristics of exaggerating the body figure as exaggerated shoulder with pad and tight waist like an inverted triangle silhouette. Power-shoulder jackets shown in collections used glossy and glittering material and dark colors and formed slim silhouette with matches of shoulder line of temperate senses and casual wear. Like this, the power-shoulder jacket was expanded to daily casual wear from traditional formal wear. Main expression words of visual image of jackets according to the changes in angle and width of shoulder differ greatly depending on the expansion degree of angle and width of shoulder. Changes in shoulder angle may look tense, stiff and too much according to the amount of changes. However, it also has the image of sharp but dignified and charismatic. Also, it helps to show body figure more efficiently like being slim and looking taller. Related to the current trend emphasizing shoulder among women, it is evaluated to be stylish and trendy. When the expansion degree is not too much, changes in shoulder width partly show slim and slender waist under the influence of wider shoulder with basic tailored jacket image. However, when the expansion degree is enlarged, image related to the body figure is more definite compared to other visual images.

• 한국의류산업학회지
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• 제9권2호
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• pp.145-150
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• 2007

Recently, active movements are occurring to reestablish our own traditional Korean images in all levels of society. One of them is about Ordinary Hanbok. Academics and business sectors are endeavoring to develop comfortable and Korean traditional Hanbok designs and popularize them as well. Based on the facts, the study focuses on developing Ordinary Hanbok designs for women by applying Korean traditional patchwork in order to present handmade, humane senses. First of all, the backgrounds, history and preference of Ordinary Hanbok are discussed through literatures and precedent studies as study methodology. Then, the study is analyzing the formative beauty of Korean traditional patchwork that contains emotions of women in the Chosun Dynasty. After that, it shows Ordinary Hanbok designs developed for women by using checks, free style, and yeoiju patterns of the fabrics dyed with clay and Chinese ink that recently attract people in particular. The results are like followings; First, the limits that excessive transformation of Hanbok may cause the lack of traditional beauty can be covered through using a variety of images of Korean traditional patchwork. Second, diverse face configuration of patchworks has very unique geometric forms so to be easily applied to modern Ordinary Hanbok designs. Third, the sewing technique of patchworks also plays a role as a design factor as important as face configuration. Fourth, utilizing fabric pieces may result in various unplanned face configuration and help resource recycling. Fifth, it is possible to coordinate Hanbok with other ordinary clothes that people normally wear on. Sixth, using patchworks images can encourage developing more active and refined designs added with traditional beauty. Seventh, natural dying and fabrics are eco-friendly, which is good for human health and environment. Finally, more studies should be done on design development based on precedent studies about Ordinary Hanbok. Also, it is important to foster social atmosphere and circumstances where people accept wearing Ordinary Hanbok as our natural culture.

• 복식
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• 제56권4호
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• 복식문화연구
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• 제4권2호
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• Journal of Microbiology and Biotechnology
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• 제4권3호
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• pp.176-182
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• 1994

The light-organ symbiont of pine cone fish, Vibrio fischeri, senses its presence in the host and responds to environmental changes by differentially expressing its symbiosis-related luminescence genes. The V. fischeri luminescence genes are activated by LuxR protein in the presence of an autoinducer. In an effort to elucidate the mechanism of regulation of luxR, a plasmid containing luxR was mutagenized in vitro with hydroxylamine and a luxR mutant plasmid was isolated by its ability to activate luminescence genes cloned in E. coli in the absence of the autoinducer. The specific base change identified by DNA sequencing was only single base transition at ＋78 from the transcriptional start of luxR. Based on a Western immunoblot analysis, the nucleotide change directed the synthesis of much higher level of LuxR protein without any amino acid substitutions. The results suggest that the region including the ＋78th base is presumably internal operator required for autorepression of luxR, and the increased cellular level of LuxR results in activation of luminescence genes by autoinducer independent fashion.