The aim of this study was first to expand participation types in the field of beauty design by examining activities in the field, and second, to seek practical methods for addressing the important issue of social responsibility amid the current pandemic situation. Accordingly, social responsibility in design was examined through a review of previous studies. The features of practice domains and design performance fields were examined comparatively. As a result, it was found that social practices take place in various sectors, with sensibility toward the environment being escalated to a new level in the cosmetics industry. In terms of cosmetics enterprise practices, collecting, recycling, manufacturing, and retail networking has been established to reuse up to 95% of waste resources. Furthermore, ethical responsibility and participation concerning product and service waste resources are recommended, resulting in the supply of eco-friendly products in a virtuous cycle. In terms of systematic policy, even component transformation (such as organic certification and excluding toxic substances) is being carried out. However, it was difficult to identify such responsible activities in Korea; thus, systematic practice is needed. Designers take part in talent donation activities, and it was the sector they prefer the most. However, it is necessary to conduct studies on limitations such as venues equipped with cosmetics procedure equipment and public cosmetics sanitation and make systematic improvement, such that activities can be led with initiative from passive participation.

The purpose of this study is to first examine the relationship between appearanceenhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990’s to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one’s outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

In this study, six mainland Chinese designer brands—Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen—were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

본 연구에서는 PDMS (poly-dimethylsiloxane)와 PEBAX (polyether block amides) 분리막을 이용해 N2, O2, CF4와 SF6의 단일 기체 투과특성에 관하여 연구하였다. 다양한 압력으로 공급된 기체의 투과유량을 진공가압 연속흐름방식으로 측정하였으며, 이를 이용하여 투과도를 산정하였다. PDMS 분리막에서는 상부의 압력이 증가할수록 SF6를 제외한 다른 기체의 투과도는 감소하였다. 또한 SF6의 투과도가 CF4보다 높게 나타나고 있으며 이것은 SF6가 더 높은 임계온도를 가지고 있기 때문이다. PDMS 분리막에서 투과도는 O2 > N2 > SF6 > CF4 순으로 감소하였다. 반면에 PEBAX 분리막에서 기체의 투과 경향은 O2 > N2 > CF4 > SF6 순으로 감소하였다. 이러한 경향은 각 기체의 운동 반경의 크기(AA)(SF6 > CF4 > N2 > O2) 순서와 반대로 나타났다. SF6/CF4의 순수 기체의 선택도는 PDMS 분리막에서 0.7 MPa일 때 2.1로 나타났다.

중공사 고분자 분리막을 이용한 SF6를 분리 농축을 위한 운전조건을 결정하기 위해서는, 온도와 압력이 투과특성에 미치는 영향에 관한 연구가 필요하다. 본 연구에서는 다양한 온도와 압력이 부과된 조건에서 단일기체 투과실험을 수행하여, 중공사 고분자 분리막(PSF, PC, PI)을 통한 기체(N2, O2, SF6, CF4)의 투과특성을 연구하였다. 실험결과, 기체의 투과플럭스는 온도와 압력의 증가에 따라 일반적으로 증가하는 것으로 나타났으나, 분리막에 따른 투과플럭스의 차이가 관찰되었으며, 온도, 압력에 따른 투과플럭스 변화율은 기체의 특성(분자크기)에 따라 다른 것으로 나타났다. 온도 압력에 대한 투과플럭스를 3차원적으로 표현했을 때, 투과플럭스는 근사적인 평면 위에서 변화하는 것으로 관측되었다. 온도와 압력에 의한 투과플럭스 변화를 열역학적으로 분석하였으며, 투과플럭스 예측을 위한 경험적 모델로 평면특성의 1차 다항식 모델과 곡면 특성을 가진 2차 다항식 모델을 제안하였다. 그 결과 두 경험적 모델 모두 관측자료에 대한 높은 적합도를 보여 적용가능성을 확인하였다.