• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.970-980
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• 2011

As a type of intimate architecture, fashion has always mediated the dialogue between clothes and the body, or fashion and figure. This study seeks to inquire the current aesthetic consciousness of the body and dress in Japanese avant-garde fashion and intends to research the features and meanings in the pastiche of Western sartorial convention in Japanese avant-garde fashion in order to examine the changing aesthetic attitude in postmodern fashion. The study investigates subjects of the fashion collections of the turn of the twenty-first century, when pastiche strategies frequently appeared in Japanese avant-garde fashion, through the methodology of literature research and case analysis. The results of the study are as follows: by developing the strategy of pastiche, Japanese avant-garde fashion exposes the defectiveness of the Western idea of the idealized and standardized body for mass productions, thus freeing design from its traditional confinement to the human body. Drawing on the re-conceptualization of the sartorial convention of Western tradition, Japanese avant-garde fashion designers tend to experiment with extreme exaggeration in form, refusing to subscribe to the traditional Western values built on the balance and symmetry of the body. Through the combination of the past and the present as well as the inner-wear as outerwear strategy, the historical pastiche challenges convention and symbolism, which results in the discord between signifiant and signifi$\acute{e}$ of clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.6
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• pp.924-942
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• 2018

This study is to understand the symbolism and meaning of Yeomim in Korean traditional clothing. Throughout the study, literature research and analysis have been conducted along with empirical studies. The results of the study are as follows. First, there are three types of Yeomim for Korean clothing. Various methods of Yeomim use different materials for tying clothes such as straps and buttons. Second, when we investigate how Yeomim of Korean clothing has evolved, left and right type of Yeomim had coexisted in ancient times and Dae had been used mainly to tie clothes. The Yeomim method has used various materials since the Goryeo Dynasty. During the Joseon Dynasty, right type Yeomim dominated with majority using Goreum. Third, Hanbok has consistently evolved with a unique bonding style that uses rectangular strap for Yeomim, from the ancient times. The particular Yeomim method of twisting a rectangular strap represents the circularity of space. In addition, Yeomim with a strap is characterized by the beauty of how its form can be highly flexible depending on the human body or location of Yeomim, which corresponds to an unbalanced and asymmetrical natural beauty unique to Korea.

• Journal of the Korean Society of Costume
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• v.6
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• pp.145-160
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• 1982

Wearing a clothes in human living is very rightful and reasonable things. And it's also the necessaries of living. So now, I want look around about origin of clothes from the prehistorical age, how they start and why they need to wear a clothes. As human culture is unknown origin, human clothes origin is also unknown origin, too. So many different people made unlike story about that, and it is very difficult to say correct birth of clothes. It must be reflection by a time, by a place, by a mankind, until this days, the history of human progress is $2,000,000{\sim}3,000,000$ years. And from after the "Old Adam" man understand what is shame and disgrace, so that made them cover of their private parts, also it is a motive of human clothes. Since after pass a long time, the earth has many changes as it were weather, and for take care of human body from cold, people start make clothes and it's a second object of wearing a clothes. And third object of wearing clothes is after opportunity of development human culture, people desire for an aesthetic sence and for full-fill that feeling they start make a beautiful clothes with accessories and it is motive and a purpose of a human start wear a clothes. So I can say, for origin birth of clothes is 1. Protect of human body. 1) be adapted for different weather and different circumstance. 2) take care self from outside injurg. 2. Decorate for aesthetic sence. 1) Theory of Amulets. 2) Theory of symbolism. 3) Theory of Sex attraction. 4) Aesthetic Theory. 5) Theory of chastity. 6) Multi-theory And material for clothes they made from natural wilds like leaves, fur, skin of wood. skin of fishes and feather etc. But after develop of human knowledge people invent fiber, and use a knitted goods and woven stuff also first of all. They start use those kind that they just cover of their private parts as a belt and astring with leaves and a beast skins. But until this days it's taken big development with human knowledge and most important influence of develop was weather. So modern clothes for present days, must care with. physicology, preservation of health, living activity, dressing, morals, and etiquette etc.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.220-233
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• 2019

