• 한국실내디자인학회논문집
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• 제19권3호
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• pp.103-110
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• 2010

As ongoing construction of a new municipal government building leads to the destruction of the interior of the Kyungsung Municipal Government Building(currentlySeoul Metropolitan City Hall) despite its enormous historic value, this study aims to identify the unique features of spatial composition and interior design of the Kyungsung Municipal Government Building, which is widely known as a typical example of public architecture of the 1920s. The primary goal is to perform a systemic arrangement of its interior data and define the modern historic implications of its interior design, thereby laying the foundation for a compilation of the history of modern interior design. From a historical perspective, the Kyungsung Municipal Government Building-an explicit symbol of Japanese colonial supremacy-has served as the administrative hub of a hugecity for 19 years during the Japanese colonial rule and for 64 years following Korea's independence from Japan. From the perspective of architectural history, it also represents modern transitional buildingsin their shift from historicism into modernism, as manifested by its reasonable placement of interior space matching well with topographical form, easy access by citizens, open office space, and, excluding decoration, a simple and non-authoritarian exterior. Its interior design style follows Western historicist architecture, whereasits simple interior decoration embodies expressive characteristics of pragmatic simplicity. Such elements are notably found in the Grand Central Hall, the Municipal Head's Reception Room, and the Grand Conference Room.

• 한국의류학회지
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• 제46권5호
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• pp.848-867
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• 2022

As an emerging market with rapid economic growth, while being a key region of the K-culture expansion, Vietnam draws increasing scientific attention. This study focuses on the MZ generation, Vietnam's leading consumer group, revealing their consumption value structure. An online survey was used for data collection purposes, investigating 368 Vietnamese consumers between 18-37 years of age. Six value dimensions were derived as results of the present analysis: functional, emotional, social, ethical, self-expression, and autonomy-oriented value. Among them, functional value includes two sub-dimensions of utility and price, while emotional value entails three sub-dimensions, namely hedonism, novelty, and aesthetics. 'Self-expression value' and 'autonomy-oriented value', reflecting the characteristics of the MZ generation, who actively express themselves and respect proactive decision-making, are becoming important standards of the consumption attitude of young Vietnamese. Moreover, the pursuit of 'novelty' was derived as a factor reflecting emotional values, revealing an association between hedonic consumption, and seeking for newness and difference. Furthermore, the relationships between each consumption value dimension, respective demographic characteristics, and global consumption propensity were investigated. The present findings aim to provide insights into young Vietnamese consumers' attitudes and intend to serve as a foundation for future research.

• 복식
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• 제63권6호
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• pp.14-28
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• 2013

This study aims to identify the elements of black culture and use it to analyze the formative characteristics of casual fashion items as well as the symbolic meanings presented in the graphic designs of the items. First of all, in order to distinguish the identity of black culture, this study made a division into racial, social, and artistic aspects based on cultural specificities of Stuart Hall, a culture theorist. This was for a theoretical review and based on this review, a theoretical framework was developed to analyze the characteristics of American casual fashion design of black people. The case study selected 1719 fashion images of 137 male brands and 33 female brands from websites of companies manufacturing casual wear of black people in America. The following is a summary of the study results. The conceptual characteristics based on specificities of black culture can be categorized into ten attributes: playfulness in order to digest human grief and emotion positively, satire of the mainstream society, spontaneity through emotional expression from the heart, abstractness of various emotions elating suffering, humor trying to express negative aspects as the meaning of light and innocent laughter, dependence with passive attitudes toward discrimination and master-slave relationships in history, resistance against discrimination and disadvantages, African orientation and primitiveness pursuing natural conditions, aggressiveness against violence and unfair treatment, and confidence and defiance against social deprivation and corruption. Based on the results of an analysis through formative classification system founded on racial, social, and artistic aspects of black people, specificities of black culture are of formative characteristics of their casual fashion design. These elements are presented on graphic t-shirts through strong colors, loose silhouette, and details with many pockets. These characteristics were reflected in symbolic meanings presented in the graphic.

• 한국의류학회지
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• 제38권5호
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• 한국의상디자인학회지
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• 제21권1호
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• pp.35-45
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• 2019

This study was initiated to add value to fashion illustration as a genre of plastic art, as its importance as a progressive visual art is growing. The research purpose is to analyze characteristics of Grotesque, a subculture that emerged from the challenges and problems of groups which deviated from social and cultural trends, and to develop fashion design illustration utilizing the characteristics unique to that subculture. As a method of research, this study examined the characteristics and expression methods of Grotesque, which appeared in fashion literature, referenced a prior study of Grotesque, and developed fashion design illustration using Grotesque as a based. The result of this study are as follows. First, the characteristics of Grotesque that are applicable to fashion illustration were derived as 'evil, aversion, playfulness, heterogeneity, and abnormality'. Second, the expressive elements of Grotesques, reflecting the beauty of ugliness, present a methodology for developing new and creative fashion design illustrations. Third, it was found that Grotesque fashion illustration is a visual tool that is suitable for expressing the problematic origins of human existence, values, alienation, and social chaos. Fourth, 'arthropod' motifs were identified as a suitable theme for extracting the newly integrated Grotesque images through the process of contradiction and confrontation between humans and objects. Fifth, the Grotesque fashion illustrations could be understood in terms of plastic arts, and could provide a gateway to rediscovering human dignity. Based on the finding, we expect that creative design thinking and development that combines the motifs of various themes and Grotesque's expressive methods will proceed more deeply and specifically.

