• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1098-1108
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• 2009

This study finds the meaning of Anti Couture in the examination of the tendency and characteristics of aesthetics sense of Anti Couture in Contemporary Fashion. Anti Couture disregards the traditional composition and takes some subcultural elements, moreover, have the Anti-decoration characteristics of disproportion, disharmony, asymmetry, inperfection, and irregularity such as Japanese fashion. This study analyzed 600 works from 2000 S/S to 2008 S/S to figure out the Anti Couture to summarize the eclectic, humorous, avant-garde, poor, and minimal tendencies. The characteristics of the aesthetics sense of Anti Couture according to the tendency are analyzed into ambiguity, deformation, eclecticism, deconstruction, and artless art.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.166-172
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• 1998

Eclecticism had begun at 1820's and ended at the beginning of the 20c quoted historic and contemporary architecture. This trend is considered with architectural quotation and the meaning has the same text of the eclectic trend of Postmodernism, This study focuse on eclectic characteristics and have purposes of theoretical approaching to and formal analyzing to Contemporary Architecture. And it will be necessary to construct contemporary built environment for diversity of form Because expression of Architectural form by ecleticism is a method without experience designers can take architectural language by indirect experience of another worlds' architectural styles. Architectural form of Ecleticism has to be expressed by designer's own analysis when take a normal identity by creative principal of form-composition it will be a methodology of form composition and a prope necessity.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.125-137
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• 2003

This study is to explore the Post-modern fashion image appeared in the costumes of the movie $\ulcorner$Matrix2-Reloaded$\lrcorner$, which is believed to adapt successfully the Postmodernism ideas on screen. From this study, we can find that the movie costumes express certain formative characteristics considerably affected by the contemporary fashion trends such as Minimalism, Formalism, Futurism, Ethno-eclecticism, Asexualism. These are mostly common tendencies aroused in the complex and pluralistic circumstances of Postmodernism where many diverse values are equally regarded. Finally, the 5 trends lead to represent the following symbolic meanings with entanglement in multiplex ways, that is Virtual Reality, Mechanic Artificiality, Human Dignity, Mysticism, Multi-Culturism, and Nonsexuality to create a strong unified imagery and style in that Post-modern movie.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.67-67
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• 2003

After the end of the twentieth century, sexual boundary the man and the woman get collapsed, and the tendency of sexual discordance gets deepened in the costume influenced by cultural pluralism and eclecticism, and subculture which illuminates behavioral styles and values again. In this situations, some people want to be a woman with transsexual change operation, and on the contrary, some people reject to put on woman's dress and express themselves' images putting on the cloths like a man, a few of people who challenge the role of sexual dichotomy express their open identity persue their desires with self-confidence, exchange their informations through internet, interchange each other with open demonstration, and discuss and share their opinions about their social positions. In addition to it, some homosexuals, bisexuals, transsexuals and cloth perverts are used as the materials of cinema which pursue new world. They are utilized in the communicative program which recognize and observe the sexual variety as they are, and make a sexual values.

• Journal of the Korean Society of Costume
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• v.42
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• pp.137-162
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• 1999

The purpose of this thesis was twofold. First it explains the emergence of street styles and their inner meanings from its origin subculture group practices. Recent developments in cultural studies which approach cultural practices in a holistic way by incorporating socio-economic background offers us the concept of 'hegemonic relation' it explains why subcultural practices and street style in particular has weakened from 19080s as well as why in the post-subculture period we observe the 'superma-rketization' of styles and plethora of eclecticism instead of original ones. Street styles as a magical expression or resolution of socio-economic frustrations are anticipated to weaken significantly if not totally disappear in the post-modern era although it has become the original texts of high fashion.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.641-644
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• 2010

