• Journal of the Korean Home Economics Association
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• v.47 no.2
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• pp.111-123
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• 2009

This study is to explore the usability of a pattern making software 'Looks tailor X' developed recently by the Digital Fashion in line with the cloth simulation software 'DressingSim'. When the software engineers develop software for clothes and clothing simulations, most often they lose touch of real-world craftsmanship of pattern making. As such, the software evaluation of the functionality and the usability is a crucial step in the field of virtual clothing. We carried out a detailed evaluation of the software via the process of making some basic types of pattern including tight skirts, pants, jackets, and one-piece dress. In this paper, we documented a step-by-step scenarios of making clothes using the Looks tailor X, and listed both the advantages and limitations of the software from the perspective of an enduser, i.e., a professional fashion designer. We also briefed suggestions on the refinement of the future software in the field.

• Journal of Fashion Business
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• v.13 no.5
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• pp.135-148
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• 2009

The purpose of this research is to examine changes in Japanese fashion design through analysis of the background and characteristics of 'Japanesque Modern'. With the advent of globalization and pressures to enhance international competitiveness, key players in both Japanese government and industry feel an urgent need to establish a distinctive brand for its products. 'Japanesque Modern' was launched in January 2006 as a nationwide campaign through the support of the Japanese Ministry of International Trade and Industry (MITI). 'Japanesque Modern' strives to be a national movement, enhancing Japan's brand image while promoting continuous industrial innovation. 'Japanesque Modern' unites Japanese culture, design, and aesthetics with advanced technology, bringing traditional concepts to enrich contemporary life styles. In order to exemplify the 'Japanesque Modern' ideal, existing market products and content that reflect the concept were selected for the 'Japanesque Modern Collection' by the Japanesque Modern Council. In making these selections, the Council emphasized criteria based on three Japanese spiritual values: Craftsmanship; Manner; and Hospitality. As a result, three designs concepts have emerged in the 'Japanesque Modern Collection': the 'convergent method'; the 'conversion method'; and the 'emphasis method'. This research will explore these design concepts and their relationship to 'Japanesque Modern'.

• Journal of Fashion Business
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• v.6 no.6
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• pp.43-55
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• 2002

This study intends to consider the characteristics of Tudorian costume and find out how the thoughts and cultures in those days had influences on the costume trends of low and middle class. In terms of the Tudorian costume which generated new cultural mainstreams along with blossomed civil culture, this study focuses on the characteristics and trends of costume at low and middle class, which have been little addressed in studies on western costume history or related fields, turning from the costume of upper class based on wealthy noblemen who showed off its dignity and authority along with jewelry and gorgeous ornamental craftsmanship. This study used related pictures, museum material and other literatures as its reference. It first looked into the general characteristics of western costume and considered the characteristics of costumes popularized in professionals at middle class such as apprentice, yeomen and low-class people. Professional or other middle class almost typically used to wear tunic, doublet, shirts, coat or long gown. Black was mainly used as clothes color. Similarly to upper class, silk or velvet was very often used as material. People at low class enjoyed wear costumes with simple and easy style for working. They also preferred natural color and cotton or wool as material. This study intended to find out which type of costumes people at low and middle class enjoyed wearing, rather than compare costume between such two classes.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.231-237
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• 1997

One of the clearest reactions against Modern architecture, and its planning ideology of comprechensive development, was the neo-Regional movement which arose at more or less the same time in serval countries. In the mid-fifties architects in Mexico started to design architectures which mixed vermacular and Modern methodology to recall traditional buildings. This popular alternative to Modernism had caught on in Mexico by the recent to become the accepted approach for the most regional building built by the Mexican architects. The regional architecture provided the continual activity, safety and economy of traditional life which was lacking in so many Modern building, while the these ages provided a cultural continuity. Anonymity of craftsmanship, but personalization of each building; enclosed wall of strong color, wide inward opening, but flat roof; emotional layouts and poetic outdoor water space, but variable massing; as it the buildings had been constructed over several years-these were the contradictory signs of neo-Regionalism. The Regional architecture has direct reference to human inhabitation and use, and it embraces mystery, poetic sense, a quality we are losing in Modern life. There is a freedom from rules, which shows up especially in an insouciant use of color, just for fuv.

