• Journal of the Korea Furniture Society
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• v.21 no.4
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• pp.293-303
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• 2010

With changing systems of wealth creation around the 21st century, crafts(traditional and industrial crafts) are affected by the trend of changes or lead the trend, that is to say, a turning point of paradigm has come. Values of crafts give the value of users, and the tradition and modern coexists in the trend of times changing from the tradition to the modern so crafts artists’ works are diversified and used in design industries. Based on a place of expression showing various beauty of crafts, identity of design is established through ‘Craft Consilience’ of intangible cultural assets, master craftsman, crafts artists, crafts industries, and crafts departments. As master craftsman and furniture designers meet together to mix master craftsman’s idea with designers’ idea, the new Korean crafts furniture is suggested.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.23-32
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used some Gyubang crafts for wedding ceremony. But perhaps there has not been systematic information about them. Nowadays there is common the western style wedding ceremony instead of traditional style in Korea. So the decrease in the use of them have being appeared. Purposes of this study are to organize the resources about them systematically data of Gyubang crafts used traditional wedding ceremony, and to investigate characteristics of them for propose some idea of application them in the life of today. The results are as follows : Gyubang crafts used traditional wedding ceremony can be separated roughly into four types in use : wrapping clothes, cloth bags, ornaments and items related to sewing. They were apt to be traditionality, symbolic meaning and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill than other Gyubang crafts. There'll be some follow-up studies on ideas for preserving and appling in modern life.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.160.1-161
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• 2003

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.205-216
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used special Gyubang crafts for wedding ceremony. Nowadays there is common the western style wedding ceremony and then the use of wedding Gyubang crafts have being decreased. Purposes of this study are to investigate characteristics of and to propose some idea of preservation and application them in the life of today. The results are as follows; Wedding Gyubang crafts can be classified Bojagj(wrapping clothes), Jumeony(cloth bags), ornaments, items related to sewing and others. They were apt to be traditionality, symbolism and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill. So there was needed preservation them. Some way of preservation and applications them were suggested ; alternation in keeping with modern needs, use of ornament, alteration in present-day life, application their image to Korean cultural products, textile design and so on. Several works were developed by ways suggested and exhibited in order to arouse new understanding Wedding Gyubang Crafts to public.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.236-237
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.106-107
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• 2004

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.485-499
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• 2012

This study suggests designs for fashion-cultural products that can communicate the uniqueness of Korean traditional culture. To this end, motives and printing patterns were created based on the formative beauty of traditional sewing crafts. A literature review was completed to identify characteristics of Korean traditional sewing, and the motives were developed through Adobe Illustrator CS4 and Adobe Photoshop CS4. Those motives were applied to handkerchiefs, neckties, pouches, and handbags. The sewing crafts used in this study included thimbles, bobbins, and chumoni (a Korean traditional pouch). The motives were produced in a manner that best exemplified the unique formative beauty of the sewing crafts while also presenting modern images of the crafts. The motives from thimbles reflected the lateral side of their originals, while the motives from bobbins adopted fan- or rectangular-shaped bobbins. The motives from chumoni were based on Duruchumoni and Guichumoni. A total of 12 motives were developed, and a total of 36 textile designs were suggested based on those motives. A total of 42 designs for fashion-cultural products, including handkerchiefs, neckties, pouches and handbags, were developed. Among them, motives applied to handkerchiefs were expanded to apply to scarfs, as well.

• Journal of Ocean Engineering and Technology
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• v.24 no.6
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• pp.103-108
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• 2010

WIG crafts are high speed vessels with the features of a dynamic supported craft. These crafts, which are predominantly lightweight and operate at substantially greater speeds than conventional craft, could not be accommodated under traditional maritime safety instruments. WIG crafts inherently possess more hazard factors than conventional ships because of their relatively high speed, lightweight, and navigational characteristics, and an accident is likely to cause damage to the ship and a high loss of life. Because WIG crafts are composed of many systems and subsystems, the safety assessment of a WIG must use a commercial software system in the design stage. This paper reviews a safety assessment process and methodology proposed by the IMO interim guideline, which were developed in view of the configuration of WIG crafts. This safety assessment system was developed to fit the WIG's safety assessment process using a reliability analysis system widely used in commercial systems. The FHA was performed on the functional hazards of systems in the conceptual design stage.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.335-342
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• 2021

Launched in 2017, Loewe Craft Prize is now establishing itself as the most prestigious craft contest in the world. In this study, we noted the background behind the Loewe Craft Prize, which started with a luxury brand, developing into the best contest covering all crafts in a short period of four years. In crafts with various contests around the world, Loewe Craft Prize's interest in craft, which has no limitations on genre diversity and materials, is a result of no contest. This is possible by forming and developing a complex contest, which is differentiated from the existing single-material contest and the distinct values of the crafts possessed by Loewe Craft Prize. In this study, the background of this result was the convergence of materials, the fusion of tradition and modernity, and the convergence of science and crafts, and the tendency of writers and the flow of modern crafts through their works. We also want to find out how the meaning of the expansion of the craft genre affects modern crafts.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.29-37
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• 2017

Due to the pursuit of individuality by modern consumers, the day has come when it is hard for design to be sustained solely by external beauty. Accordingly, products with the psychological value and brand stories are appearing, so that products that reinterpret traditional crafts are now being appreciated for their merits. Handmade goods defined as new luxury goods or products of high-quality craftsmanship are being used to enhance the consumer's individual image, and has created an unprecedented consumer stratum structure. Japan is one of the countries that actively applies traditional crafts to contemporary design and this study aims to investigate cases that are being reinterpreted in modern fashion in the theme of Boro, which is not as well known among Japanese traditional crafts. The purpose of this study is to offer basic data for designers by investigating the cases of the reinterpretation of traditional crafts. In addition, in reinterpreting traditional crafts into other fields, it is regarded as a meaningful way to contribute to a variety of other ideas. As the research method, first, the definition and kind of Boro were investigated utilizing the related literature information about the traditional fabric of Boro, which is the starting point and basis of the research. Second, Japanese aesthetic sense defined in the previous research was classified and the relationship of the anti-decorative aesthetic sense and Boro investigated. Third, after classifying the reinterpretation cases of Boro that have appeared in four major fashion collections and designer brands from 2011 to 2016 by the selected aesthetic sense, its characteristics were investigated. The search for examples of the reinterpretation of Boro uses the results of the keyword search of Boro and Boro Fashion via the internet search engine Google from April 2016 to December 2016. In addition, the search results were selected on the basis of whether the designer specified borrowing from Boro or whether Boro on the collection order was included or not. In addition to introducing an unknown fabric craft, this study also raises the methodological problems of the reinterpretation of traditional crafts. Products containing psychological value are expected to come into the spotlight in the upcoming consumer market. Therefore, as a follow-up study, it is suggested to research examples in which various crafts are being applied as products before one knows, how this creates new originality, and the limitations involved in this.