• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.131-145
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• 2009

Literature in beauty art is insufficient regarding beauty spot, though it has played an important role in beauty art history. This study aims at analyzing various patterns and decorative functions of beauty spots and examining their remarkable differences by place and time. It attempts to find the symbolistic characteristics of beauty patch which influenced European countries socially and culturally in the 17th and 18th centuries, findings are as follows: first, beauty spots are extremely various by patch patterns and by forms, e.g. Wha-Jeon(花鈿), Bindi and artificial points. In the view of cosmetic purpose, they have been used to beautify appearances, reveal social positions and express the desires like blessing or protection from evil. In the times of Baroque and Rococo, though temporarily, people with beauty spots and their belonged societies used them as communicative tools: obviously, they functioned symbolistically. This study surveyed 156 persons to find what cosmetic messages and images beauty spots present in the contemporary world. Using SPSS 13.0, the study analyzed the responses and found that beauty spots are still functioning and welcomed to let women look more beautiful and more attractive, though their cosmetic messages and sizes have been simplified and scaled down.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.85-95
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• 1986

Sonia Delaunay(1885$\~$1979) was one of great pioneers of abstract art, who looked at clothes and fabrics with a plastics eyes. In Association with her husband Robert Delaunay, they were instrumental in founding the movement of Orphism, she proceeded to mix strong and bright colors into her art and had a brilliant influence on the decoration and women's fashion of the 1920's. Having a strong sense for dramatic and decorative color derived in part from childhood remembrances of Russian folk art she initiated a total revolution in which she created her first simultaneous dress with multi-colored samples of materials. She extended the principle of color's simultaneity to the field of fashion, fabric design and applied art. She was interested in the dress for ballet and opera. Fashion designer Paul Poiret asked her to design the fabrics and she created the geometric and abstract patterns with her strong color. It seemed that her design was revolutionary and avant-garde. Always she desired not only art of seeing but also art of living. The purpose of this study is to recognize the influence she had upon the history of modern fashion and fabric design. It was remarked that her paintings served as a basis for later developments in Kinetics Art and had influences on 1980' s abstract patterns for silk dress. Finally, the concept 'simultaneity' of her art signifies endless rhythmes in space and time.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• Journal of Korea Multimedia Society
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• v.20 no.12
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• pp.1992-1999
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• 2017

This study proposes a decorative typeface which is produced through the concept of trigonometric functions in an open-source programming language known as Processing. First, the theoretical background of Processing and trigonometric functions as well as previous research in this area are analyzed. Second, basic modules of 'V', 'I', 'O', and 'M' were created for use as the final alphabet typeface with the concept of a trigonometric function. Third, a decorative parabolic curve that encircles the base module was created. Finally, the modules created on Processing were edited in Adobe Illustrator to create a typeface set with characters from A to Z. Various artworks using Programming can produce an infinite number of different versions by modifying only some of the variables and codes, and this method can include multimedia features such as text, images, videos, interactive art and various forms of content and media. Therefore, with regard to expression, the possibilities are endless. In this study, I attempt to expand the field of visual culture using programming and computational methodologies. In contrast to the digital typeface production method, which relies on existing graphic tools, this study is meaningful because it expands the range of use of decorative typefaces.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.1-15
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• 2003

Buttons in general reflect the culture of the society, and their values depend on practicality, decorative feature, and symbolism. Their infinite potential enables us to attempt various original changes in formative factors such as forms, patterns, colors, materials and sizes. In addition new styles, methods, and techniques are tried to show that the decorative feature becomes stronger today than it did in the past when the function was more important. Now buttons are not only a factor of clothing but have value as composite art works reflecting the pride, idea and culture of a nation. Moreover consumers' interest in new designs increases everyday as the moderns' desire for unique individuality rises. Button designs of Korea, however, are still far behind in the aspects of materials, qualities, and methods, facilities, and scale of production. And uniform mass production prevails without the buttons of creative and artistic values made due to the lack of specialized designers. Therefore it seems necessary to carry out historial studies simultaneously with the rising interest in button designs now. Prior to developing new designs, the study will examine those of western buttons that are the origin, going through relevant literature and data to define the characteristics of each era and type. It may provide basic data for developing the backward button designs of Korea.

• Journal of the Korea Furniture Society
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• v.26 no.2
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• pp.101-111
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• 2015

Today, boundaries between genres are collapsed and there are mutual convergence and consilience in each field of the society. In art and design, new concepts for the convergence of art and design, such as graft of 'art and design' and 'technology and art', 'art design', 'commercialization of art', etc, are suggested. Especially, furniture is changed from the furniture as a living tool whose purpose is practical properties to the furniture combined by artistic properties and emotional factors with a concept related to the convergence of art and design, such as 'design as an art', 'useable art', etc. For the evidence, Artfurniture which was treated as just a part of decorative arts is focused by expressive media of the convergence between art and design and it became a genre of independent art. In addition, it is approaching to people as 'furniture as an art' and 'art as furniture'. Popularization of art and art of design are generalized and now, it's meaningless to divide the boundary between art and design. Before the discussion about convergence of each concept in non-boundary phenomena of art and design, it should be grasp essentials of art and design and understand the boundaries. The exploration of the essences and roles will be the first step to find new value through the convergence of art and design. Therefore, this thesis intends to grasp the stream value of two concepts have been changed by examining periodical situation, market changes, etc. from division between previous art and design to modern times, based on them, analyze roles of art and design in modern artfurniture and interpret relations between art and design for current time.

• Journal of the Korea Furniture Society
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• v.24 no.3
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• pp.226-238
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• 2013

In the 21st century, boundary between different fields is coming down, convergence and consilience are taking place. It would not be an exaggeration to say key buzzword of the 21st century is 'convergence'. Also in the field of art and design, the border between the two areas is getting more ambiguous. With the reason, both the new awareness and interest on Art Furniture are becoming more heightened. So far as part of the decorative art category Art Furniture was covered. However Art Furniture is now no longer a fixture of that field, but became independent as a new genre of art. As proof of this, at the international representative art fairs including the Design Miami, PAD London, and The Salon of Art and Design which was recently established in New York, etc. Art Furniture is becoming a showcase as the main pieces. Moreover, at the world's major art market Sotheby's, Christie's, and Seoul Auction, Art Furniture's position is more successfully becoming extended. At this point the analysis of the status and the cause on the non-boundary phenomena between art and design is inevitably required to understand the disposition of the public and to develop the domestic furniture industry. Thus, this paper purposes to present the new direction for that the domestic Art Furniture encompasses the two areas with satisfaction to the demands of the public by studying on the non-boundary phenomena between art and design in contemporary Art Furniture.