• Architectural research
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• v.16 no.2
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• pp.45-56
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• 2014

The objective of this article, positively recognizing existing researches, is to revisit some aspects regarding the Vāstupuruṣamaṇḍala with a square grid work which is a fundamental planning guideline to control the construction of a Hindu temple and a mathematical doctrine to lead ritual programs. Hence, this paper suggests some reservations as to certain details such as temple constructions. In order to lay hold on its meaning, this paper touches upon the specific matters about the Vāstupuruṣamaṇḍala in the building construction of Hindu temples, which set out to shed light on four concerns; first, it explores the formation process of the Vāstupuruṣamaṇḍala in concert with the evolution of Hindu temples over time; second, it considers differences and similarities in comparison with other texts intimately articulated with the construction of temples, and then understands the relationship between their local languages and applications to the Vāstupuruṣamaṇḍala; third, it examines the symbolic and sanctified process of the temple's construction on the Vāstupuruṣamaṇḍala grids with two- or three-dimensional computer graphics (by means of the Auto Cad and Rhino tools), invisibly situating the divinities within it and illuminating the roles of ornamentation in the structural terms of temples; fourth, it presents that there are another rules on the building construction based upon architect-priest's craftsmanship skilled as a stonemason or a carpenter in the manual processes of the temples' construction for proper measurements and truncations of stone and wood closely linked together structural stability of completed temples. In conclusion, proceeding from what has been said above, this thesis shows that the Vāstupuruṣamaṇḍala grid includes both practical and spiritual meanings to construct a Hindu temple.

• Korean Institute of Interior Design Journal
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• no.6
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• pp.63-66
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• 1995

Our natural desire to exuviate old theory and search for new ideas means conversion and reformation. Howev-er, the new idea of the present moment will soon become an ancient history when the next generation emerges with more advanced ideas. Naturally, we have learned to accept the past history and utilized it as a the foundation for the future. Through the repeated process of the learning method, the popula-tion cultivate themselves with proper understanding and appropriate attitude toward design. By analyzing social behaviors of the past and living conditions, we can ex-pand our imaginations beyond limits. Each society and its local condition have tremendous effects on the develop-ment and progress of artistic theories, techniques and craftsmanship, and potential design of every day use products. Today, interior design can not afford to ignore the or-ganic relationship of life style and space. Thus, the plan-ning of space means the planning of life style. Life style, as it is, has a vast definition and changes with time. That is why spaces, which consider the life style and its environment when designed, show different aspects ac-cording to its corresponding time. Interior design, in particular, differs by time and re-gion to create its unique style. The change in space is the natural result of the change in life style which again is sensitive to the change in cultural and environmental elements. Design is no longer designing of mere physical elements and environment. Design should be taken as the equivalent of creating spiritual culture.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.13-23
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• 2004

To date, Italian fashion rans the top even its rise is far behind Paris and New York. The purpose of this study is to analyze and compare the aesthetic characteristics of the italian fashion through two representative designers who contributed to italian fashion. Italy had unique industrial system and craftsmanship from the history and sense of the beauty and the uniqueness from the culture. After the World War II, Italy started to produce elegant sportswears influenced by the progressive manufacturing techniques and practical culture of America. Italian fashion of 'easy elegance' is spearheaded by Vesace and Armani. The aesthetic characteristics of Italian fashion which are shown in the artworks of them are as follows. First, the characteristics of Versace dated from southern sensibility are sensualism, expressionism, historicism. 1) Sensualism: tight silhouette, overexposure, glamorous form, brilliant color, fabric showing femininity, gaudy accessaries 2) Expressionism: brilliant print and color, trimmings and accessaries 3) Historicism: form and motifs that are shown in the historical costume Second, the characteristics of Armani succeeded from northern tailoring are purism, functionalism, and multi-culturism. 1) Purism: clean lines, architectural and geometric forms, natural body line, neutral tones, luxurious fabric 2) Functionalism: functional form, neutral tone, natural fabrics 3) Multi-culturism: design and motif inferred from ethnic costume As such. competition between two different groups made it possible that Italian fashion occupies a special place in the international fashion system.