• 한국의류학회지
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• 제34권4호
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• pp.597-605
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• 2010

This study is about the expression types and characteristics of Trompe l'oeil in modern fashion. The study defines the concept of Trompe l'oeil, examines the Trompe l'oeil in the surrealist works from which the Trompe l'oeil derives from, and analyzes the works that have emerged since 2000. The study used a collection of magazines such as Vogue, Gap, Fashion News, and the Internet. According to the findings, the expression types of Trompe l'oeil in modern fashion were seen in the human body, the wearing style, the details, and accessory effects of clothes. The modern fashion design using the Trompe l'oeil based on such external expressions was characterized by the following: first, the fashion design destroyed the concept of common sense and expressed the purity of the human spirit by revealing the human body hidden in clothes from the combination of clothes and the human body with surrealism. Second, the details or accessories of clothes were printed or painted as if they existed. Pleasure was expressed by applying Trompe l'oeil to the wearing methods and forms of clothes through the optical illusion of materials or colors. Third, the effects of an optical illusion were displayed by transforming and distorting the wearing style and reversing the front, back, exterior and interior of clothes; this optical illusion characterized the deconstruction expressed through the transformation of ideas.

• 디자인학연구
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• 제16권2호
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• pp.323-334
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• 2003

본 연구는 디지털 정보환경에 있어 시각화되기 전 단계에 생성되는 주관적인 이미지와 그것을 구체화시키는 객관적인 동적 영상표현에 중점을 두었다. 먼저 시각세계의 확장을 눈의 시각, 뇌의 시각, 카메라의 시각으로 구분하여 서술하였다. 또한 이미지와 영상의 개념을 재정의 하였다. 이미지는 지각상과 심상상의 뜻이 강하게 내포하고 있는 것으로 영상은 끊임없이 변화하는 빛의 정보가 물리적인 프로세스에 의해 생성되고 재현되는 시지 각상이라고 정의하였다. 또한 21세기 영상표현의 특성은 디지털 기술에 의해 실존하는 구체적인 허상에서 정보화된 허상으로, 종합화, 단순화, 집중화되고 있다는 것을 서술하였다. 이것은 영상커뮤니케이션에 있어 근대의 아날로그 환경과 현대의 디지털환경에 의한 표현양식이 각각 본질적으로 차이가 있다는 것을 의미한다. 이와 같이 테크놀러지의 발달과 함께 영상의 정보화는 인간의 감각기능을 확장시켜 가상적공간에서 대리체험을 통한 조형적 리얼리티를 높이고 있다. 한편으로는 인간이 갖고 있는 창조적 능력을 테크놀러지에 의존하는 경향이 동시에 일어나고 있다. 21세기 영상표현은 $\ulcorner$디지털정보환경$\lrcorner$ 에 의한 사이버 공간에 의한 인간 신체 외적 표현에서 내부적 표현으로 영상세계를 우주화, 내면화하는 양면성을 추구하게 될 것이다.

• 한국의상디자인학회지
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• 제10권3호
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• 한국의류학회지
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• 제37권3호
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• pp.399-412
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• 2013

This study introduces a new delivery method for designs as observed in the artwork trends of Damien Hirst and reflected in the unique expression methods of Modern fashion Collections. The study analyzed numerous resources (literature, dissertations, magazines, and the internet) about Damien Hirst and the examination of a modern fashion timeline is limited to after the 2000s. The 'grotesque trend' that appears in Damien Hirst's works can be classified into five categories (fragmented animal, mismatch, excessiveness and exaggeration, comedy and awfulness, and abnormality). Based on this, the study found that heterogeneous, abject abhorrence, double sided of the play, exaggerated atypia and devilishness in Modern fashion. This study suggests a positive direction for the 'grotesque technique' that could be recognized as one of the delivery methods for a unique fashion design based on the attachment of an aesthetic value that supersedes bizarreness and strangeness to expand various methods of expression.

• 복식문화연구
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• 제26권4호
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• pp.531-546
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• 2018

The purpose of this study is to comparatively examine techniques and expressive characteristics of batik by focusing on the work of DanZhai and that of ZhenNing Buyi. We collected 50 pieces of batik each from Miao and Buyi in Chinese GuiZhouSheng and then analyzed their colors and patterns. The findings show that most of Miao's batik had deep and soft tones, while that of Buyi most often had blackish tone since the number of dyes in the latter is higher than that in the former. Miao often used patterns expressing animals or animals and plants, while Buyi frequently used geometric ones. An examination of specific motifs demonstrated that butterflies, fish, and flowers were most often used by Miao, while dots, vortexes, lines, and lozenges were frequently utilized by Buyi. For expressive techniques, both Miao and Buyi commonly used simple stylized expression or complex expression combining stylized and geometric techniques. Maio's motifs were often decoratively expressed with delicate curves, while Buyi's motifs had simple structures, so pictures were neatly expressed with thick lines and wide and simple planes. For the composition of the motifs, incomplete symmetry between top and bottom and between left and right often appeared in Maio, while in Buyi complete symmetry was frequently shown.