• 한국의류학회지
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• 제42권1호
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• pp.26-39
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• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.

• 만화애니메이션 연구
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• 통권49호
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• pp.651-676
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• 2017

그림자 이미지는 수천 년 동안 의식과 무의식 사이에 존재하는 상상력을 가장 쉽게 표현하는 대표적 매개이자 수단이었다. 빛이 존재하는 어디든 사람들은 특별한 기술없이도 자신의 그림자로 놀이를 만들어내었고, 단번에 일상을 환상으로 만들었다. 그림자 이미지는 이렇듯 유희적 대상으로써 뿐만 아니라, 문학, 예술, 철학, 그리고 대중문화의 주제와 소재로 오랫동안 활용되어오며 다양한 속성을 내포해왔다. 특히 예술 분야에서는 그림자 실루엣 특유의 단순한 조형성에서 오는 독특함을 통해 강렬한 시각적 자극을 실험해왔다. 그 중 애니메이션 분야에서는 정형화 된 활용 방식들이 생겨나며 쉽게 접근하기 힘든 작가주의 작품 방식이나 비주류의 영역으로 인식되기 시작했다. 하지만 최근 디지털 시대의 애니메이션과 확장된 형태인 미디어 아트 분야에서 그림자 이미지는 더욱 적극적으로 활용되고 있으며, 이 과정에서 기존 빛이 존재하는 공간이라면 어디든 친근하고 쉽게 다가갈 수 있었던 그림자놀이의 유희성과 이를 통한 상상력이 새로운 차원에서 더욱 다채롭게 표현되고 있다. 본 논문에서는 최근 이러한 흐름에 주목하고, 그림자 이미지를 활용한 실루엣 애니메이션과 최근 미디어아트 작품들을 중심으로 그 미학적 변용과 확장되는 방식을 소개하고 분석한다. 스크린 베이스의 실루엣 애니메이션에서는 디지털 기술이 접목되며 기존 관습적 방식에서 탈피한 새로운 시도들을 통해 한계로 여겨져 온 대부분의 요소들이 제거되고, 해당 요소들은 연출자의 자유로운 선택의 문제가 되었다. 특히 최근 다양한 광원과 프로젝션, 그리고 카메라 기술을 활용한 전시환경에서는 이전 선형적으로 제시된 다양한 공간들이 입체적으로 중첩되고, 체험자의 그림자가 분리되어 체험자의 타자로서 역할하며 새로운 유희적 상상과 감각 체험이 가능해졌고, 또 컴퓨터 비전을 통해 새로운 시선들로 그림자 이미지와 이를 둘러싼 또 다른 이미지들을 찾아내고 이를 더욱 유연하게 활용할 수도 있게 되었다. 이런 변화들은 기존 프레임 속에서 관습화된 그림자 이미지 활용에 새로운 활기를 부여했고, 기존 그림자놀이가 오랫동안 지녀온 유희적 속성과 상상력을 또 다른 방식으로 확장시킨다.

• 한국의류학회지
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• 제37권3호
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• 복식
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• 제59권5호
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• pp.41-52
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• 2009

In contemporary art, soft materials are used in various forms and ways as a medium expressing contingency beyond a simple nature of materials. In the late 1960's, the appearance of soft sculpture as a refusal of the stereotyped 'Erection' characteristic of traditional sculpture served as an opportunity for more attention to soft materials. Fashion is the reflection of age, and the mirror of society, culture and arts. In other words, soft sculpture and fashion are artistic behaviors in the same context, which have neither been fixed nor erected. This study finds its significance in analyzing correlation between soft sculpture and fashion, and the importance of contingency as artistic expression means in this age when boundaries between genres are obscure, and artistic values are given to fashion. By doing so, it aims to present the direction toward which fashion should face in the future, establishing a new aesthetic consciousness with which more creative and various expressions are available in fashion as well. This study presented as its theoretical background the concept of soft sculpture affected by Marcel Duchamp among representative examples of the contingency that started to appear in art starting in the early 20th century. It also analyzed the soft sculpture appeared in 1960s and the expression methods and features of contingency appeared in fashion after late 1990s through a new approach of piling up, hanging up, and tying, three categories classified by Maurice $Fr{\acute{e}}churet$. Common features of the contingency expressed in soft sculpture and fashion were derived in the analysis, which are intensive effects of energy, values given to physical properties themselves, and esthetics of anti-form.

