• 복식문화연구
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• 제28권1호
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• pp.30-44
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• 2020

Bootleg fashion emerged from the fashion industry after 2010, and has been used across a range of different genres. However, it has yet to be theoretically established; therefore, this study will explain bootleg fashion as a new genre, which will help in the planning and designing of products within domestic fashion brands. The purpose of this study was to examine the characteristics and internal meaning of bootleg fashion as a recently emerged fashion phenomenon that borrows from other brands without permission. The research methodology included a theoretical literature review of fashion sites and related materials and empirical research using case analysis. Results of the analysis of both characteristics and internal meaning of bootleg fashion suggest the following characteristics: "unauthorized use of symbolic elements," "disorganization of boundaries between fashion," "multiplicity through globalization," and "newness through deconstruction and recombination." Internal meanings derived from the analysis were "parody through symbol," which is seen as "a parody and homage resulting from the unauthorized use of a brand," while "decomposition through disorganization" is seen as a break-up of the boundaries between different fashions from a mainstream-oriented perspective. A juxtaposition of elements was demonstrated by "playfulness through transformation," which showed that such fashion cannot coexist with positional transposition. Finally, "spread as a cultural phenomenon" was derived through the diffusion through digital media with DIY culture. As such, bootleg fashion has been reborn as an innovative fashion genre, breaking the taboo of the illegitimate from the past and demonstrating new endeavors.

• 대한지리학회지
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• 제48권1호
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• pp.128-150
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• 2013

이 연구는 지리학에서 전개되어 온 도덕적 전환에 나타난 도덕 및 윤리적 측면을 중심으로 도덕 및 윤리, 지리, 교육 사이의 상호관련성을 검토한 것이다. 1970년대 이후 지리학은 차이의 세계에서 펼쳐지는 공간적 불평등과 인간의 복지와 같은 도덕적 쟁점에 대한 관심, 즉 사회적 적실성과 사회정의 실현을 강조하면서 도덕적 전환을 하게 된다. 이러한 도덕적 전환은 도덕지리라는 영역을 개척하게 되고, 최근 포스트모더니즘의 경향과 함께 차이의 세계를 살아가는 다양한 타자와 자연에 대한 비도덕적 지리를 고발하면서 인간과 환경에 대한 배려와 책임의 윤리를 강조한다. 도덕적으로 부주의하게 지리를 가르치지 않기 위해서는, 이제 지리교육에서도 도덕적 전환을 생각할 볼 시점이다. 지리교육이 보다 나은 세계를 만드는 데 기여하려 한다면, 배려와 책임의 윤리라는 측면에서 지리교육과정 및 수업에 대해 더욱 더 진지하게 도덕적으로 성찰할 필요가 있다.

• 대한지리학회지
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• 제39권3호
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• pp.391-408
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• 2004

자기정당화를 통한 사회 각 부문의 분화가 현대성의 특징이었다면, 탈현대성 혹은 포스트모더니즘에서는 사회 각 부문의 경계가 소멸되는 탈분화가 진행되고 있다. 이러한 탈분화는 작금의 관광현상을 통해 가장 극명하게 나타나고 있다. 사회의 각 부문과 관광과의 경계가 소멸됨으로써 관광은 단순히 ‘보는 행위’ 행위에서 벗어나 경제적, 문화적, 환경적, 교육적 활동들을 수반하게 되고, 즐거움의 추구보다는 교육적이고 자기 계발적인 방향으로 전환되고 있다. 관광에서의 이러한 탈분화는 다시 공간적으로 반영됨으로써 지역주민의 일상공간과 관광객이 방문하는 관광공간과의 중첩이 나타날 수 있다. 이에 본 연구에서는 제주도를 연구지역으로 하여 관광과 사회 각 부문과의 탈분화를 통해 나타나는 탈현대적 관광의 특징을 분석하고, 그것이 공간적으로 반영되는 양상을 기술하는데 목적을 두고 있다. 연구지역의 경우 현대적 관광의 시기에서는 자연관광자원 위주의 색다른 장소를 중심으로 관광지가 형성됨으로써 해안지역에 관광지가 집중되는 양상이 나타났다. 그러나 탈현대적 관광의 시기에서는 관광객들의 특정한 기호를 중심으로 관광지가 형성됨으로써 제주도민의 생활과 매우 밀접한 장소가 관광지로 형성되고 있다. 그 결과 기존의 해안중심에서 중산간 지역으로의 수직적 확산과 서부 및 동부중산간 지역으로의 수평적 확산이 나타나고 있다.

• 대한지리학회지
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• 제49권3호
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• pp.456-471
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• 2014

최근 영국의 연립정부는 교육정책 및 국가교육과정에 일대 변화를 꾀하고 있다. 이는 소위 지식의 전환으로 일컬어진다. 이전의 신노동당 정부는 사회적 구성주의와 포스트모더니즘이라는 상대주의적 지식관에 토대하여 역량기반 교육과정을 채택했다. 이러한 지식관은 지식을 사회적으로 구성된 것으로 간주하며, 학생들의 일상적 또는 사회적 지식을 강조하였다. 그러나 연립정부는 절대주의적 지식관에 근거하여 지식기반 또는 교과기반 교육과정으로 전환을 시도한다. 이는 지식의 객관성을 강조한다. 사회적 실재론은 지식에 대한 이러한 양극단을 함께 비판한다. 사회적 실재론은 학문적 지식을 일상적 지식보다 우위에 두며, 이를 강력한 지식으로 간주한다. 그렇다고 사회적 실재론이 일상적 지식을 무시하는 것은 아니며, 학문적 지식과 일상적 지식의 연계를 강조한다. 이러한 지식관은 최근 영국지리교육학회의 주도로 진행된 '살아있는 지리'와 '젊은이 지리' 프로젝트에 영향을 미치고 있다. 이는 최근 대학에서 발전된 젊은이 지리를 학생들의 일상적 지리와 결합하는 것으로, 대학 교수들이 멘토가 되고, 지도교사와 학생들이 서로 대화 속에서 함께 만들어 가는 교육과정을 추구한다.

