• 복식
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• 제24권
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• pp.157-176
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• 1995

The purpose of this treatise is to study external form and internal meaning of minimal expression fashion which appeared as a major stream in modern fashion trends to understand one aspect of modernism in fashion and also to gain insight into internal value of human beings through fashion. The results can be summarized as follows : Firstly , minimalism is a trend in art attempting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means and minimal production process. Secondly, minimal expression in fashion means seeking simplicity an dpurity by using minimum design elements and minimal productive process. Thirdly, external from of minimal expression fashion can be created through application of following minimal expression techniques. 1. Minimal expression techniques in terms of line mean smooth curve flowing along body contours, straight lines of diagonal lines into desciplined silhouette or rendering internal contour lines. 2. Minimum expression techniques in terms of forms mean forms of smooth curves flowing along boyd or forms with simple geometric forms from qualitative aspects, In terms of volume it means quest for essence of pure body itself by revealing body as it is by minimizing the size of dress or its area and herein is contained using simple geometric pattern or utilizing textiles without any patterns.3. Minimal expression techniques by colors mean simple colors such as primary colors, colors without clear distinctions or natural colors and in terms of quantity it means quest for one color within one item of dress or combination of each items when getting dressed. 4. Minimal expression techniques in terms of fabrics mean fabrics with simple surfaced. In terms of quantity it means quest for essence of tight fitting thin textiles to human body or using transparent materials to human body thus exposing body contours as it is. 5. Minimal expression techniques in terms of productive process mean minimizing process of tailoring , sewing or ornamenting and seeking for simplicity and purity. 6. Minimal expression techniques in terms of manufacturing process mean selection of technique conveying simple image with disciplined simple image. Fourthly, minimal expression fashion with external expression as mentioned in the above lay body-priority style and its internal meaning can be asummed as quest for essence and purity of human body.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 대한가정학회지
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• 제47권3호
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• pp.1-9
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• 2009

This study was conducted to examine how patchwork was expressed in fashion based on theoretical background on its brief history and expression styles and to show its possibility of creating ways for new expression in modern fashion. This study reviewed literatures on definition, history and styles of patchwork and investigated mainly works, which had been presented in collections home and abroad since 2000, to analyze its expressive characteristics shown in modern fashion. According to analysis on the expression of patchwork, it used various painting techniques such as patterns, colors and surface effect. It included patchwork having patterns provoking elusion of fairy tails; containing painting expression of reproducing works of artists; using colors boldly and contrasting strong primary colors directly to establish purity of painting and to pursuit characteristic expression; and using expression techniques of pure art such as gradation and cutting. Second, it used a compromise expression in materials, methods and substances. Patchwork which had used cloth without a pattern or printed fabric, utilized various materials like vinyl, paper, leather, metal and plastic and had a figurative value showing a solid expression as an objet itself with new techniques and changes of connecting methods. Thirdly, it used tradition patchwork techniques. Pieced patchwork, crazy patchwork and images of traditional odd ends of cloth covering a meal were applied to a whole area or a part of cloth to avoid monotony of design and to use it as a decoration.

• 만화애니메이션 연구
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• 통권16호
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• pp.113-124
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• 2009

이 논문은 2D애니메이션의 표현적 색채를 집중적으로 고찰해봄으로써, 3차원적 공간을 탈피한 애니메이션의 색채가 실사 영화와의 근원적 차이를 보여 주고 있음을 밝히고자 하였다. 재현의 대상이 분명한 매체인 실사 영화와는 달리 2D애니메이션의 이미지는 기계적 재현의 과정을 거치지 않은 인간에 의한 창작물이며, 그것이 드러나는 첨예한 현상이 애니메이션의 표현적 색채라 할 수 있다. 따라서 2D애니메이션에서 표현적 색채는 애니메이션 이미지의 자율적인 의미가 드러나는 중요한 지점이 된다.

• 패션비즈니스
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• 제24권4호
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• pp.30-47
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• 2020

The purpose of this study is to derive the type of image pursued by men at work and to present the fashion style element as a method of expressing the image to be pursued. The was carried out by deriving the types of seeking images of men at work through literature research and questionnaire on seeking images and analyzing cases through FGI. The results of the study on fashion style elements for each type of image pursued are as follows. First, the reliable image appeared a gentle and formal fashion style, and colors and items were identified as the main elements of expression. Second, the refined image appeared in a chic and dandy fashion style, and colors, fabrics and items reflecting trends were identified as the main elements of expression. Third, the neat image was identified as a simple and minimal fashion style, and details, fabrics, and colors were identified as the main elements of expression. Fourth, the luxurious image was found to have an intellectual feeling in a classic fashion style, and color and material are the main elements of expression. Fifth, the dignified image appeared in a fashion style that was well-dressed and felt classy and heavy, and colors, patterns, and items were identified as the main elements of expression. Sixth, the energetic image emerged as a business casual style, except sporty or active functional styles, with overall comfortable and cheerful feeling, fit, color, and items were noted as the main elements of expression.

