• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.187-194
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• 2014

Corporate images are created inside the corporate and then peppered throughout the public such as consumers, communities, countries, etc. who are outside the corporate. Therefore, corporations express their corporate images through such visible images as CI, products, brands, advertisements, company buildings, etc. in order to form a favorable corporate image for the public. Therefore, many corporations have begun to express various visual factors in order to form their images. So, the purpose of this study is to determined the connectivities of corporate images and facade design of company buildings, and to elicit the findings of whether corporate images are applied to the facade design of company buildings, and of what expressive factors are applied to the design, if so. The conclusions are as follows: First, an examination of the degree that the characteristics of corporate images and design components of the facade design of company buildings have been expressed showed that corporations preferred the design of company buildings on which a lot of components have been expressed. Second, it also showed that they preferred determinants of the facade design of company buildings in the order of architectural factors > visual factors > decorative factors. Third, it indicated that the corporations on which the design components of the facade design of company buildings have been reflected most were in the order of C > B, D > A, E > G > F, J > H, I. Fourth, it further showed that most of the corporations have used curtain walls as materials of the facade design.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.4 s.44
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• pp.379-391
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• 1992

This study was intended to identify the constructing factors and the evaluative dimensions of clothing images. A questionnaire consisted of 110 words expressing clothing images was developed, and eight clothing photographs were selected as stimuli. 298 female subjects aged between 22 to 37 responsed to the 110 words for two photographs during September in 1991. After survey, 110 words were reduced to 62 words based on their independence, then factor analysis was conducted. As a result of factor analysis,6 factors-grace, modernity, unattractive- ness, activeness, dressiness, and youthfulness were found out as constructing factors of clothing images. One additional interest was the effect of design line to the formation of clothing images. ANOVA identified that curved line designs were perceived to be more graceful, modern, dressy, and youthful, and straight line designs were perceived to be more unattractive and active. The other interest was the effect of image factors to the total evaluation. So, regression was used. Consequently, the most influential factor to the total evaluation was found out as grace, followed by unattractiveness, modernity, youthfulness and activeness in a descending order. To identify the evaluative dimensions of clothing images, nine words of unattractiveness image factor were eliminated, and multidimensional scaling analysis was employed. Here, three dimensions were judged to be appropriate to explain the result. The first dimension in the multidimensional space was the evaluation in 'mannish image versus feminine image'. The second was the evaluation in 'simple image versus decorative image'. The third was the evaluation in 'pastoral image versus urbane image'.

• Korean Journal of Human Ecology
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• v.17 no.2
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• pp.305-313
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• 2008

This subject investigated visual evaluation of preference and fitness level of set-in sleeve in sleeve types(form)and studied suitable sleeve type at silhouette and targeted female students in twenties. The results of study were as follows: 1. Visual evaluation factors in set-in sleeve of sleeve types were selected 6 factors; the 1st factor is decorativeness, the 2nd factor is attractiveness, the 3rd factor was activeness, the 4th factor was feminine, the 5th factor was charming and 6th factor was a figural element. Decorativeness and attractiveness factors in visual evaluation of sleeve types were the most important level. 2. The visual evaluation differences of sleeve types in set-in sleeve were as follows; in the 1st factor, S and P2 were the most decorative sleeve type. in the 2nd factor, S, P2 and P3 are the most attractive sleeve type. in the 3rd factor, B and P3 were the most active sleeve type. in the 4th factor, L was the most feminine sleeve type. in the 5th factor, P1, L and P3 were charming sleeve type. in the 6th factor, P3 was evaluated that it shows narrowened shoulder sleeve types. 3. The analysis result of preference and wearing level in each sleeve types were as follows. 20's female university students like to wear S, P1, P2 and P3 sleeve types and the most favorite sleeve types are S, P2 and P3. 4. The analysis result of silhouette set-in sleeve in sleeve types; S, B and P2 in H-type silhouette, P2, S and P1 in A-type silhouette, B and P3 in O-type silhouette, L and P3 in X-types silhouette were show the most suitable sleeve types.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.523-534
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• 2009

The purpose of this study is to categorize the dimensions of the visual evaluation of the costume details of the retro romantic fashion and to research on the costume details and the visual evaluation by evaluators' gender, age, and major, and on their preferences. Quantitative research were conducted for this study. Based on the pictures, 10 costume details were selected for the survey questions and data were collected. All 446 subjects who participated in this research were college students(males and females) residing in or near Seoul. Data were collected in September, 2008. The collected data were statistically analyzed using SPSS which included: factor analysis, Cronbach's $\alpha$ reliability analysis, three-way ANOVA, two-way ANOVA, one-way ANOVA, Duncan's multiple range tests, and the t-test. The results of visual evaluation of retro romantic fashion are as follows: First, as a result of the factor analysis of the costume detail evaluation, five factors including attractiveness, decorativeness, cuteness, retro, and femininity surfaced. Second, the gender difference in the results of the research revealed that women rated decorative, cute, retro, and feminine characteristics higher than men did. Third, there were significant interactive effects in attractiveness and femininity depending on costume details and evaluators' gender. Fourth, subjects majoring in fashion valued attractiveness and femininity of the stimulus over non-fashion majoring subjects. Fifth, there were significant differences in the preferences of costume details depending on gender.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.3 s.25
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• pp.1-14
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• 1987