Hitherto there have been by and large three different approaches to the installation works of Olafur Eliasson; a soma-aethetic, politico-aesthetic and techno-aesthetic. But none of these provides us with the aesthetic descriptions of the light effect. This failure seems to arise from the lack of the conceptual tools suit for describing the atmospheric effect of 'light'. The symbolism of light, or the theological optics of Middle Age may help us to compensate for the lack of appropriate concepts needed for theorizing the effect of light used very frequently by contemporary installation artists. And this medieval aesthetics of light can also of service to elucidate some essential characteristics of the digtal visual culture in general.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.26-33
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• 2009

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of concealing, revealing, and deforming the body. Using �body�t o analyze the clothing form, my study develops a framework by which to classify the absence of physicality in fashion focusing on the deformation of the body parts. The absence of physicality denotes the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form refusing to subscribe to the traditional values that build on the balance and symmetry of the body, which opposes the sartorial convention and symbolism that results in the discord between signifiant and signifi? f clothing.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.59-80
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• 2000

In February 1947, Christian Dior startled the world with his spring collection. He transformed the unflattering square shouldered outline of women's wartime fashion overnight. It was not only fashion that made a pivotal point for opulence and elegance, The style of architecture, furniture, glass, and silverware also made a radical change. The new style emerged after war called " organic modernism'. This study is to define the visual characteristics of fashion, architecture, furniture and craft after World War II and examine the social factors and aesthetics that generated a new style. The common asthetic characteristics are freedom, abstraction of symbolic from, asymmetry, and exaggeration of form. The social factors, values and aesthetics are economic reconstruction and renaissance of design , technical development and new materials, fredom and optimistic view after the holocaust of war, and organic aesthetics and humanism.

• Journal of architectural history
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• v.24 no.2
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• pp.7-16
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• 2015

This article deals with a proportional analysis of Cologne Cathedral with regard to the medieval tradition of geometry and figurate numbers that were commonly used in the medieval period. It first outlines symbolic and geometric notions of the geometry and numbers during the medieval period, and then, interprets the proportional design of the plan and section of the cathedral in analogy with the notion. It concludes that the proportional design of the cathedral was not quite arbitrary but carefully designed for the systematic and symbolic quality of the medieval aesthetic tradition.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.155-166
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• 2002

The purpose of this study is to investigate the types of jeans fashion in the basis of designer brand. and to analyze the symbolic characters of jeans fashion. Designer brand re-established jeans fashion by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion. and escaped from fixed idea on materials and design. This study divides the types of jeans fashion within the designer brand into classifications of Hippie style, Punk style, American Street style, Neo-classic style, and Grungy style. Today, reinterpreting the resistant image of jeans fashion, designers creates the various styles and also restores the upscale image of it. The symbolic characters of jeans fashion are summerized as sexuality, deconstructiveness, conspicuousness, humour, and multiculturalism. As the results of the symbolic characters of jeans fashion in the new Millennium era will suggest the wide aesthetic expression and continue to influence a more diverse jeans fashion trends.

• Proceedings of the Computational Structural Engineering Institute Conference
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• 2010.04a
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• pp.166-169
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• 2010

In early design stages structural form finding is of importance. Theses days the structural forms are forced to satisfy not only engineering criteria but also aesthetic concerns including symbolism. Geometric approach seems to provide many possibilities in generating creative forms as design alternatives for bridge structures. However, the increase in possibilities of geometric application didn't gather much attention from bridge designers who are focusing mainly on structural aspects. Prior to adopting the geometric approach, it is needed to review bridge structures in terms of geometric vocabulary. This study has proposed how to generate geometric forms of bridge structures in terms of geometric computing concepts.