• 복식
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• 제51권1호
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• pp.145-162
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• 2001

This study focuses on how fashion products of our contemporary society of consumption are taking on a kitsch look, and on what kind of social and cultural meanings this phenomenon connotate. In general, kitsch is understood as an expression with a negative meanings such as aesthetic inadequacy or bad tastes. In our dairy life however kitsch has been highlighted as an another expressions of subjective beauty and gains positive meaning as almost all the people satisfy their desires through consumption of kitsch products. In order to prove the kitsch phenomenon in fashion products and social and cultural meanings, the researcher has Performed a case study on actual consumption of fashion products and the internal psychological meanings in fashion consumption. The internal psychological meanings of kitsch on consumption of fashion products are emotions and needs such as escape from reality. substitutional satisfaction, belonging confirmation, expression of individual taste, and fun, sexual amusements.

• 한국의류학회지
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• 제30권9_10호
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.

• 디자인학연구
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• 제18권4호
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• pp.195-204
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• 2005

본 연구의 목적은 최근 문화 속에서 새로운 가치기준으로 주목받고 있는 취향의 개념을 체계적으로 정리하고, 취향을 중심으로 현대패션에 표현된 룩의 조형성과 미적가치에 대하여 살펴보는 데에 있다. 취향은 개인에 의해 개별적으로 추구되는 삶의 방식이며 선호이자 현대사회 내에서 개인을 구별짓는 중요한 요소이며, 특히 패션은 취향의 차별화를 표현하는 주요 대상이다. 취향이 표현된 룩으로는 시대를 초월한 멋쟁이 취향의 댄디룩과 최근에 새롭게 주목받고 있는 저속한 취항이 표현된 키치룩, 성적 이상 취향이 표현된 페티시룩, 엽기 취향이 표현된 그로테스크룩과 어린 취향이 표현된 키덜트룩 등이 있다. 현대인의 다양한 취향과 그의 표현인 룩은 패션의 향유를 통한 즐거움의 추구이며 현재에 대한 긍정적인, 그리고 미래에 대한 적극적인 기대를 나타내는 상징적 표현이라 할 수 있다. 룩을 통해 패션과 사회는 서로 소통할 수 있으며, 디자이너는 컬렉션을 통해 룩을 효과적으로 제안함으로써 소비자의 취향을 만족시키는 핵심적인 역할을 할 수 있다. 본 연구의 결과는 취향에 대한 학문적 근거를 제공해 주며, 패션으로 표현된 미적 가치를 보석 줌으로써 문화 속의 취향과 패션의 룩에 대한 해석의 틀을 제공할 수 있을 것으로 기대된다.

• 한국의류학회지
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• 제30권8호
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• 한국생활과학회지
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• 제9권3호
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• 복식문화연구
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• 제10권1호
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• pp.60-75
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• 2002

The purpose of this research is to understand the gender identity expressed in Madonna music video texts and performances. Madonna has reconstructed the fluid identities through the variations of body, images, costumes, and attitudes . The results are as fellows; ① Her punky sexuality is to be seen the flash trash look, kitsch fashion, which reconstructs a good/bad taste, modesty/immodesty, the relations of under/outer wear using bawdy sexuality through her early Virgin tour. ② Her Heterosexuality is to be seen the glamourous look, traditional images of women, which represents the passive feminity of patriarch. ③ Her sadomasochism sexuality is to be seen the bondage look of dominatrix image, which deconstructs sexual taboos; represents sexual power. ④ Her bisexuality is to be seen androgynous look, the 3rd species look using masculinity/feminity signifier, which deconstructs the stereotypes of gender roles. ⑤ Her homosexuality is to be seen the fetish fashion by drag and lesbian, which deconstructs the dichotomy of normality/perversion; opens a possibility of women subjectivity of sexual desires.

