• 융합정보논문지
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• 제11권1호
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• pp.261-267
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• 2021

본 연구는 트랜드에 민감하고 취업 등 외모에 관심이 어느 때보다 많은 여대생들을 대상으로 하여 여대생들의 뷰티 라이프스타일 행동이 미용가치추구와 화장품구매행동에 미치는 영향을 알아보고 미용산업 중 여대생들의 소비시장을 파악하고 미용산업 발전에 기여하고자 한다. 본 연구를 위한 자료수집은 모두 328명을 대상으로 실시하였으며 설문조사는 자기평가방식을 사용하였고, 5점 리커트척도와 선다형을 사용하였다. 분석결과는 다음과 같다. 첫째, 뷰티 라이프스타일 행동이 미용가치추구에 미치는 영향에 대한 회귀분석 결과, 네일행동, 메이크업행동, 다이어트행동, 성형행동, 쇼핑행동은 p<0.01에서 유의한 정(+)의 영향을 미치는 것으로 나타났다. 둘째, 화장품구매행동에 따른 미용가치추구의 차이에 대한 결과, 화장품구매횟수가 통계적으로 유의한 것으로 나타났다. 셋째, 뷰티 라이프스타일 행동 관심도에 따른 화장품구매행동의 차이에 대한 결과, 화장품구매횟수, 화장품구입비는 통계적으로 유의한 것으로 나타났다.

• 복식
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• 제62권3호
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• pp.96-111
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• 2012

This study is to analyze fashion phenomenon according to the concept of the characteristics of freewheeling to explain the de-constructive, eclectic, avant-garde tendencies in Contemporary Fashion. This study is to elicit the aesthetic characteristics through 400 pieces of visual data analysis from 2001S/S to 2011F/W that have the characteristics of freewheeling, nontechnical experiments do away with the classical form. The oriental ideas include the thoughts of different tastes that break the stereotypes according to the Western values and the pursuit of unconventional beauty. These also insist that everything in the world including human-being, nature and creation is not divided into two equal parts, and even beauty and ugliness originated from one. This study is to find the possibility of interpreting oriental aesthetics with open concepts that transcends the boundaries of full availability, unlike the Western values that accommodate the relative concept of the pursuit of diversity. Therefore, integrated and systematic approaches of oriental aesthetics that place much value on the coexistence of antithetic concepts are needed to understand the ambiguity of complexity and diversity in Contemporary fashion design.

• 디지털융복합연구
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• 제13권10호
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• pp.569-578
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• 2015

남성들도 외모 추구스타일 변화, 그리고 외모관리행동과 그 추구가치에 상당한 변화가 나타났다고 보며 이에 대한 연구의 필요가 대두되었다. 이를 위해 남성들의 외모관리를 위한 정보 수용도와 이에 따른 추구가치별 특성을 분석하였다. 연구방법은 서울거주 직장인 남성 약 500명을 대상으로 온라인조사를 실시하였다. 연구결과, 다섯 가지 외모관리행동의 실용적 가치에 대한 추구 정도가 가장 높고, 미적 가치는 다른 두 개의 가치에 비해 외모관리행동 유형에 따라 매우 다르게 나타났다. 특히 피부관리 양식의 수용도는 다른 양식과는 달리 사회문화적 가치, 실용적 가치, 미적 가치 모두에 의해 영향을 받는 것으로 나타났다. 특히 미적가치 추구의 소극성과 실용적 가치와 사회문화적 가치의 중시 경향으로 나타났다. 헤어관리는 실용적 가치에 의해, 성형수술은 미적 가치에 의해 영향을 받는 것으로 나타났다. 관리양식 부분에서는 피부관리 수용도만이 복합적 가치 추구에 영향을 받는 것으로 나타났다. 관리 양식별 마케팅으로는 헤어관리는 대규모 마케팅 캠페인이 오히려 효과적일 수 있으며, 성형 수술에 대한 비즈니스에 대해서는 좀 더 심미적 차원의 캠페인을 모색할 필요가 있다고 볼 수 있다.

