• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.101-118
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• 2003

This paper describes pop stars' fashion style by the changes of pop music from the 1950's of the formative Period of a rock-n-roll to the 1990's. The author could examine the features of pop music as follows : the 1950's rock-n-roll, the 1960's rock and Psychedelic rock. the 1970's punk rock, the 1980's new wave and the 1990's reggae·hip-hop. Based on the examination, the author could do sampling of the fashion style, on which current pop music had influence, by rock style, new wave style, and reggae hip-hop style. The rock style makes appearance again as a new style when it is recently accepted to be a fashion. The 1960's hippie, which contains long-cherished desire of antiwar and peace after September 11, 2001 Attack on America and the Afghan War. reappeared as luxurious hippie, and the hybrid punk has been made because barriers between cultures have been collapsed to mix items and combine contradicting components at fashion field. The new wave style destroys sex difference of clothes. and men's clothes style has introduced women's dress style, so that androgynous style, which has handsome boy image with womanlike hair style and makeup, and the lingerie style without distinction of underwear and outer garment has made appearance through new cloth wearing ways and overexposure. The reggae and hip-hop style makes appearance to overcome social strata, groups, ages, regions and gender, etc and become one of the 21s1 century culture codes. In conclusion, pop music have played very important roles until expansion and popularity of new fashion style, and has been quickly expanded by mass media development. When the pop music fashion styles are introduced to high fashion, fashion styles have become more polished and high-qualify to expand them at main fashion world again.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.251-257
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• 2018

Since the tarot is establishing itself as a play culture arousing the fun and curiosity from people, this study is intended to arrange an opportunity for people to have more interest in the beauty by the beauty tarot card. Hereby, the beauty tarot card was interpreted by applying the kabala focusing on the major Arcana card, a core element of the universal weight tarot, which was the basis of the tarot card based on the precedent study. A tool was made that the beauty tarot dot could be used as a counseling method by applying the beauty tarot card to 22 major Arcana after changing 4 elements: fire, water, air, and ground that were basic symbols of universal tarot card into the brush, foundation, eyebrows, and shadow, regarding them as the beauty-related symbol. It is thought that the made beauty tarot card will enable the tarot readers or relevant profession to give beauty-related counsel usefully to people interested in the tarot card. It is expected that the interest and concern for the beauty tarot card heightens, and the tarot cards according with various aesthetic domains such as the makeup, hair, skin, and nail art are produced in the future.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• Journal of Naturopathy
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• v.11 no.1
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• pp.51-61
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• 2022

Background: There was a need to investigate the interest in beauty and consumption sentiment in beauty shops on COVID-19 among beauty customers in their 20s and older in Daejeon Metropolitan City. Purpose: To investigate the degree of interest in beauty and consumption sentiment of beauty shops according to COVID-19 targeting beauty customers. Methods: A survey was conducted targeting beauty customers in their 20s or older in Daejeon. A total of 263 questionnaires were analyzed using the SPSS 27.0 program. Results: Beauty customers' interest in beauty was above average in hair style, makeup, skin care and body shape management, but nail care was below average. In addition, it was found that there were some statistically significant differences or no difference in beauty shop consumer sentiment due to COVID-19 according to gender, marital status, age, and occupation. It was found that there was a positive (+) correlation between interest in beauty and consumption sentiment of beauty shops due to COVID-19. Conclusion: The beauty interest in beauty of the customers in their 20s or older in Daejeon Metropolitan City and the consumption sentiment of beauty shops on COVID-19 outbreak indicated some statistically significant differences depending on gender, marital status, age, and occupation, or seems no difference. Therefore, it is evaluated that the results will serve as basic data for research in this field.