• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Journal of Fashion Business
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• v.13 no.4
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• Journal of the Korea Furniture Society
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• v.15 no.1
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• pp.63-72
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• 2004

This study explored furniture and furniture designers in Art Nouveau which was called as Jugendstill in Germany. Jugendstill was developed on the center of Munchen, Darmstadt, and Berlin from the late 19th century to the early 20th century. And it was developed differently from Art Nouveau in the rest of European countries as the Rococo style and the Baroque style of Germany were done so. The furniture designers of Art Nouveau pronounced their use of decorative motifs from nature with birds, flowers, insects, fish, even landscape represented, but the designers in Jugendstill made the elaborate curvilinear design simply stylized and abstract: the design of Art Nouveau was seen as the superfluity of the ornament but the design of Jugendstill was seen as the simplified lines and restrain of the ornament. Hence, Jugendstill was deeply related with the scientific and rational thought of Germany, and then, it was based on the Deutscher Werkbund found by Hermann Muthesius.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.84-90
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• 2004

NPR style makes it possible that 3D animation images can be used as an art direction by escaping from the cold and realistic image. And these expression methode are developed technically and, many kinds of animation styles are being created by directing various 2D materials and lighting system.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.71-82
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• 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 Fashion and Costume Design Association
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• v.20 no.1
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• pp.151-165
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• 2018

Keith Haring is an artist from the 1980s who was highly influenced by the pop art of the 1960s, sublimating the '60s pop art into high art using cartoon images. His work contained social messages via the aesthetics of pop art. This satire seems to be intertwined with the punk style of the 1970s, as well. In this context, this thesis has developed a new "Punky-Pop Look" by integrating the art work of Keith Haring, which has both artistic value and popularity, with punk, which is a funky culture with the aim of creating something new. The purpose of this research is not directly borrow from Keith Haring's work, but to develop and apply a new fashion motif having its own unique story based on his cartoon style formativeness and creative ideas in order to further design the punky-pop look in the trend of "Hybrid Fashion." This thesis can establish a good precedent for applying the cartoon style formativeness of Keith Haring to the development of a fashion motif having its own unique story, and suggest punky-pop fashion design. Based on this thesis, new creative motifs can be generated continuously, not by simply borrowing but by developing existing art work.

• Journal of the Korean Society of Costume
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• v.29
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• pp.23-38
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• 1996

The purpose of this study was to analyze the characteristics of the Minimal Art represented in the second half 20th century fashion. All the mode of dress worn this century have developed from the stimulus of a chang-ing society fired by new discoveries and a zest for the new and different. It would appear that even more dramatic changes will soon occur in our clothing styles the effects of which will be farreaching. Many of today's styles intended to dress our psyche rather than our bodies and this if fully understood by the new designers whose influ-ence will become increasingly more potent as we approach the new century. The highly developed material civilization resulted in human alienations environmental distruption, l By this fact human being of the 20th century was to overcome social com-plexity. Accordingly their search for simplicity was interested in the 60's style. Especially the formativeness of the 60s style was repre-sented in the second half 20th century fashion. In this paper it was focused that how the characteristics of the Minimal Art was expressed in the second half 20th century fashion. minimalism was a quest for basic elements repesenting the fundamental esthetic values of art. without regard to issues of content. At its most extreme it reduced art not ot an eter-nal essence but to an arid simplicity. "Primary Structure" the most suitable name suggested for this type conveys its two salient characteristics : extreme simplicity of shapes and a kinship with architecture. minimalist works are charcterized by huge dimensions coldness and absolute aesthetic neutrality. minimalist artists ambition is to de-fine through the most rudimentary materials such as plywood galvanized iron aluminum plastic and wood a new order of the space. The environment is just as important as the object itself. Similary the use of new tough materials. such as vinyl metal and plastic at late half of the 20th century fashion related to the formativeness of the Minimal Art. And the style of 20th fashion was holded the internal meanings in common the formativeness of the Minimal Aet thorough the various texture pat-tern silhouette etc.uette etc.

• 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.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.727-741
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• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Journal of environmental and Sanitary engineering
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• v.18 no.2
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• pp.75-86
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• 2003

This study was designed to identify the relationship between general characteristics and personalities of college students majoring in beauty art. For this, 286 female students from two colleges in Kwangju were interviewed using a questionnaire pertaining to their general characteristics, hair-style and personality from September 20 through 30, 2001. A $x^2{\;}-{\;}test$ was implemented to identify the relationship between hair-style, personality and other variables. The results are summarized as follows: 1 To define characteristics in relation with hair-style, how students decide their hair-style was examined and, as a result, it was reported that 80.8% of targeted students decided by themselves and 19.2% decided by others' suggestions. 2. It is reported that there was no statistically significant relationship among socio-demographic characteristics such as the length of hair, grades, allowances, religion, satisfaction of campus life, and characteristics relating to hair-style such as accessories, mood, shape of face, decision of hair-style, and texture of hair. 3. Their preference of perm type had a statistically significant relationship with their allowance, religion and accessories, but not with their grades, satisfaction of campus life, mood, shape of face, hair-style, and texture of hair. 4. Dye and bleach had a statistically significant relationship with the texture of hair, but not with socio-demographic characteristics and accessories, mood, shape of face and decision of hair-style. 5. Personality of tenacity, extroversion and introversion, emotion and falsehood had no statistically significant relationship with hair-style. Finally, it was proven that strength, extroversion and introversion, emotion and falsehood had no statistically significant relationship with hair-style. More studies to identify personal tendencies that may affect hair-style are necessary.