• 한국의류학회지
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• 제21권8호
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• pp.1427-1438
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• 1997

The art plastique is the part from which designers draw their inspirations to create fashion design. Many designers look for their inspirations from Art Plastique. Since the early 20th century, lots of designers led by Paul Poiret drew their inspirations from Art and co-works with artists. The direct involvement of those artists helped to position Fashion to be an art. Also, these co-works brought the mass media's attention and commercial profit. The most prevalent relationship between the fashion design and art plastique is the reproduction of art such as the 1960s 'Pop Art printed on T-shirts, which can be seen easily todays. After World War ll, art was popularized in a new society where young generation played a major role. Pop Art having image of the freedom and the rejection of tradition was considered as the major trend of 1960s. This study considers reflection of anti-traditionalism, anti-elitism and popularity as the kitsch of Pop. That is the attraction which youth culture looked for from Pop Art and the reason that 60's avast-garde cloth could position itself into the masses. Therefore, this study examines the influence of the kitsch of Pop and the expression of parody upon the major changes in 1960s fashion from which are the mini-look and women's trousers wearing. This study examines Andra Courreges who led 1960s Mini look and Yves Saint Laurent who introduced Pop dress, Smoking look and transparent blouse to find the way which makes it possible for avant garde fashion to have a close relationship with the public and to position itself to be a art.

• 패션비즈니스
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• 제6권5호
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• pp.72-86
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• 2002

Recently the fashion design has been expressed mixing trend of antipodal concept. There are shown disorganization of existing standard with eclectism, pursued more sensational fashion by the sense of unease. And there are spreaded body exposure in producing on a commercial scale for sex, are shown the phenomenon by wearing innovation inner-wear in private area are exposed out. The purpose of this study are to consider preponderantly the fashion design using corset, shown up as the motive of costume design from 1990's to 2002's, define the character of molding. and extend the width of understanding of modern fashion. The results of the study are as follows: 1. The trend of deconstructionism as one line of fashion world in the 1990's make into outer garment of inner-wear, corset has been using the main item of infra costume. The past corset was existed innerwear, but it is revived various forms by transforming outer garment of body expression consciously. 2. Corset look is shown double faced factory of the beauty of tradition and decadence, vulgarity and nobility, concealment and exposure, and are expressed boldly the free consciousness outer about woman's sex with the improvement of woman's social position. 3. The molding character of Corset look divided Eroticism, Fetishism, Deconstructionism. Futurism. The trend of Corset look design is the emphasized sexual part of lace-up and cutting line of corset, and various details of see-through, kitsch, glitter look. Therefore, the trend of Corset look will be applied the modern fashion and used as motif of new design, affected the inspiration of more developed design with grafting of up-to-date fabrics and processing technique.

• 한국의류학회지
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• 제19권2호
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• 디자인학연구
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• 제17권2호
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• pp.157-170
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• 2004

아바타는 가상공간 상의 가상신원으로 2D, 3D등의 다양한 그래픽형태로 표현된다. 아바타는 단순히 캐릭터의 조합으로 그치는 것이 아니라 그 시대나 사회의 문화적인 아비투스를 드러내게 되는데 이는 세대나 계층에 따라 차별화 혹은 대중문화의 무의식적인 선택에 의한 취향으로 표현되기도 한다. 현대는 대중문화의 영향을 절대적으로 받고 있으며 이는 현실세계 뿐만 아니라 가상공간에서도 마찬가지로 적용되어 패션의 트렌드, 문화적인 취향, 혹은 개인의 행동양식에까지 영향을 미치고 있다. 이에 아바타 캐릭터의 그래픽활용사례를 분석해 기술적인 아바타 표현방법과 문화적인 측면에서, 적용된 의상, 소품과 배경의 사용과 선택에 따른 대중문화의 전반적인 트렌드와 개인의 생활패턴, 취향을 살펴보고 아바타 소비에 있어 서 키치적인 특성을 알아보도록 한다. 또한 이에 따른 대중의 사이버공간 상의 개인의 정체성이 아바타의 표현과 소비가 단순히 이미지의 무의미한 선택 조합이 아닌 사이버 상에서 자신의 존재를 알리는 가상신원으로서의 발전적인 모습으로서 아바타의 모습을 기대해 본다.