• 한국의류학회지
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• 제33권5호
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• pp.691-700
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• 2009

"Lolita," a novel by a Russian-American novelist, Vladimir Nabokov, has been the center of controversy since its first publication in 1955. As it gained wide fame across culture, it has exercised a great influence, altered or developed to diverse forms. Lolita, the title of the novel as well as the heroine's name, now takes a significant part in our society through all cultures and is used as various meanings and symbols. The purpose of this study is to reanalyze and reinterpret the current use of Lolita based on the characteristics initially portrayed in Nabokov's novel. The traits of the heroine were categorized into purity, seductiveness, and dualism and the commercial use of each in the mass media and fashion in Korea was closely examined. First, purity was interpreted as the archetypal image of a 12-year-old girl, while seductiveness was construed to involve temptation and enticement, ultimately leading a man astray. The dualism of an under-aged sexualized nymphet delineated in the novel as a poor little girl as well as a depraved temptress was stated as another trait of Lolita.

• 한국엔터테인먼트산업학회논문지
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• 제13권5호
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• pp.91-97
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• 2019

영화 <로리타>는 1962년에 영국의 유명한 감독 스탠리 큐브릭(Stanley Kubrick)이 창작한 작품입니다. 영화 주제 때문에 그 당시에 큰 사회적 논쟁을 불러일으켰다. <로리타>는 스탠리 큐브릭 감독이 처음 독립적으로 제작된 영화 작품이었다. 유럽에서 온 험버트 교수와 자신의 의붓딸 로리타와의 불륜적 사랑에 대한 이야기를 담고 있다. 영화 전체를 통틀어도 난륜을 소재로 한 영화는 고귀함과 아름다움을 느껴 줌으로써 사람들에게 충격을 주었다. 또한 미국의 사회 현실을 블랙 유머 아이러니 방식으로 완벽하게 보여주었다. 그 사이에 이 영화의 무성한 비극적 특징도 관객들을 강하게 감염시킨다. 현재 영화 <로리타>에 대한 연구는 대체로 감독 큐브릭 영화의 블랙 유머 기법 연구, 영화의 패러디 기법 탐구, 그리고 소설 『로리타』와 영화 <로리타>의 차이 등에 집중되어 있다. 본 연구는 소비주의 이론을 토대로 영화 <로리타>에 반영된 사회 현실을 분석하고, 소비주의 사회의 전형적인 특징, 즉 향락주의와 몰락한 가정 관계를 밝혔으며, 또한 소비주의 사회가 어떻게 로리타의 비극적 인생을 초래했는지 살펴보았다.

• 한국의류산업학회지
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• 제19권4호
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• pp.365-372
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• 2017

This study systematically identified the influence of the school look fashion image on public culture, which is used for increasingly sexualized marketing appeal by domestic Girl Groups. We examined and analyzed the school look fashion image of Girl Groups, focusing on the Lolita complex which is particularly influential in the sexual appeal of domestic popular fashion. The method of this study is based on a literature review from the years 2007 to 2016, when the female girl groups began to receive attention. The music videos of the female girl groups in the top 100 charts of 'Melon' from 2006 to 2-16, which provides the largest mobile music service in Korea, were watched and analyzed as primary data. As a result, it was found that the 'school fashion look image' of adolescence which was used as costumes for Girl Groups, plays a role in commercializing the image of a 'girl', and the types and characteristics of school look fashion image are drawn in two ways. First, it is the image of a seductive Lolita complex. This is the case where young girls wear school look fashion image to emphasize their sexual maturity. Second, it is the case that is using the school look fashion image in order to perform with the 'young girl' concept, as an image of the enchanting Lolita complex; in addition, the erotic body image is more explicitly exposed through choreography and nakedness.

• Asia Marketing Journal
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• 제14권4호
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• pp.95-116
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• 2013

AMOREPACIFIC has rapidly grown to become a successful global brand by persistently seeking and achieving success in foreign markets. In 2011, AMOREPACIFIC was ranked as one of the global top 20 cosmetics companies. What makes AMOREPACIFIC's global success noteworthy is that AMOREPACIFIC challenged the France and the US market, where competition level is the toughest. Lolita Lempicka, AMOREPACIFIC's perfume brand, was chosen as one of the top seven most popular brands in the women's perfume market in France. In addition, Amorepacific, AMOREPACIFIC's namesake skincare brand, is currently recognized as a top prestige brand in the USA. Their success played a significant role as a bridgehead for AMOREPACIFIC in becoming a global cosmetics company. The main object of this case study is to analyze how AMOREPACIFIC became a global cosmetic company through building key brands such as Lolita Lempicka and Amorepafic, among others. Therefore, this study reviewed AMOREPACIFIC's unconventional approach in launching Lolita Lempicka in France, and Amorepacific in the US by focusing on how they foresaw the future opportunities and employed innovative marketing strategies. Specifically, we focused on Amorepacific's marketing strategy under the critical period when AMOREPACIFIC achieved great success in France with Lolita Lempicka (between 1997 and 2004) and in US with the brand, Amorepacific (2003-2008). The case of AMOREPACIFIC's success in the global markets can give valuable lessons to companies that want to extend their businesses to foreign countries and ultimately become global. One such lesson is the importance of building a successful pioneer brand in a powerful bridgehead market. While domestic competitors first entered into less competitive markets such as those in South-East Asia, AMOREPACIFIC challenged the toughest markets such as the French and US markets where the incumbent companies waged the most intensive and severe battles against Lolita Lempick and Amorepacific. Through the success in France and US market, however, AMOREPACIFIC built a powerful base for its successful global expansion. Another valuable lesson is the importance of foresight in uncovering great opportunities hidden behind the trends without losing focus on the brand's core character and values. Lolita Lempicka and Amorepacific showed excellence in foresight competition, which led them to succeed against the intense competition from Goliath companies. If Lolita Lempicka and Amorepacific had just followed the popular market trend at the time, they would have never succeeded.

