• Journal of the Korean Society of Costume
• /
• v.39
• /
• pp.197-215
• /
• 1998

Vivienne Westwood, the revolutionary cre-ator of Punk fashion(ripped T-shirts, bondage clothes, fetishist accoutrements) was a street fashion designer. Although Westwood's clothes have frequently been described as decadent, degenerate and unwearable, they have also exerted a powerful influence on interntional fashion. Westwood became a fashion designer in the mid-1970s, when he emergence of Punk put London back on the fashion map for the first time since 1965. Just as the Mods, Rockers, and Hippies of the 1960s had embraced par-ticular styles of dress and music, so also did the Punks create their own subculture. The Punk“style in revolt”was a deliberately“re-volting style”that incorporated into fashion various offensive or threatening objects like tampons, razor blades, and lavatory chains. Vivienne Westwood and parter Malcolm McLaren articulated this youth culture, who roots lay in music. A sign is something which stands for some object or idea, while the semiotics are the ex-ternal expression for an internal meaning. Semiotics can be used as a medium of communication between dress and music. A language is simply used for explicit of meaning, while the style of dress and music express the explicative and implicative signs. Peirce's scheme among several theories of the semiotics was chosen for this study, because the Peirce's scheme was the first non-language communication medium between external and internal stages, and readily inter-preted the styles of dress and music. Punk rock was studied at first to identify the style which influenced Vivienne Westwood's works and then Semiotics were used to apply the above results to the 1970s and 1990s for analyzing and interpreting the Vivienne Westwood's works were also interpreted by the symbolic characteristics of Semiotics, because the symbol of semiotics often found at Youth Cults reflected punk rock. The symbol of revolt, decadence, grungy, freedom in Vivienne Wes-twood's works wre determined by using Punk rock's semiotics. This study could conclude that the style of dress and punk rock were able to be interpreted by semiotics.

• Journal of the Korean Society of Costume
• /
• v.52 no.5
• /
• pp.173-186
• /
• 2002

Street Style, occurred in British and America, has been expressed the character of the new generation by repeating developments and changes. Nowadays, pop music reflects the phase of society. and simultaneously it has influence on from culture to society. Rock Music was rooted in Country 8l western of America. Upon Country & Western, Afro-Americans Rhythm & Blues was added, and that was the birth of Rockabilly. Rockabilly developed to Rock'n 'roll and it started to change to various forms of Rock since 1950s. As the commercial impact and the breakthrough of teenagers emotion, the rock culture comprised the base of the youth culture. However. it formed the anti-establishment culture against the established value, accepting working class subculture. The teenager culture was affected by the Rock culture, also found relief in the opulence provided by the established generation, imitating it as it was. Simultaneously, it had a contrary aspect as anti-establishment form under the banner of revolt against languor in richness. The youth culture created street style that was escaped from high fashion, every time Rock music had changes. Since Street style was based on resistance of established culture and it fully refused vogue, it was indifferent from high fashion. The results of this study were as following. First, every time Rock music had changes, the new youth culture was concomitant with, the youth culture created street style. Secondly, rockahibilly style was characterized as diamond shaped design, embroidery, extra wide shirt collar, vivid contrast color . Rockers style was represented as metal studs, beads, denim, leather jacket, boots. Fusion of hippies style and Psychedelic, long hair, beads. worn denim were elements of headbangers style. Punks style was characterized as ripped T-shirt. rooster hair, over decorated jacket, short skirt. net or plastic T-shirt. Lastly, the firm relation between popular art and fashion was proved by examining the history of Rock Music and Street Style.

• Journal of the Korean Society of Costume
• /
• v.66 no.3
• /
• pp.51-74
• /
• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• Journal of the Korean Society of Costume
• /
• v.61 no.1
• /
• pp.109-123
• /
• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.

• Journal of Fashion Business
• /
• v.19 no.6
• /
• pp.58-73
• /
• 2015

The purpose of this study is to examine the characteristics of men's wear designs unveiled while Hedi Slimane worked for Dior Homme and Yves Saint Laurent. The study will analyze and focusing on the modernistic characteristics in order to discover the postmodernism trends in his works. The results of the research are as follows. First, Hedi Slimane's fashion style can be cited as grunge and punk due to the trend of expressing the subculture of postmodernism. The design features shown in Dior Homme were straight lines, leather, metallic materials and dark colors used to reinterpret a grungy punk style, romantic patterns, glossy materials, elastic leather, and bright colors were the salient features of Yves Saint Laurent. Second, the feature of cultural pluralism of postmodernism appeared as a type ethnic style. He presented this through the Third World images in the Dior Homme but Spanish matador images, Marrakech's images and North African images in the Yves Saint Laurent. Third, he feature of his style is metrosexual feminizing men's fashion and breaking up gender stereotypes. I-type and X-type silhouettes that emphasize the human body and feminine design motifs such as a skirt are dominated in Dior Homme, and he completed the metrosexual style by using materials, colors and patterns such as bright feminine pink, red, laces, fur, floral and leopard prints, as well as flagrantly expressing body contour.