리차드 모리스 헌트(Richard Morris Hunt)는 19세기 미국의 대표적인 건축가로서 1855년까지 프랑스의 에콜 드 보자르에서 수학하고 미국으로 돌아와서 당시 미국의 대표적인 건축물을 설계하였다. 그는 그 자신의 작품적 특징보다 미국 건축을 절충주의적 경향으로 가도록 이끈 점이 그의 큰 역할로서 여겨진다. 당시의 미국 건축은 유럽의 전통에 비해 새로운 자유와 동시에 영향력 아래에 있었다고 볼 수 있는데 리차드 모리스 헌트는 이러한 신대륙의 건축의 성향을 이끈 대표적인 인물 가운데 한 사람이라 할 수 있겠다. 절충주의의 경향인 외관과 어울리는 실내디자인의 조합은 현대 실내디자인의 출발과도 같은 개념으로서 이러한 절충주의를 대표할 수 있는 리차드 모리스 헌트를 통해 미국건축의 절충 주의를 살펴보고자 한다.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.113-124
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• 2001

This study explored the characteristics of contemporary furniture called New Design furniture design in terms of aesthetics of communication in the postmodern era. Qualitative conceptural analysis as the principal methodology was used to explore the characteristics of New Design furniture, which is accessible to the broadest possible public. Thereby, the communicative elements of symbol, metaphor, narrative, animation, imagination, humor, and/or wit expressed in New Design furniture were analyzed according to the designers'concept and work. As a result the postmodern aesthetics of communication made New Design furniture accessible to the largest number of People through cultural considerations in New Design furniture as it influences designers 'concept and work. However, it showed problems of New Design furniture in connection with postmodern aesthetics affecting mass production. Therefore, the designers have begun rethinking, redefining, and redesigning their furniture aesthetically, functionally, economically, and ecologically.

• Journal of the Korea Furniture Society
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• v.14 no.2
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• pp.63-74
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• 2003

This study explored roles of the ornament in contemporary furniture that contemporary furniture designers make their furniture different, convey a metaphorical message, and competitive. Contemporary furniture involved in the ornament is decorative, beautiful, and characterized by craftsmanship through eclecticism and pluralism reestablished in furniture design in the postmodern era. Also, the ornament has been presented in the context of the blurring of art/craft distinctions. Thus, the contemporary furniture is called as art furniture/craft furniture which is diverse from minimal decoration to maximal decoration. Hence, by using all of the ornamental context, the furniture designers try to satisfy and communicate with the largest possible number of people, and have numerous opportunities to select according to their characteristics or taste. Finally, their furniture in the futuristic mode may be cross-cultural work that everybody in the earth can understand, enjoy, and appreciate in his/her daily space through his/her everyday use.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.10
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• pp.1779-1790
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• 2001

새로운 탄생을 위해 과거의 것을 재조합하는 역사적 절충주의는 오늘날 과거로 회귀하고픈 현대인들의 요구에 부합하며 환영받고 있다. 본 연구는 복식에 표현된 역사적 절충주의 양식을 파악하기 위해 건축을 통해 그 특성을 규명하고 이를 복식에 적용시켜 19세기 복식은 복식사 문헌을 바탕으로 20세기를 대표하는 1990년대의 복식은 $\ulcorner$콜렉션$\lrcorner$지를 중심으로 복식의 역사적 절충주의 양식을 살펴보았다. 연구 결과, 서로 다른 두 장르에서 펼쳐진 역사적 절충주의는 비슷한 시기가운데 1)형태 참고를 특징으로 하는 조형성, 2)장식적인 아름다움을 특징으로 하는 장식성, 3)새로운 재질과 발전된 기술을 기반으로 하는 기술성, 4)불투명한 시대 경향을 지시하는 모호성이라는 조형적 특성을 나타내었고, 이로 인해 건축과 복식의 문화적 공유성은 재확인되었다. 이처럼 복식의 역사적 절충주의를 통해, 과거의 힘이 무엇이며 현재에 어떠한 의미를 지니는가를 상기한다면 복식사의 중요성은 더욱 부각될 것이다.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.502-515
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• 1997

The purpose of this thesisis to show that, on the basis of a reconstructed theoretical framework of postmodernisuL the seemingly chaotic phenomena in recent fashion specta ole- i.e. extensive eclecticism and deconstruction of styles - can be systematically explained and that it is by no means a transient anomaly. The main task of this thesis is to distill out from the apparently chaotic scene in the Catwalk such distinctive features as 1. the bona fide postmodern subculture fashion as a non-mainstream,2. the subculture elements introduced in the mainstream, pastiche a la Jameson. Our theoretical framework enables us to establish these features as the necessary outcomes and tendencies of postmodern logic.