• 패션비즈니스
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• 제13권1호
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• 대한가정학회지
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• 제49권3호
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• pp.67-77
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• 2011

The purpose of this study was to clarify the symbolic meanings of the beautiful girls' character fashion in modern Japanese animations. This study investigated the currency and characteristics of the beautiful girls' characters from the 80's to the present. The fashion style of a beautiful girl's character was categorized into four styles: trendy style, adult style, Lolita style and fantasy style. These fashion styles were analyzed, and as a result, three symbolic meanings of the fashion style of a beautiful girl's character are discussed. Firstly, these occidentalized body styles represented idealized body images that are not traditionally Japanese. Secondly, the adult style (growth) represented coming out, i.e. the desires to develop from a child into an adult. Thirdly, the adult (transformation), Lolita and fantastic styles appealed to maniac consumers, having a "Moe" feeling.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.372-373
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• 2004

• 한국의상디자인학회지
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• 제9권3호
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• pp.181-189
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• 2007

This study aims to conduct research into the property of costumeplay that has been established with our unique characteristics despite the critics from the existing generation, and the cospre style preferred by costumeplayers. The research methods include literature study, existing research, and a survey targeting costumeplayers who make costumes upon order or borrow costumes on websites. The findings are as follows. 1. From the results of the survey, 77% of the participants in the costumeplay were secondary school students, 16% were college students, and 5% were primary school students. 2. The distribution of the residences of the costumeplayers was found to be mostly centered in two areas including Seoul/Gyeonggi and Gyeongsang/Busan, which were 39% and 37% each. This is probably because Seoul Comic and Busan Comic were regularly taking place, and these are relatively economically affluent areas and locations where the rapid exchange of Japanese culture occurs. 3. For the cospre style preferred by costumeplayers, 57% of respondents preferred costumes for reviving characters, 18% of them for fan-cospre and 14% of them for reviving a character and creating new characters. Costumeplayers preferred cospre costumes for reviving characters rather than for creating new characters. 4. Most respondents preferred a character-oriented design, posting 31.9%. Next, 17.5% of them selected the Lolita look This is probably because the Lolita look which is much favored in the latest fashion trends affects them, and the rest of the respondents preferred a fantasy/SF group, visual, uniform, and maid look, in order. 5. For costs required for costumeplay for 1 time, 39% of respondents spent about KRW $100,000{\sim}150,000$, and 24% of them about KRW $150,000{\sim}200,000$. However, for buying accessories or small items, over 50% of them spent KRW $30,000{\sim}40,000$.

• 한국콘텐츠학회논문지
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• 제17권3호
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• pp.609-623
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• 2017

본 연구는 한국과 영국 교복 광고들 속에서 광고의 의미가 어떻게 구성되고 다양한 재현들이 무엇을 의미하는가를 고찰하고, 광고를 둘러싸고 전개된 담론들, 특히 성 담론에 주목하면서 양국의 문화적 함의의 차이를 밝히고자 하였다. 이를 위해 한국의 <스쿨룩스>와 영국의 <아메리칸 어패럴>의 교복 광고들을 분석 대상으로 선정했고 다양한 기호학적 분석 방법들을 활용했다. 기호의 2차 의미 생성 과정 분석, 즉 기표와 기의, 함축 의미와 이데올로기의 단계적 의미들을 도출하고자 하였다. 또한 비판적 담론 분석을 시도하여 광고 텍스트의 의미와 담론적 의미 및 이데올로기적 실천 의미를 파악하였다. 분석 결과, 이들 두 나라의 학생 교복 광고들에는 여성 상품화, 남녀의 권력 불균형, 아동 성애자적 접근 등의 부정적 양태와 교복의 본연의 의미와 가치가 왜곡된 경향이 드러났다. 나아가 교복 광고를 둘러싼 양국의 담론들에 대한 비판적 담론 분석을 토대로 양 국가에서 잠재되어 있는 왜곡된 성적 대상화와 상업화를 통한 비정상적인 미적 가치 변형 양상과 '롤리타 판타지'가 만연되어 있음이 나타났다. 나아가 변태적 성적 취향으로 인해 학생들에게 성적 정체성의 혼란과 가치관의 혼돈을 야기하고 있는 것을 발견하였다.

• 한국의상디자인학회지
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• 제16권2호
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.