• Proceedings of the Korea Society of Costume Conference
• /
• 2001.10a
• /
• pp.101-101
• /
• 2001

• Journal of the Korean Society of Clothing and Textiles
• /
• v.15 no.4 s.40
• /
• pp.381-392
• /
• 1991

The purpose of this is to investigate the color of Art Deco Fashion in Paris. (1920-1930) Through the age of Art Deco style, the enormous modern cities were built up and numerous life-constructions were designed conspiciously in Paris. Under this situation, the usage of the 'color' became very important element of design area and also it bestowed new form upon the modern design. The black beauty of Art Deco style was the outcomes of cubism, black-arts, and pragmatism. And the black beauty was regarded as the proper color to represent simplicity. Simplicity was the best way to express Art Deco style. The color and light of metal were used adequately to express a geometrical and streamline form; it was raised as a new beauty in this period. The primary colors were used to recognize the simplified forms effectively. New pastel colors, which signified differently with Art Nouveau were born centering around the Youth Culture like a summer resort and a sun bath. Also they expressed neon signs and atmosphere of beach by means of the tropical colors. At last the color of Art Deco style opened the new age. And it was started to use the various colors in design field from at this time.

• Korean Institute of Interior Design Journal
• /
• no.8
• /
• pp.16-22
• /
• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

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

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.7-31
• /
• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• Journal of the Korean Society of Costume
• /
• v.59 no.5
• /
• pp.71-82
• /
• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• Journal of the Korea Furniture Society
• /
• v.18 no.2
• /
• pp.120-128
• /
• 2007

This study explored the philosophical Modernity with the Enlightenment in relation to cultural and aesthetic modernism rooted in Modern furniture, which directly reflected modern culture and society with rationality, science, individualism, progressive, universal truths, etc, using qualitative analysis about the related literature as the principal methodology. A fundamental philosophy of the modern furniture influenced by Industrial Revolution is that the dictates of function and industrial technology must be decided by form. The theory and practice of the International Style in modern furniture came from the modern aesthetics in the philosophy of Modernity. As a result, as influenced through the Enlightenment project and the relationship of individual to society in relation to cultural and aesthetic modernism, and the three modern movements with furniture, which are Arts and Crafts movement, Art Nouveau, and Art Deco, represented the beginning style of modern furniture design toward functionalism or minimalism.

• Journal of architectural history
• /
• v.1 no.2 s.2
• /
• pp.116-136
• /
• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• Korean Institute of Interior Design Journal
• /
• v.20 no.6
• /
• pp.97-104
• /
• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• Journal of Fashion Business
• /
• v.4 no.1
• /
• pp.97-111
• /
• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.