• 기본간호학회지
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• 제6권2호
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• pp.320-330
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• 1999

Nursing, a behavior of caring, means a connection of patients and clients has done through the caring of clients. Nurses are always with patients. In fact, caring is very important and the core of nursing, the true meaning of caring was embedded in our custom and consciousness before the approach of academic research. As a result, the existence of caring has not seen and revealed. Therefore, there is a need to study and confirm that caring has been placed in nursing and, nurses are doing caring in practice. The purpose of this study is to present the basis of nursing theory and practice through careful analysis of presence being, an aspect of caring. The presence of nurse shows a personal and healing relationship between nurses and patients on the basis of the respect for the humanity, Also, the role of nurses is to help a patient to integrate one's physical, mental and spritual aspects. Thanks to role of nurse, the pratical nursing has the characteristic of art and becomes more aesthetic and artistic. As we have seen above, we define 'presence' as 'being there' and 'being with' a patient for the purpose of meeting the health care needs. The attributes for which presence would be most appropriate would include the following : (1) being with and being together (2) take attention (3) mutual openness (4) experience an empathy (5) have an intention (6) therapeutic interaction process A caring situation as a necessary condition must be presupposed and the factors in that situation are the nurse's intense attention to the patient and a humanistic philosophy of the institutions of the patient. In any nursing intervention skill, there is listening, touching, giving hope, reassurancing, comforting and so on ; as a result, some positive effects can be expected between nurse and patient.

• 복식
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• 제62권3호
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• pp.112-119
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• 2012

Dresses reflecting human aesthetic consciousness are used as a way of expressing the inner desire of human beings. The desire to attract the opposite sex through sexual appeal among the human inner desires is the one innate characteristic that all human beings have. We may say that the $See-through$ look emphasizes a sense of softness and femininity by exposing the skin and expresses bodily beauty by way of using see-through cloth. It is a fashion style that can express sexual appeal and eroticism of female most effectively. In this study, after observing the motivation of dress wearing and $See-through$ look in the perspective of bodily concept and eroticism, colors of $See-through$ look shown in the $Pret-a-Porter$ Paris S/S collection from 2006 and 2007, a fashion style expressing eroticism was newly re-analyzed as romanticism and glam look particularly in 60, 80s compared with other times were re-created and evaluated. As a result of analyzing colors of the $See-through$ look, Yellow Red(close to skin color) was revealed to be the highest( 31.3%), followed by Red(9%), Purple Blue(7.2%), Yellow(7.2%), Purple(5.4%), respectively and in terms of color tone, pale and gray tones that have a sense of femininity and softness was revealed to the highest(20%) followed by ltg(11%) and dkg(9%). We may find the meaning of this study in analyzing colors of the $See-through$ look, and the typical look of eroticism, which has never been tried before. It is required to identify chronological color features of the $See-through$ look and the diversified characteristics of skin colors expressed in them to prepare useful data by which a sense of the $See-through$ look can be utilized for color coordination through the relationship between skin tone and dress by pursuing a more detailed method based on the result of this study.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.20-27
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• 2009

