• Cartoon and Animation Studies
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• s.12
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• pp.44-55
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• 2007

Nous conduisons tous les codes graphiques specifiques d'un genre de la bande dessinee coreenne, sounziang manwha, e la "decorativite". Afin de mieux rendre compte de cette decorativite, nous suivons un chemin qui aborde des divers etats de cette specificite. Etant donne que la decorativite n'est pas originaire, ni propre totalement au genre, nous nous interessons e ses formes differentes dans les genres precedentes : dessin de mode, dessin lyrique, illustration, affiche, shojo manga, etc. Ils nous permettent e voir des ressemblances et des differences dans les styles graphiques. Nous parvenons enfin e comprendre ce que la decorativite en bande dessinee est attachee intimemnt aux traits fictifs et irreels du diegese.

• KIEAE Journal
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• v.9 no.2
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• pp.73-80
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• 2009

In the early twentieth century, many architects still practised eclectic design elements. Emergence of new building materials such as steel, concrete and glass were not yet found fresh roles in architectural design. It was Brussels that the use of modern materials gave rise to their new forms and gave influence to not only building skins but also spatial organization. Art Nouveau architecture is often seen as revolutionary and pioneering modern architecture against eclectic classicism prevalent in the 18th and 19th centuries. Despite the fact that some scholars point out that Art Nouveau is more a transient phenomenon than modern architecture proper, no one would deny that Art Nouveau carries a good deal of modern characteristics. This paper intends to show rather ambivalent perspectives upon Art Nouveau architecture. Although it insinuates overly dynamic nature in architectural languages, it does not hamper us from reading Art Nouveau as a vital component of modern architecture. Through a careful analysis of the early domestic designs of Victor Horta, it becomes evident that his work can provide modern architecture a meaningful alibi for its growth. Victor Horta's house design is well known to the public, both for his classical tastes and for its changing implementation. Horta's modern quality is never adequately recognized, partly due to his eye catching modern iron properties and sinuous ornamentation. This paper tries to offer an insight into the complicated stage set of the fin-de-$si{\grave{e}}cle$ through the work of Victor Horta whose influence has been immense in the making of modern architecture.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.1-16
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• 2007

This study is to design costumes of each characters, seen in the film of 'TITANIC' directed by James Cameron in 1997, by analyzing various costumes for each roles in the film. The 'TITANIC' has got the 'Oscar Award' in 1998 in 11 sectors for its' high box office record and the finest of the work, based on successful visualization of the costumes for the contemporary characters by historical research. The social background of 'TITANIC' would be presumed in the year of 1912, of which era was also called by 'La Belle Epoque', to say, 'good period'. This study, therefore, traced the representative art trend for the 1910's, together with political, economical and social backgrounds as 1st step. The 2nd step is the consideration of fashion trends of costume affected by the contemporary trends such as Art Nouveau and Art Deco in the period. The 3rd step is the analysis of costumes in the film of 'TITANIC'. Finally, this work has designed the virtual costumes of the characters, in imaginary scenes, which could denote the nature of the personality. Hopefully, this study could help designers show sustainable development in creating cinema costumes and other related projects, based on the understandings of this work.

• Journal of architectural history
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• v.16 no.2
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• pp.7-22
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• 2007

${\ddot{O}}d{\ddot{o}}n$ Lechner has been known as an architect who incorporates Hungarian folk motifs in creating a highly original Hungarian national style. Nevertheless, his work has been surprisingly neither exposed nor familiar to Korean audiences. This article attempts to reveal the unique characteristics of Lechner's architectural thought and ideas along with his buildings in Budapest. First of all, this article presents the evolution of Lechner's architectural thought by dividing his career into four marking periods. They are in chronological order to serve as a record of his architectural career. The authors then discuss his concern on the Hungarian ethnography in architecture while turing away from orthodox classicism. Subsequently, this article analyzes Lechner's three major buildings located at Budapest. By doing so, it attempts to expose his underlying design ideas and to shed light on the most elegant works of the architect. Finally, it marks out Lechner's influences on young Hungarian architects.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Journal of the Korean Society of Costume
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• v.50
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.