코르셋의 양면성에 관한 고찰: 포스트페미니즘 시각을 중심으로

임은혁 한국의상디자인학회 2018 한국의상디자인학회지 Vol.20 No.4

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.

A characterization of the power function distribution by independent property of lower record values

임은혁,이민영 충청수학회 2013 충청수학회지 Vol.26 No.2

We prove a characterization of the power function distribution by lower record values. We prove that F(x) =(x/a)α for all x, 0 < x < a, α > 0 and a > 0 if and only if XL(n)/XL(m) and XL(m) are independent for 1 ≤ m < n.

현대 패션에 표현된 코르셋의 외면화

임은혁 服飾文化學會 2014 服飾文化硏究 Vol.22 No.1

Entering the twentieth century, corsets began to disappear with the tendency of concentrating on slim bodies and youth. As corsets proceeded to be discarded, they began to be internalized as a means of controlling the body; ‘muscular corset’ takes hold. However, the internalized corset increasingly appears to be externalized again in contemporary fashion. This study investigates how natural body is reconstructed as socio-cultural image drawing on the relationship between the signifier and signified of corset. As for the research methodology this study conducts literature survey to investigate the internalization of corset. This study proceeds to examine the subjects of fashion collections from 1980 to 2010 and samples the outfits which represent the externalization of corset through case analysis. Through the discussion of the study, the relationship of signifier and signified in the externalization of corset is argued as follows: first, by maintaining signifier and signified of the traditional corset as underwear, aggressive eroticism of corset has been observed, second, by perceiving corset as the agency of the body, fetishism of corset dissociates the function of sexual object from corset while distorting the relationship of signifier and signified, third, through embodying the notion of muscular corset literally, the ironical representation of corset as a torturing device of female body deconstructs the traditional relation of signifier and signified of corset.

착용감 구현을 위한 증강현실용 햅틱 상의(上衣)

임은혁(Eunhyuk Yim),권지안(Jeanne Kwon),이수용(Sooyong Lee) 한국로봇학회(논문지) 2019 로봇학회 논문지 Vol.14 No.2

21세기 전환기 하이패션에 나타난 하위문화 스타일

임은혁(Eun Hyuk Yim) 한국복식학회 2003 服飾 Vol.53 No.2

1990년대 하위문화 스타일에 관한 연구

임은혁(Eun Hyuk Yim),김민자(Min Ja Kim) 한국복식학회 2003 服飾 Vol.53 No.3

The purpose of this study is to analyze the formative style and aesthetic value of contemporary subcultural style with the understanding of characteristics of subcultural style in the sociocultural context. As for the research methodology, literary survey has been performed to study the concept and the history of subcultural styles from 1940s to 1980s. In addition, demonstrative studies on aesthetic images have been carried out through the analysis of pictures and photographs in order to categorize the subcultural styles since 1990s. In this study, subcultural styles since 1990s have been illustrated through the socio-cultural grounds, which are diversity of street culture, diffusion of mass culture or bubble-up phenomenon, pursuit of anti-social ideology among intellectual heads, club cultures in the form of kitsch and pastiche and communal thinking as collective harmony. With the socio-cultural context examined above, subcultural styles in the contemporary fashion are categorized and deduced following aesthetic values; Drag and Club style as the tendency of surrealists or artificial hedonists, Urban military style and Cyberpunks as pursuit of Bionic being, Sports casual style based upon the pursuit of comfort and freedom, Vintage style and Retro dressing represented by the spirit of DIY (Do It Yourself), Ecology style of New conservatives, and Mysticism style as the fusion of technology and shamanism (Technoshamanism).

지역적 지속가능성의 실천으로서의 업사이클링 패션디자인 개발 - 동대문구 창신동을 중심으로 -

임은혁 ( Eunhyuk Yim ),김현정 ( Hyun Jung Kim ),범서희 ( Seo Hee Beom ) 복식문화학회 2018 服飾文化硏究 Vol.26 No.2

The purpose of this study is to review and establish the three concepts of upcycling, zero-waste fashion design, and regional sustainability through a review of domestic and international case studies. Furthermore, it will provide the theoretical basis for using upcycling as a regional sustainability practice to create zero-waste fashion design. To conduct an empirical study, we systematized the stages of the survey on waste resources in Changsin-dong, the sourcing and utilization of waste resources, the design-planning stage, and the co-production with pattern and sewing masters as a suggested practice for regional sustainability. Through this study, we propose the possibility of regional sustainability by developing and sharing the method of zerowaste fashion design. The conclusion of the study as follows: First, upcycling fashion designs can be extended to a regional sustainability practice by taking the characteristics of social design into account. Second, by providing a design development process and methodology suitable for regional sustainability application, it is helpful to revitalize regional upcycling fashion brands and communities by providing data for upcycled fashion branding. Third, as part of the revitalization project for the Changshin and Soongin areas that started in 2014, using the region’s economic, cultural, and environmental characteristics to make and sell high-value, upcycled fashion products will contribute to social and economic achievements and aid in solving regional problems.

OPNET을 이용한 ATM기반 MPLS Simulation Model 구현

임은혁(Eun-Hyuk Lim),김영탁(Young-Tak Kim) 한국통신학회 1999 한국통신학회 학술대회논문집 Vol.1999 No.11

보문 : 몸의 왜곡을 통한 혼성모방

임은혁 ( Eun Hyuk Yim ) 한국의류학회 2009 한국의류학회지 Vol.33 No.4

패션에 나타난 팝 아트의 영향

임은혁(Eun Hyuk Yim) 한국복식학회 2005 服飾 Vol.55 No.1

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In` order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the I960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer`s convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein`s works on clothes and accessories, adaptation of Pop art`s subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol`s silk screen techniques or Tom Wesselman`s composition of pictures.