• 복식문화연구
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• 제18권5호
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• pp.789-808
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• 2010

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel's clothing that is usually used by neutral colors and on Yohji Yamamoto's clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

• 복식
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• 제28권
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• pp.47-64
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• 1996

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner Makuranosorsi(枕草子) \lrcorner$ This book was written by a Japanese servant in the Royal Court about the year 10000. In this book many kinds of clothing ornament color and materials were mentioned. The discoveries of this paper were as follows. 1. There were 85 different kinds of name In detail there were 46 Clothing and Accessories 32 Clors 11 Materials Patterns the method of Dyeing. 2. All the Clothing and Textiles in Makur-anosorsi were reflections of the reality of that times. 3. From ancient times japanse Costume was much influenced by Korea. but around the 7th century the influence increased. 4. Almost all clothing and Accessories used in Japan in the 10th century had been pre-viosly used in neighboring countries Korea and China But after they were imported to japan some of them were changed to japans hybrids especially in name and shape. 5. In Japan Clothing Colors were used in various ways sometimes colors coordinated by over lapping dress and othertimes the colors were weaved together Namely the width and length of these colorful fibres are also signifi-cant meaning. This meas that the Japanese was much more interested in color than other countries and this also proves Clothing Colors were very developed in japan by the 10th cen-tury. 6. The Materials discovered in this book were almost all silk This is the reason why $\ulcorner Makuranosorsi \lrcorner$ was the expression of the Royal Court.

• 한국의류학회지
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• 제26권8호
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• pp.1153-1164
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• 2002

The purpose of this study is to find out the creative visual expression in fashion illustration through the previous general theories on creativity. The creative visual expression, in fashion illustration works, can be summarized eight categories as follows. There are 'maximization & minimization'to emphasize the illustrators'emotions and contemporary trends, proposed specially in body expression, 'inversion' seen as the forms of contra-perspective, upside-down, rearrangement of parts, diverted process, etc, 'Unusual uses'to add the effect of caricature, parody, and humor to the fashion illustration works, 'extraordinary connection'seen as the shapes of various combination between animals, plants, stuff, and man, 'concealment & elimination'used frequently in creative visual expression includes a deformed human body, an abstracted human body, an extreme value contrast, simple colors, and dress in silhouette, 'association'seen in various methods; comparing the similar shapes, describing a certain situation or details for analogizing the whole, ‘illusion’ expressed in surreal, mysterious, and fairy depictions and 'substitution'to imitate the composition and colors of masterpieces, copy the parts.

• 한국수정란이식학회지
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• 제29권3호
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• pp.297-303
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• 2014

The objective of this study was to determine the breed differences in the 3'-untranslated region (UTR) of MC1R mRNA, which may be used to distinguish Korean brindle cattle (Chikso) from other breeds. We investigated the relationship between the variation of 3'-UTR of the MC1R mRNA and coat color among different breeds and the Korean brindle cattle with different coat colors. MC1R mRNA expression levels were determined in accordance with the coat color and hair colors of the tail. Total cellular RNA was extracted from the hair follicles of the tails in Hanwoo, Korean brindle cattle, Holstein and $Hanwoo{\times}Holstein$ crossbred cattle. After cDNA synthesis, PCR was performed. Sequences of the 3'-UTR of MC1R mRNA were analyzed. The 3'-UTR of the MC1R mRNA from different breeds of cattle did not show any variations. There were no variations in the 3'-UTR of the MC1R mRNA in Korean brindle cattle with different coat colors. The levels of MC1R mRNA expression in hair follicles of the tail varied substantially among the Korean brindle cattle with different coat colors, except yellow coat color. Correlation between the MC1R mRNA expression in the hair follicles of the tail and coat color may be present in the Korean brindle cattle, but not between the variations of 3'-UTR of MC1R mRNA and coat color. Further studies to determine the regulation of MC1R mRNA expression from the hair follicles of different coat colors will be beneficial in clarifying the role of MC1R in the coat colors of the Korean brindle cattle.

• 복식
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• 제43권
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• pp.97-108
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• 1999

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamonokatary$\boxUl$ focus on Color and Dying. $\boxDr$Eigamonokatary$\boxUl$is a novel described the life style of Royal Court from 883 till 1107. The discoveries of this paper were as follows. 1. The materials of colors and dyeing which are described in this book reflect the features of the age well. We can assume that the point of its chic might rest on colors and dyeing than design or pattern. 2. Sine they enjoyed wearing lots of clothes which are in the same design but in different colors with the underwear. When color coordinate was fashioned we call them "Kasanenoirome". This type of dressing was in vogue in the age of Heian when there were several devices of showing chic in dressing. 3. The color of clothes at that time might represent one's official position the black the highest class following the purple the red and the blue or green. The black color was made from the purple or blue. The Japanese Emperor would wear reddish yellow or blue clothes according to the nature of his office work. 4. Some of Japanese fashion might be influenced by Korean styles in the respects of coordinating colors and adjusting Buddhist fashion etc. It is required that the turther studies of comparing Korean fashion styles with Japanese ones should be deepened. deepened.