• Fashion & Textile Research Journal
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• v.16 no.1
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• pp.13-25
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• 2014

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.197-206
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• 2015

The purpose of this study is to analyze characteristic interior spaces for TV news center studio. Based on eight channels including public and comprehensive programming broadcasting stations the method for this research is to make differentiate existing relevant literature by creating analysis items for interior spaces through various case studies as well as find out characteristics of spatial forms, colors, materials, decorations, and etc. The conclusions are as follows. Firstly, spatial form of desk and ceiling are similar shapes but floor and wall are different comparing with public and comprehensive programming broadcasting stations. Secondly, preferred color for floor and ceiling is black, for wall and desk are blue and gray. Thirdly, various materials are preferred between public and comprehensive programming broadcasting stations. Fourthly, Flat and elevated floors are preferred as well as space and logos of broadcasting station are preferred for background images as decoration elements. Lastly, Soffit ceiling, desk accommodating more than 4 people, spotlight for public broadcasting stations, and architectural lighting for comprehensive programming broadcasting stations are preferred.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.80-88
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• 2005

The ondol is a uniquely Korean system of providing warmth to room. The ondol rooms never use daily life furniture because the ondol warms the floor surface where people sit. Finally, the ondol floor changed the traditional housings inner space. Before use ondol where daily life furnitures[sang(상) and Tap(탑)] are installed in the room. The origin of daily life furnitures are the ancient tomb mural of Koguryo Period. The daily life furniture can be classified as three large groups in the ancient tomb mural of Koguryo. First, a single seat[Jowa-sang(좌상)] of set up a screen[병풍]. The second, It make possible Many peoples take a seat with no decoration seat[Tap(탑)]. The third, uptodately table and chairs. A radical difference between sang(상) and Tap(탑) whether set up a screen[병풍]. The meaning of sang(상) and Tap(탑) in Koguryo ancient tomb provided Oksa-jo[옥사조] in Samkuk-sagi[삼국사기] with several valuable leads to help solve the sang(상)'s meaning. Furthermore, It will be start ponit of study on constructive shape of inner space in those days.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.270-274
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• 2007

Clearing trace of symbol which was gone with a series of pre-modern architecture history since the modern architecture (pursuing true nature from tradition which is repeated and imitated unconsciously). That is, What is the course of deconstruction? In the early part of the 20th century, We still accept the necessity of decoration in spite of its existence at one time being threaten. This means, even though symbolism in architecture has relative importance by situation of Times, it plays an important role to add the past to current style through 'Symbol'. The history of Times, a carrier which reflects Present on New Futures, makes memory by gathering data but we can not amplify our historical imagination with only data. Data is a past memory and evidence but we can not substitute that for historical experience. And it is difficult for future generations who don't live through that history to change their historical recognition with recollecting memories. They have to draw history with data but it is very limited in itself. However, They can collect historical memory through symbol in architecture. In this study, We pay attention to the symbolism of a memorial hall architecture. So We'll analyze dichotomy concept of Barthes's signifiant and signifie, visual sign and course of symbolic meaning on basis of Daniel Libeskind's Jewish Museum.

• Korean Journal of Human Ecology
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• v.15 no.1
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• pp.157-168
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• 2006

This research is to investigate the perception and satisfaction of high school students for Saenghwal Hanbok school uniforms. With this study we will be able to provide useful information for clothing companies as well as schools which are planning to introduce Saenghwal Hanbok as a uniform. The research subjects included 446 high school students of Chungcheong and Gyeonggi areas. The results of this study are as follows: 1. Male students evaluated Saenghwal Hanbok affirmatively in terms of its activity convenience. Female students, on the other hand, thought highly of it in such aspects as modern beauty, aesthetic color, distinction, symmetry, wearability, tidiness, color harmony, color unity, decoration details, and suitability for special occasions as well as modem daily life. 2. The satisfaction with Saenghwal Hanbok as a school uniform stayed, on an average, below a mid-level. It appeared that high schools with long history showed more interest than comparatively newly-established schools. Also, students with obesity liked Saenghwal Hanbok more than normal students. 3. The students' demand for price cut was highest among other demands of Saenghwal Hanbok school uniform. In addition, almost all items including wearability, material, color, activity convenience, and patterns appeared to need more improving.

• The Research Journal of the Costume Culture
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• v.18 no.3
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• pp.397-407
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• 2010

This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.21-27
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• 2008

The purpose of this study was to observe the Art-Deco style art and hair-style. Art-deco design, which was popular in the 20th century, especially in the 1920s and 1930s, actively absorbed new forms, materials, and aesthetic values that come from technological developments and bridged the tradition to new pupblic culture. Art-Deco style art showed and geometrical decoration tendency to meet modem concept and sense. The over all study on back grounds of Art-Deco style and its art works made possible to figure out the summary on formative characteristics of the style such as simplicity, exoticism, vivid colors, and functionalism. These findings suggest that hair styles borrow its characteristics or image from the past style to create new styles. It was found in the development of new hair styles that patterns or geometric motive appearing the Art-D$\acute{e}$eco style are the source of rich design.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.9-18
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• 2004

This study focuses on the medieval Mongol costume called YosunOja. This dress consists of a blouse and a skirt, and some lines on the waist part. The purpose of the study is to analyse the structural characteristics of this costume, especially on the medieval remains from the tomb Mingshui in the district of Neimenggu. It can be analysed that this costume has three structural characteristics, which are the functional structure, sumptuous one, and the idea of Buddhism. The functional structure consists of the style with a blouse and a skirt, which gives enough surplus for the movement, the back-slash for the ease of the riding, and the dart in the front line which eliminates unnecessary surplus. The sumptuous structure is the many lines of the waist which show the maximization of the decoration, the extraordinary long sleeves, and the use of the expensive gold brocade which shows the wealth of the dresser. And also, the cutting of the fabric into the numerous segment may mean the medieval Mongols believed in Buddhism.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.168-183
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• 2014

When expressing Jesus Christ visually in the medieval Christian paintings, the most important issue was portraying Christ's divinity and humanity in a balanced manner; showing both attributes as Son of God and a human being. The purpose of the study is to examine both the formative and the symbolic characteristics of divinity and humanity on Christ's clothes in the Medieval paintings, Baptism of Christ. In the paintings, there are iconographical devices to show His divinity including God, Holy Spirit, the Trinity and the Jordan River. But Christ's body is definite evidence to show his humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the baptism of Christ were as follows: Blue, gole, purple, and white are the emblem of divinity, while the colors red and white stand for the humanity of Christ. In addition, the divinity of christ is expressed through the decoration on the clothes, while the humanity of Christ is shown through the structured drapery and transparent material.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.83-92
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• 2003

This study aims to classify women's undergarments of the 20th century by periods, and to examine their characteristics. The research method consists of a literature study based on relevant documentary records and a demonstrative analysis of graphic data collected from each reference. The features of women's undergarments obtained from the study are as follows: First, silhouette changes of outer garments appear to influence the type and style of a new undergarment. Second, technological development results in a new type of undergarments. Third, the development of new material appears to influence functions and design of undergarments. Fourth, social changes including the development of sports affects the changes of undergarments. As seen so far, the form or type, material, and color in undergarment diversify when fashion changes become varied and rapid. As shown before the 20th century, the importance of undergarment's type, form, and function gradually reduces according to the changes of women's mind due to their social participation, although it still plays a role in correcting the shape of an outer garment based on the outer silhouette. The design also clearly shows the extremes of maximization and minimization of decoration.