• Korean Journal Plant Pathology
• /
• v.11 no.4
• /
• pp.353-360
• /
• 1995

Tests were performed on 232 bacterial strains (71 strains of Pseudomonas tolaasii and 161 white line reacting organisms, WLRO) isolated from cultivated mushrooms. As results, P. tolaasii was divided into 5 groups on the basis of the phenotypical characteristics for the strains, and group 3 was the major one including 48 (62%) out of the total 71 strains. WLRO were classified into 23 groups, and group 10 was the major group (65 strains, 30% of the total WLRO tested). A white line was well formed at 22$^{\circ}C$ and at 4 mm distance between P. tolaasii and WLRO colonies in their dual culture on Pseudomonas agar F medium within 36-hr incubation, but not formed at $25^{\circ}C$ even for 72-hr incubation. The morphological, cultural and biological properties of P. tolaasii group 3, and the main group of WLRO, group 10, were different only in the light of pathogenicity. Also group 2 of P. tolaasii had the characteristics similar to group 24 of WLRO which was pathogenic to cultivated mushrooms, suggesting the P. tollaasiii and WLRO strains may be the same species although their white line forming ability and pathogenicity were more or less different from one another. Subculture of the strains in P. tolaasii group 1 induced the variation of their pathogenicity, white line forming ability and utilization of sodium benzoate and sodium tartrate, and thus it can be inferred that they were converted to strains having the characteristics of group 3 or WLRO groups.

• Journal of Plant Biotechnology
• /
• v.4 no.4
• /
• pp.143-150
• /
• 2002

A strong oxidative stress-inducible peroxidase promoter (referred to as SWPA2 promoter) was cloned from tell cultures of sweetpotato (Ipomoea batatas) and characterized in transgenic tobacco cultured cells in terms of biotechnological applications. Employing a transient expression assay in tobacco protoplasts, with five different 5'-deletion mutants of the SWPA2 promoter fused to the $\beta$-glucuronidase (GUS) reporter gene, the 1314 bp deletion mutant showed approximately 30 times higher GUS expression than the CaMV 35S promoter. The expression of GUS activity in suspension cultures of transgenic cells derived from transgenic tobacco leaves containing the -1314 bp SWPA2 promoter-GUS fusion was strongly expressed following 15 days of subculture compared to other deletion mutants, suggesting that the 1314 bp SWPA2 promoter will be biotechnologically useful for the development of transgenic cell lines engineered to produce key pharmaceutical proteins. In this respect, we developed transgenic cell lines such as tobacco (Nicotiana tabacum L. BY-2), ginseng (Panax ginseng) and Siberian ginseng (Acanthopanax senticosus) using a SWPA2 promoter to produce a human lactoferrin (hLf) and characterized the hLf production in cultured cells. The hLf production monitored by ELISA analysis in transgenic BY-2 cells was directly increased proportional to cell growth and reached a maximal level (up to 4.3% of total soluble protein) at the stationary phase in suspension cultures. The SWPA2 promoter should result in higher productivity and increased applications of plant cultured cells for the production of high-value recombinant proteins.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.4
• /
• pp.127-138
• /
• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• BMB Reports
• /
• v.32 no.5
• /
• pp.451-455
• /
• 1999

The concentrations of L-ascorbic acid (AsA, ascorbate, vitamin C) and its biosynthetic and metabolically-related enzymes such as L-galactono-1,4-lactone dehydrogenase (GLDase), ascorbate peroxidase (APX), and ascorbate oxidase (ASO) were investigated in suspension cultures of Scutellaria baicalensis. Cells growing from 4 days after subculture (DAS) to 9 DAS and from 16 DAS to 19 DAS showed a diauxic growth, and then growth rapidly decreased with further culturing. The AsA content slowly increased to 19 DAS, reached a maximum at 21 DAS (ca $120\;{\mu}g/g$ dry cell wt), and then rapidly decreased with further culturing. GLDase and ASO activity were well correlated with the cell growth curve, showing a maximum at 19 DAS, whereas APX activity showed a good correlation with the changes in AsA content, showing a maximum at 21 DAS. The total ascorbate contents (reduced form, AsA, and oxidized form, dehydroascorbate, DHA) were markedly enhanced at 10 DAS when L-galactose and L-galactono-1,4-lactone (25 mM) were added to SH medium supplemented with 20 g/l sucrose at 9 DAS, by 5.5 and 6.8 times, respectively. DHA composed more than 90% of the total ascorbate contents in suspension cultures of S. baicalensis, even though the ratio of reduced to oxidized form slightly varied with cell growth stage. The results indicate that L-galactose and L-galactono-1,4-lactone are effective precursors of AsA in cell cultures of S. baicalensis, and that in vitro cultured cells provide suitable biomaterials for the study of biosynthesis and metabolism of AsA.

• ALGAE
• /
• v.33 no.1
• /
• pp.127-141
• /
• 2018

Low efficiency in microalgal biomass production was largely attributed to the low density of algal cell cultures. Though mutations that reduced the level of chlorophyll or pigment content increased efficiency of photon usage and thus the cell-culture density under high-illumination growth conditions (e.g., >$500{\mu}mol\;photon\;m^{-2}\;s^{-1}$), it was unclear whether algae could increase cell-culture density under low-illumination conditions (e.g., ${\sim}50{\mu}mol\;photon\;m^{-2}\;s^{-1}$). To address this question, we performed forward genetic screening in Chlamydomonas reinhardtii. A pool of >1,000 insertional mutants was constructed and subjected to continuous subcultures in shaking flasks under low-illumination conditions. Complexity of restriction fragment length polymorphism (RFLP) pattern in cultures indicated the degree of heterogeneity of mutant populations. We showed that the levels of RFLP complexity decreased when cycles of subculture increased, suggesting that cultures were gradually populated by high cell-culture density (HCD) strains. Analysis of the 3 isolated HCD mutants after 30 cycles of subcultures confirmed that their maximal biomass production was 50-100% higher than that of wild type under low-illumination. Furthermore, levels of chlorophyll content in HCD mutant strains were similar to that of wild type. Inverse polymerase chain reaction analysis identified the locus of insertion in two of three HCD strains. Molecular and transcriptomic analyses suggested that two HCD mutants were a result of the gain-of-function phenotype, both linking to the abnormality of mitochondrial functions. Taken together, our results demonstrate that HCD strains can be obtained through continuous subcultures under low illumination conditions.