• 복식
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• 제57권9호
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• pp.76-87
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• 2007

Since the emergence of postmodernism, as interest in human has increased, human face image is being highlighted as one of the themes that are addressed the most. Making the images of faces and individuals shown in costumes the subject matter, this thesis examines the internal values immanent in the images in more depth and understands them based on the Panofsky's iconological interpretation scheme. This study aims to identify designer's purposes and even their unconscious intention through iconological interpretation of faces shown in the fashion and images shown in human image, and further to present basic materials in the fashion design. This research used literature reviews and case studies, and used Panofsky's iconological interpretation theory as the scheme in order to interpret the symbolic significance implied in the images. The images of faces and individuals shown in costumes were classified into six types through historical reviews, and based on the types the images of faces and individuals shown in the fashion since the 20th century were examined. The iconological analysis of the images of faces and individuals shown in costumes based on the classification of types according to historical reviews showed parodies, cultural identity, commercial use, eroticism, respect for heros and its fiction. This study has found that all such things finally return to humanism that humans should be valued and loved the most.

• 한국콘텐츠학회논문지
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• 제10권2호
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• pp.146-154
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• 2010

철학과 사상, 서사와 효과, 문화와 예술 영역으로 양분되어 논의되었던 포스트모더니즘의 담론은 디지털 테크놀로지의 발전으로 인하여 그 영역이 모호해졌다. 디지털 테크놀로지의 발전은 문화예술전반에 걸쳐 매체예술을 비롯하여 미학적 접근에 대하여도 변화를 가져왔다. 리얼리즘을 중심으로 디지털 이미지에 대한 해석은 기존의 이미지의 재현논리의 중심에서 디지털 기술이 만들어내는 이미지에 대한 특징 분석 및 해석과 함께 디지털 이미지들을 어떻게 수용해야하는가의 문제로 변화하고 있다. 하이퍼 리얼리티를 강조하는 디지털 이미지는 기존의 영화의 미학적 접근방식이 아닌 쇼트 단위로의 접근이 이루어져야 한다. 디지털 이미지는 프레임 단위 안에서 이미지의 현실 재현성을 강조하고 있으므로 기존의 총체적인 내러티브상의 영화 이미지의 미학적 특성에 대한 접근과는 다르게 이루어져야한다. CGI가 만들어내는 디지털 이미지는 프레임단위에서 재현되는 핍진성의 척도와 시뮬레이션, 극사실주의 개념으로써 해석이 이루어져야 하며 특히 환영성이 강조되는 영화에서는 내러티브상의 사실주의적 접근보다는 회화적 차원에서의 현실 재현적 차원으로의 미학적 접근이 이루어져야 한다.

• 복식
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• 제25권
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• pp.21-39
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• 1995

By 1980, there are two main flows in the world fashion. One is the traditional Paris fashion by Houte Couture, and the other is the American casual fashion by mass production. However, the appearance of Japanese designers and their new styles on the stage of Paris fashion have had a strong influence on the change of the world fashion since 1980s. So, the purposes of this study were first to research the process, the background and the power which let the Japanese stand and suc-ceed in the stage of Paris fashion, second to research on the Fashion World and Fashion Trend from the beginning of 1980s to present (1994). The results were as follow ; Hanae Mori and Kenzo were the pioneers who let the West know the existence and the level of Japanese fashion. Issey Miyake was the new innovator in the 20th century Fashion. and became the foundation of the New Wave Fashion in 1980s. Rei kawakubo completed the philosophy of beauty by the imperfection and has led the Postmodernism in the Fashion. The constant efforts of the these Japanese designers have inspired the orientalism and Art-to Wear, showed up the new construction and material in clothing by layering and drap-ing and stimulated the traditional Paris fashion to become popular, casual and diverse. The success of Japanese designers and the boom of Japanese fashion were not only the effort of individuality but also the power of economics, the spirit of cooperation and the affection to the culture and tradition on the background. The New Wave fashion by Japanese designers in the beginning of 1980s have promoted the appearance of Avant-garde fashion in London, the new fashion spirit in Milano, and the various fashion styles of different sections in the West and East. Finally, it becomes popular in 1990s and leads the fashion spirit in the end of 20th century.

• 복식
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• 제58권1호
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• pp.17-32
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• 2008

This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• 복식
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• 제58권2호
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• pp.15-33
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• 2008

Continuity and discontinuity is a relative concept, and there are various categories of the continuity and discontinuity in our circumference. Generally, characteristics of postmodernism including between the difference and the variety have being regarded as a discontinuity. Concept of the continuity includes between the quantitative continuity and the qualitative continuity qualitative continuity has organic characteristic, which encourages creating something permanently through the flowing of the time. Therefore, this thesis has studied like this complex social condition and various relationships expressed in modern fashion focusing on permanently creative movements and behaviors equal to the 'continuance' theory of Herni Bergson and 'continuity' theory of Jill Deleuze. This thesis classifies characteristics of the qualitative continuity into spatiotemporal and spatial continuity, and subdivides into 3 sets: perceptual continuity, spatial continuity, transferring continuity of physical experience, immaterial informational continuity, and fluid continuity with environment. Continuous viewpoint, which accepts the existing elements and allows them to flow liberally, should be present more appropriative thinking direction in explaining the complex situation expressed in the modern fashion, rather than discontinuous viewpoints focused on the only changing moment.