• 한국의류산업학회지
• /
• 제14권5호
• /
• pp.701-712
• /
• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• 복식
• /
• 제53권2호
• /
• pp.101-118
• /
• 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.

• 한국융합학회논문지
• /
• 제9권7호
• /
• pp.251-257
• /
• 2018

타로카드는 사람들의 재미와 호기심을 주는 하나의 놀이문화로 자리 잡고 있으므로 뷰티타로카드로 재미와 뷰티에 더 깊은 관심을 가질 수 있는 계기를 마련해 주고자 한다. 이에 선행연구를 바탕으로 타로카드의 기본이 되는 유니버셜웨이트 타로카드의 핵심요소인 메이저 아르카나카드를 중심으로 카발라를 적용하여 뷰티타로카드를 해석하였다. 유니버셜타로카드의 기본상징인 불 물 공기 땅 4원소를 뷰티와 관련된 상징으로 브러쉬, 파운데이션, 눈썹칼, 섀도우로 변경하여 뷰티타로카드를 메이저 아르카나 22장에 디자인을 적용하여 뷰티타로카드 점을 상담방법으로써 활용 할 수 있는 도구를 제작하였다. 제작된 뷰티타로카드는 타로 리더나 관련 종사자가 직접 활용하여 타로카드에 흥미를 가지고 있는 사람들에게 뷰티와 관련된 상담을 유용하게 할 수 있을 것으로 사료된다. 앞으로 뷰티타로카드에 대한 연구 관심도를 높이고 흥미를 이끌어 내고 메이크업, 헤어, 피부, 네일아트 등 다양한 미용영역에 알맞은 타로카드의 제작을 기대한다.

• 복식
• /
• 제53권1호
• /
• pp.1-15
• /
• 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.

• 한국의류학회지
• /
• 제39권3호
• /
• pp.353-368
• /
• 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.

• 한국자연치유학회지
• /
• 제11권1호
• /
• pp.51-61
• /
• 2022

배경 : 대전광역시소재 20대 이상 미용고객들을 대상으로 뷰티에 대한 관심도와 COVID-19에 따른 뷰티샵 소비심리에 대한 조사의 필요성이 대두되었다. 목적: 미용고객들을 대상으로 뷰티에 대한 관심도와 COVID-19에 따른 뷰티샵 소비심리 정도를 조사하였다. 방법 : 대전광역시소재 20대 이상 미용고객들을 대상으로 설문조사하였다. 회수한 설문지 총 263부를 SPSS 27.0 프로그램으로 분석하였다. 결과 : 미용고객들의 뷰티에 대한 관심도는 헤어스타일, 메이크업, 피부관리 및 체형관리에서는 보통이상 이었으나, 네일관리는 보통이하로 나타났다. 또한 COVID-19로 인한 뷰티샵 소비심리는 성별, 결혼유무, 나이 및 직업에 따라서 일부 통계적으로 유의한 차이를 보였거나, 차이가 없는 것으로 나타났다. 뷰티 관심도와 COVID-19로 인한 뷰티 샵 소비심리간의 관계 및 영향에서는 정(+)의 상관관계가 있는 것으로 나타났다. 결론: 대전광역시 소재 20대 이상 미용고객들에 대한 뷰티에 대한 관심도 네일관리를 제외하고는 보통 이상이었고, COVID-19로 인한 뷰티샵 소비심리의 차이는 성별, 결혼 유무, 나이, 직업에 따라서 일부 통계학적으로 유의한 차이를 보였거나, 차이가 없는 것으로 나타났다. 따라서 이의 결과는 이 분야의 연구에 따른 기초자료가 되리라 평가한다.