• 복식
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• 제63권1호
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• pp.1-15
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• 2013

This study deals with the aesthetic characteristics in Gareth Pugh's fashion film. As fashion films are becoming a newly emerging communication tool in fashion, the aim of this study will be to build a database on these films. For the specific method in this work, literature reviews were performed along with the empirical study of seven pieces of fashion film. The results of the study showed that Gareth Pugh released the fashion films from 2008 to 2012, and he collaborated with SHOW Studio member and photographer Nick Knight and Ruth Hogben. Common themes in their films were fear, fantasy, dynamics, and going off-limits, and these can be summed up in the following ways. First, a sense of fear was expressed via black colors, bizarre mechanical sounds, decalcomania shape in abstract images, and transformed physical body images. Second, an image of fantasy was presented with diverse expression techniques including colorful light presentations and abstract image setups from repeatedly changed image reproduction. Third, dynamic feature was denoted with a combination of fast development of images and quick reproduced layouts, as well as quick beat sounds, and big and powerful action movements. Fourth, characteristic of going off-limits was reflected, by showing the collections with a communication tool called fashion film instead of existing collection concept.

• 복식
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• 제63권2호
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• 한국의류학회지
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• 제31권7호
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• pp.1052-1063
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• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• 패션비즈니스
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• 제23권4호
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• pp.24-37
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• 2019

This study focused on the fashion designer brand 'Alexander McQueen' to determine how butterflies are used in modern fashion through the sensibilities of certain designers. To this end, both a literature review and empirical research were conducted. First, we examined the origin of the word and appearance characteristics of butterflies based on prior research and a book, and also surveyed the tendencies used by the fashion designer brand Alexander McQueen. Second, out of 239 items announced by the fashion designer brand "Alexander McQueen" RTW (Ready to Wear) ranging from the S/S Collection in 2008 to the 2018-9 F/W collection, 73 pieces deemed to be fashion using butterfly images were collected through www.samsung.net and www.firstview.com, then analyzed based on timing and aesthetic characteristics. Results. The analysis by time period was divided into fantasy, handicraft, mix and match, and aesthetic characteristics shown in the order of compromise beauty, rhythmical beauty, and voluptuous beauty. The purpose of this study was to determine how butterflies are expressed in fashion based on the sensibility of a specific designer in modern fashion, the fashion designer brand 'Alexander McQueen'. Based on the results of this study, we hope that the information presented herein on fashion of natural images will serve as a basic material for similar research or design ideas as an example of designs based on butterfly images.

• 복식문화연구
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• 제23권2호
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• pp.294-309
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• 2015

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

• International Journal of Costume and Fashion
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• 제6권2호
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• pp.11-27
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• 2006

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

• 전기전자학회논문지
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• 제28권3호
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• pp.352-359
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• 2024

본 논문에서는 이미지의 지역적 및 전역적 특징을 결합하여 이미지의 미학적 품질을 자동으로 평가할 수 있는 CNN-ViT 하이브리드 모델을 제안한다. 이 접근 방식에서는 CNN을 사용하여 색상 및 객체 배치와 같은 지역적 특징을 추출하고, ViT를 통해 전역적 특징을 반영하여 이미지의 미학적 가치를 분석한다. Color composition은 입력 이미지에서 주요 색상을 추출해 생성한 컬러 팔레트를 CNN에 통과시켜 얻은 값이며, Rule of Third는 이미지 속 오브젝트가 삼등분할점에 얼마나 근접한지를 정량적으로 평가한 점수로 사용된다. 이러한 값들은 모델에 이미지의 주요 평가 요소인 색채와 공간 균형에 대한 정보를 제공한다. 모델은 이를 바탕으로 이미지의 점수와 색상, 공간의 균형 간에 연관성을 분석하며, 인간의 평가 분포와 유사한 점수를 추측하도록 설계되었다. 실험 결과, AADB 이미지 데이터베이스에서 스피어만순위상관계수(SRCC)에서는 0.716을 기록하여 순위 예측에서 더 일관된 결과를 제공 했으며, 피어슨상관계수(LCC)에서도 0.72을 기록하여 기존 연구 모델보다 2~4% 정도 향상된 결과를 보였다.