This study aims to understand the consumer consciousness of the interior design by experiencing the interior space of the model house provided by the construction company. For this, the author investigated the spatial images about the apartment interior design and the satisfaction level depending on the experiential elements. Survey questionnaires were distributed to people who visited six model houses. Subjects were asked about the experience about the interior space of the model house. Their response to the experiential elements was analyzed with 5-point Likert scale and was computed as frequencies, percentages, and means. For the spatial image characteristics, adjectives were substituted for the image scales. As a result, the author found out the following: First, the interior space was commonly directed to the soft image, which was mixed with modern, noble, decent, dynamic and natural styles depending on the companies. The trend of each interior design basically had static, soft and vague images, and partially had two kinds of tendencies: the one was mild and natural, and the other was modern and elegant. Second, as the strategic modules of the experiential marketing, five experiential elements were investigated to find the satisfaction level through the model house interior space. The emotional element got the highest point followed by the cognitive element and the active element, while the sensible element and the relative element got the lowest point. Third, consumer response was generally positive toward the model house interior design provided by the construction company. It is necessary to make up for the design that can give an aesthetic pleasure with familiar images, rather than give a firm recognition about the design.

• 패션비즈니스
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• 제14권3호
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• pp.128-145
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• 2010

Nowadays people are turning to have a more intimate environment-friendly lifestyles. In the clothing industry they are focusing on making products that are more human-friendly and not harmful to the environment. In the midst of the spread of consumption research is being done to develop manufacturing textiles that do not induce pollution. For instance, advantages of the natural textile fibers, cotton, silk, and ramie, have been newly recognized in terms of environment-friendliness, Together with these fibers, the natural high molecular materials, such as chitosan and hyaluronic acid, have found new roles in the application sectors of human-friendliness and environment-friendliness. Products using these substances and processing methods can make the products more wearable, have high sensitivity, make people feel aesthetic appreciation for the products, and make them appreciate the value of a more healthier environment. In a survey according to subjects in their 20s and 30s, their preferences towards their consciousness and awareness of the development of materials as well as their attitude towards environment-friendly products were determined as a conclusion. It was shown that consumers that are more conscious about the interest of the environment as well as the problems concerning the environment were more intent on buying products that were environmentally-friendly. Women have shown more active and positive attitudes towards the importance of the awareness of the environment in comparison with men. Generally, consumers in their 20s and 30s preferred the feel of materials that were less than 1% concentration process than those of materials that were 1% concentration process. To increase the "rustly" feeling of the materials, it was found that 1% concentration process was suitable for manufacturing.

• 패션비즈니스
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• 제14권4호
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• 패션비즈니스
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• 제15권3호
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• pp.1-21
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• 2011

This study is designed to identify how Demographic Factors affect Fashion Orientation(value), Fashion Response, and Buying Criteria. A total of 355 usable data was collected from housewives in three metropolitan cities(Seoul, Daejeon, Sungnam) in Korea. Young housewives who have one child are a market segment whose buying power is recognized by both the retailers and the market. The housewives' fashion orientation consists of four categories : social orientation, practical orientation, political orientation, and aesthetic orientation. The housewives' fashion response is classified into three areas : self conscious, self esteem, and self monitoring. The criteria of buying children's wear consists of nine components. As a result, the key reason for buying children' wear was 'attractive design'. Research result showed that POLITICAL ORIENTATION(SE beta=.229, p<.001) was more effective than AESTHETICS ORIENTATION(SE beta=.203, p<.001), for enhancing SELF-CONSCIOUS RESPONSE and SELF-ESTEEM RESPONSE. Therefore, this study suggests that the key factor for understanding trend can be a human self concept, consciousness, values, and orientation. The housewives' fashion orientation is responsible for 18.7% of BRAND ROYALTY(F = 20.172, p<.001) from among nine buying criteria. More poignantly, POLITICAL ORIENTATION covered 66.9% of selection of BRAND ROYALTY, and it explained 34.6% of selection of DESIGN among nine buying criteria. Thus, it showed that POLITICAL ORIENTATION(SE beta=.331, p<.001) is more effective than SOCIAL ORIENTATION(SE beta=.146), for upgrading BRAND ROYALTY. In addition, it showed that POLITICAL ORIENTATION(SE beta=.238, p<.001) is more effective than AESTHETICS ORIENTATION(SE beta=.040) for upgrading DESIGN evaluation. Housewives' fashion orientation, and fashion response are differentiated by demographic factors, such as occupation, women's career, husband' job, income, and location related to social status.