The purpose of this study was to compare with the Persian texile design having an out-standing skill in fertile designs with the Byzantine textile dosing being influenced a lot by Christinity and many Oriental factors including Hellenism. These two textile design have some similarities and differences in their patterns. The results of the study were as follows: Similarities ; 1. The Persian traditional animals, hunting scenes and cavaliers are used as the major subject in both patterns. 2. Decorative designs enclosed circular are used in both patterns. Differences ; 1. The Persian textile designs are based on Zoroasterianism, and their animal designs have the Zoroasterian religious meanings. While the Byzantine designs are affected by the Christianity. In the Byantine textile designs, the mythical subjects from ancient Rome and Greece, and the circus scenes are dominent. 3. The Persian textile designs are combative, momentary, dignifed, and realistic pattern, while the Byzantin textile designs are playful, sketchy, humouristic, and evasive pattern. 4. Vivid color effect was found in the Persian textile patterns: however, more refined and gorgeous color was used by the Byzantine textile patterns. Thus, the Persian and the Byzantine textile patterns have interrelations with each other. In general, the Persian textile patterns have affected a great deal on the Byzantine textine textile patterns. They are essentially corelated with each other, but each of them has its own characteristics.

• Journal of the Korean Society of Costume
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• v.35
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• pp.253-264
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• 1997

Han-Bok presents a unique consumption ex-perience different from Western dress which is common to our clothing life. This study is intended to propose the necessity of broad-ening deepening and systematizing a research related to the social aspects of Han-bok. A questionnaire consisted of 10 statements of attitude to Han-Bok 7 statements of the evaluation of the occasional appropriateness of Han-Bok preference questions about style color harmony and decorative materials of han-Bok was developed which includes 5 opinion statement of the importance of tra-ditiona and some demographic variables. During December 1996 and January 1997 the women aged above 20 responded to it and finally 702 data was analyzed. Korean urban women have positive attitude to Han-Bok And the conceit about Han-Bok was significantly higher than the intention to wear it . The most properly evaluated occasion for wearing han-Bok was 'holdays' like Seolnal and chuseok Han-Bok was evaluated im-proper for casual wear and out wear. Factor analysis of 7 occasions determined 3 factors; traditional occasion special occasion and cas-ual occasion. It is needed to identify the ef-ficiency of Han-Bok according to each differ-ent occasion. Korean urban women preferred the style of traditional line soft color and modern har-mony. In a viewpoint of tradition they put more importance in the line of Han-Bok that they do in the color of it.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.85-93
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• 2009

In this study, the ex-formal expressions observed in space form of Korean modern architecture are distributed for characteristic analysis based on the period and type. The result of the study is certified by the work analysis and the result is as follows. Initially, due to the limited materials and influence of western brutalism, the works developed during 1960~70 tend to be plastic and contain expressionism. Around 1980's, the works tend to show forms of amusement and popularity. In 1990's the works show significance in deconstructive expression. From after 2000, ecological concept of architecture was introduced and organic expression started increasing Secondly, the ex-formal expressions are found to be in four different types. The organic expression is shown regardless of the period. In modern days, not only the physical properties of materials, but also the ecological concept is combined with the organic expression and is in increase. The plural expression started appearing after the 1980's and the sculptural diversity is enhancing with the addition of decorative factors or modification of geometrical form. The ex-construction and deconstructive expression show significance in some characteristics such as folding, inclination, and geometrical explosion. The free form and nonlinear expression tend to increase dramatically based on the development of structure technology as well as execution and introduce of the digital design technique.

• Journal of the Korean Society of Costume
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• v.45
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• pp.55-70
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• 1999

The purpose of this study is to offer a new inspiration for fashion design relating the "Romanticism" in art to one in fasion-examining the circumstance expressionad the latest trend which is involved with it. Since. 1990. Romanticism is motivated and represented in the middle of aridity in this age which is going on the end (of age). To say the details Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is classified in four categories : Retro Avantgarde, Minimal and Ethnic. First Retro mood in Romanticism is represented by reappearing the costumes in medieval Renaissance Baroque Rococo, Romantic era Specially corsets crinolines bustle decorative ribbons frills and Medieval symbols in religion are important factors in intuitional symbolic Romanticism. Second Avantgrde mood in Romanticism is mainly represented in the oriental patterns colors items being motivated by Eastern customs images and cultures. Today they appear in modern concept reinterpreting 'fusion" "hybrid" and "cross-over". Romanticism in fashion is creating new forms and beauties absorbing the past and the present. In addition it is motivated by the nostalgic mood. the expectation for the future and the refineent. Romanticism would be an important fashion theme to offer new inspirations for the fashion in 21th century rather than remain at the reappearance.er than remain at the reappearance.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.97-113
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• 2019

Among the many factors affecting fashion trends, the concept of war has been particularly instrumental throughout human history. Specifically, military uniforms worn during the WWI and WWII became popular fashion styles that introduced military uniforms to modern fashion and continue to be influential to this day. And the fashion accessories market is continuously demanding new styles. The purpose of this study is to investigate the reasons why military uniforms have been continued to be influential in contemporary fashion, to apply fashionable features of military uniforms, and to make leather accessories by using leather-carving techniques. The characteristics of military uniforms were analyzed in advance research, domestic and international literature, and cases applied in modrern fashion collection. In conclusion, five modern fashion accessories were developed by combining the form, function, and decorative elements of the military uniform that have been constantly reflected in modern fashion with leather handcraft carving techniques. This study is meant to suggest the possibility of developing artistic and original fashion accessories that are both practical and reflect the history of military uniforms.