• 대한심미치과학회지
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• 제22권1호
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• pp.74-82
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• 2013

현대사회는 TV나 인터넷 등 대중매체의 노출과 스마트 폰 보급으로 급성장한 SNS 등을 통해 이미지에 대한 지각이 신체관련 소비행동에까지 영향을 미치고 있으며 그로 인해 본인이 가지고 있는 콤플렉스에 대한 개선을 원하는 심미 증례 환자의 수요 역시 증가하고 있습니다. 심미적인 치료를 희망하는 환자군은 일반진료를 받는 환자군에 비해 더욱 적극적인 성향을 보이며, 이미지 개선에 대한 기대와 함께 기능적인 문제, 결과에 대한 만족도 등의 두려움을 가지고 있습니다. 심미 증례 환자의 상담에 있어서 가장 기본은 환자본인이 심미치료를 통해 개선하고 싶은 포인트가 어떤 것인지를 술자와 상담자가 정확하게 인지하는 것에서부터 출발합니다. 환자의 관점에서 시작되는 상담은 의학적인 분야의 접근을 통해 합의 즉 이상적인 것과 자연스러움의 균형점을 찾는 방식으로 진행됩니다. 초기 상담부터 각 진료단계별 상담 process를 구축하고 단계별 상담 내용을 정확하게 기재하여 술자 및 진료staff이 공유하며, 초기상담부터 Maintenance care까지 일관성 있는 정책을 운영하여 환자에게 무리한 기대를 주고 공감하지 못하는 결과로 실망을 초래하는 상담이 아닌 진정한 소통이 바탕이 되어 환자, 술자, 진료staff이 만족할 수 있는 결과를 이끄는 상담이 가능해 집니다. 심미 증례의 유형별 case를 통해 환자와의 공감을 바탕으로 한 심미 증례 환자의 효과적인 상담전략을 소개합니다.

• 대한두개안면성형외과학회지
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• 제12권2호
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• pp.81-85
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• 2011

Purpose: Nasal bone fracture is the most common facial fracture. Although nasal bone fractures are considered to be minor injuries, the incidence of post-traumatic nasal deformity remains high. This study is designed to support management and patient satisfaction by classifying the simple nasal bone fracture, and survey the care method and result, which is compared with other studies. Methods: From May 2008 to April 2010, 334 patients with simple nasal bone fractures visited our hospital. The incidence, cause, types of nasal bone fracture, treatment, and complications are analyzed according to clinical examination, patient's record and radiographic images. Results: The mean age of patients was 30 years old, with 74% of the patients having been male, and 26% were female. The highest incidence of this fracture was between late teens to late twenties. The causes of nasal bone fracture were the following: having slipped or fallen down (39%), violence (16%), sports accident (14%), traffic accident (11%), industrial accident (6%), and others (16%). Patient's radiographic images were analyzed by Stranc and Robertson classification, frontal impact plane I was 38%, plane II was 16%, plane III was 1%, lateral impact plane I was 21%, plane II was 21%, and plane III was 3%. On average, surgical treatment was performed 7.2 days after trauma under general anesthesia. Closed reduction of nasal bone fracture was performed in 99% of patients. In patients with septal injuries, septal management was performed in 76.7% of cases. Aesthetic surgery was done on same time in 24% of patients. There were some complications, such as residual nasal deformity (7.2%), nasal obstruction (0.9%) and hyposmia (0.3%). Conclusion: According to this study, nasal bone fractures occurred commonly in physically active age groups (age 15~29 years), as a result of having slipped or fallen down, at afternoon and at night time. And it could be treated successfully by closed reduction and septoplasty by 7 days after trauma.

• 한국의류학회지
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• 제38권2호
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• pp.231-250
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• 2014

This study considers types of design expression and examines aesthetic characteristics by analyzing images shown on clothes worn by Korean First Ladies. This study is to accumulate a fundamental database for the effective style coordination for images of First Ladies and future directions of clothing design. The types of design expression on the clothes of Korean First Ladies are as follows. First, in terms of silhouette, H line and A line is generally represented on the silhouette of clothes; in addition, the H line is highly expressed on the silhouette. The keyword of images by design types are generally feminine, elegant on the silhouette of First Ladies' clothing, and represented a progressively more modernized image on the silhouette. Second, in terms of color, it is expressed diverse images on the color of First Ladies' clothing, and exceptionally the tendency of elegant image is highly charged on the color of clothes. This sort of tendency is influenced by the preferences of First Ladies; subsequently, most First Ladies wear their clothes with a high brightness and chroma. Third, in terms of materials, the image of elegant and simple is highly expressed through First Ladies' clothes and it is caused by choosing the clothes of a plain texture rather than a visible and fancy one. The aesthetic characteristics based on an analysis of the types of design expression on the clothes of Korean First Ladies are as follows. First, 'femininity' on First Ladies' clothes is expressed by A line silhouette of a feminine curve and decorative effects. Second, 'simplicity' on First Ladies' clothes is expressed on the H line silhouette of a straight figure or through the solid colors of high chroma. Third, 'elegance' on First Ladies' clothes is represented on the silhouette of a restrained curve, long skirt hemlines, and woolen fabric with a neat, warm and soft coordination of colors. Forth, 'traditionality' on First Ladies' clothes is expressed through the application of materials and colors that influence culture, traditions, and detailed decorativeness.