• Journal of Distribution Science
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• v.13 no.5
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• pp.33-44
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• 2015

Purpose - This study examined the Italian eyeglass industry and the status of the franchise market. Luxottica's global growth strategy was analyzed to provide insight into the strategy and development of the Italian eyeglass industry and its franchise business. Research design, data, methodology - Luxottica's annual report, public media material, and website were examined, in addition to data from professional institutions. For the domestic eyeglass industry and franchise business, data from professional organizations, franchise information disclosure documents of the Fair Trading Commission, media materials, and related papers were investigated. Results - The success factor turned out to be securing a global wholesaler with retailers in overseas markets. This successful strategy was based on the strong entrepreneurial spirit of the founder, innovative craftsmanship, and an excellent corporate culture including corporate social responsibility (CSR). Conclusions - Considering the current environment, for Luxottica to be a leading global company, it had to review and adopt a successful vertical integration strategy, from R&D to distribution, M&A of overseas wholesalers and retailers, creative design and technical development, and sustainable cultural development

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.112-126
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• 2006

In this study, to study the aesthetic properties of the Italy fashion, the internal fashion contents are defined according to the cultural characteristics of Italy and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the Italy culture. The aesthetical properties of the contemporary Italy fashion can be analyzed as follows: ${\cdot}$ Functionalism is a feature showing the Italian cultural environment where the genuine humanism is retained. It enables the practical designs by applying details and materials that wouldn't put a limit to the movement of the human body. ${\cdot}$ Naturalism focuses on the natural beauty of the human body without any artificial forms or exaggerated ornaments. Natural texture or materials are used to express the human body itself, or to emphasize the natural aesthetic effects flowing with the human body. ${\cdot}$ Localism is the expression of folk spirit affected by the natural environment. It expresses local atmosphere by unique craftsmanship in material, pattern, color and details. Based on this result, the aesthetic properties of the contemporary France fashion, examined through ${\Iceil}$A Cultural Approach to the Aesthetic Characteristic of the 20th Century French Fashion${\rfloor}$ and those of the contemporary Italy fashion are compared.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.957-969
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• 2011

This study intended to analyze the grunge look as a mode of expression and as a characteristic of the fashion of the 21st century, arguing that the look expressed not only an outward appearance or sub-culture but also a change in our attitude and spirit about contemporary fashion. In the study, I carried out an empirical analysis focused on the collection from 2001S/S to 2010F/W and a literature review. In my results, I classified the grunge look into the following categories: 1. mix and match layering; 2. patchwork, collages, and assemblage using all objects as well as clothing materials; and 3. distressing techniques, such as bleaching and dyeing, unweaving, and tears and holes. I also classified the characteristics of grunge into the following categories: 1. conspicuous destitution, which is intentionally expressed by skillful techniques and craftsmanship, indicating that modern people want to attract attention and be distinguished from others, which reflects an attitude of superiority through ironic fashion choices; 2. high lighting the dissolution of decoration, where destruction, poverty and recombination shown in the grunge look emerged as an artificial and intentional ugly aesthetic in contrast to the existing elegant and sophisticated image; and 3. satire and playfulness, as grunge expresses alienation and conflict in modern society through satire and sarcasm, not attacking or avoiding, but through playful and sarcastic engagement so as to decrease poverty and give temporary freedom.