• 한국의류산업학회지
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• 제15권5호
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• pp.704-712
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• 2013

Contemporary young men are consumption-oriented, pursue ideal male images displayed in commercials, and are highly interested in fashion, beauty, and appearance. This metrosexual tendency(which values appearance) is largely influenced by mass media. This study examines how men's media information utilization influences appearance awareness and metrosexual tendency as well as how these two variables influence cosmetics consumption and fashion product consumption behavior. The results are as follows. First, metrosexual tendency consists of four dimensions: fashion involvement, pursuit of individuality beyond sexuality, cognition of fashion taste, and preference of a high quality product. The sum of variance is 65.594%. Second, media information utilization influenced metrosexual tendency and metrosexual tendency influence cosmetic consumption, brand-sensitive consumption and commercial-sensitive consumption; however, it did not affect price-sensitive consumption. Third, media information utilization affected appearance awareness; however, appearance awareness did not affect metrosexual tendency. In conclusion, appearance management behavior for men in their 20s is clearly affected by media. This phenomenon is caused by the metrosexual desire to express identity through fashion. Men in their 20's do not take care of their looks because of the social perception of appearance (as related to showing off their competence or pursuit of social success); rather, they have a desire to express their individuality and personally enjoy grooming and maintaining their appearance. Therefore, we can expect increased beauty and fashion expenditures.

• 한국항해항만학회지
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• 제34권10호
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• pp.763-768
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• 2010

빛은 인류가 시작되고나서 현재까지 언제나 인간의 일생에 커다란 영향을 미치는 에너지원이다. 이로 인해 모든 인간은 빛과 함께 할 때 보다 편안함을 느낄 수 있으며 안정된 마음으로 아름다움과 행복을 추구하려는 본능을 가지게 된다. 본 논문에서는 퍼지제어 시스템을 이용하여 외부환경요인을 각각 조합하여 불확실한 내용을 정량적인 값으로 변환하여 LED 조명으로 표현하기 위해 알고리즘을 설계하고, 실내에서 이용 가능한 감성조명용 LED 제어기 회로를 설계 및 제작하였다. 외부환경요소인 온도, 습도, 조도 값을 센서를 통해 제어기로 받아 들이고 이 값들을 퍼지제어 알고리즘을 통해 최적조명값으로 변환되어 인간이 느끼기에 편안한 감성조명을 LED 디밍제어를 통해 표현하고자 한다.

• International journal of advanced smart convergence
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• 제5권3호
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• pp.56-60
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• 2016

Body physical technique is to pursuit the dynamic motion by the physical index(PI) and sensory index(SI) on the physical body function. Function of the physical body by the motor condition is organized the dynamic physical system. For the physical motion of signal, we is defined a runout value of the body function by the physical index on the dynamic state. The concept of body physical index was identified the reference of physical index and sensory index by the body technique. As to detect a variation of the body physical technique-runout physical index(BPT-RPI) of the maximum and average and minimum in terms of physical motion, and the dynamic sensory value that was a runout function of the vision variation of the $Vi-{\xi}_{MAX-AVG-MIN}$ with $2.53{\pm}4.85$ units, that was a runout function of the vestibular variation of the $Ve-{\xi}_{MAX-AVG-MIN}$ with ($-0.69{\pm}2.32$)units, that was a runout function of the somatosensory variation of the $So-{\xi}_{MAX-AVG-MIN}$ with ($-1.43{\pm}-1.36$) units. The dynamic physical motion will be to confirm at the variable function of the runout motion for the body function values of dynamic physical index on the BPT-RPI that was identified an evaluation of the physical sensory function by the dynamic physical system. Runout body system was mentioned of a physical body situation by the mild moving and was refer a runout data of dynamic physical nervous index.

• 한국의류학회지
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• 제26권9호
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• pp.1308-1319
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• 2002

The purpose of this is to analyze the aesthetics characteristics of our modern sports fashion, and thereby, discuss them in the light of the overall mentality or the 20th century, and thus, present the conditions or sports fashion design meeting modem people's divers aesthetics values and desired. Modern sports fashion sues can be categorized into futurist sports style, erotic sports style and American sheet sports style. And the 20th century mentality characterized by changes of lifestyle, identity and aspiration has influenced the aesthetic features of such sports fashion sues, which can be summed up as follows; first, the futurist sports style applies the functional items and details of active sportswear to design, while heralding a positive and hopeful message of technology and future by using the material of hi-tech functions and senses. This sports style was affected much by shift from social status, attraction and wealth to demonstration of state-of-the-art science, pursuit of functionality in terms of shapes and materials, convenience through See combinations of sportswear items or design elements. Second, the erotic sports style based on minimalism attempted to express the erotic body beauty indirectly by exposing some parts of body or using the material pressed against the body. This sports style was closely related with the changes of sexual identity such as neutral sexualism, bi-sexualism and homo-sexualism. Lastly, the American street sports style was born from black Americarns' sports and dances. This spors style pursues “youth” beyond TPO concept As mass media and commercial sports developed, the young generation copied sports stars' uniforms or fashions to share honor, wealth and youth with them. In sort, the American sheet sports style was affected much by the so-called “heroism”. Such a changed object of aspiration influenced the aesthetic characteristics of American shot sports style directly.

• 복식
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• 제56권7호
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.