• 패션비즈니스
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• 제22권4호
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• 한국콘텐츠학회논문지
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• 제15권4호
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• pp.104-113
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• 2015

적극적인 여가 시간의 활용으로 생활 스포츠와 관련된 스포츠 패션은 계속 발전되고 있다. 이에 비하여 국내 수영복 산업 분야는 특화된 트렌드 분석과 디자인 개발 등에서 타 영역에 비하여 앞서 가지 못하고 있는 실정이다. 본 연구는 국내 수영복 디자인의 사회 문화적 배경에 따른 디자인 트렌드를 고찰하여 현대복식사적인 흐름의 연구와 함께 패션 디자인 요소를 분석하여 수영복 디자인 개발을 위한 기초 연구 자료를 제공하는데 목적이 있다. 연구범위로는 1960년대부터 2014년 최근까지의 수집된 국내 수영복 브랜드의 상품 카탈로그 138권과 웹 사이트 8종의 1004스타일 자료에서 수영복 착장 사진 총 9,549개를 분석 대상으로 선정하여 이미지에 나타난 실루엣, 소재, 색상, 텍스타일 디자인 등의 조형적 특성을 분석하는 방법으로 진행하였다. 연구결과 사회 문화적 변화의 주기가 짧아지고, 트렌드가 다양화됨에 따라 수영복의 디자인도 변화의 폭이 커졌음을 알 수 있었다. 특히, 컬러와 텍스타일 디자인의 다양한 콘셉트 전개가 두드러졌다. 또한, 기술적으로는 신소재의 개발과 원단 프린팅 기술의 발전으로 착용감은 더욱 향상시키면서도 디자인의 구현이 용이한 방향으로 발전하고 있다고 할 수 있다. 이상 연구의 결과는 국내 시장에서의 수영복 디자인 개발에 기본 자료로서 활용 가능할 것이다.

• 복식문화연구
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• 제10권3호
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• 복식문화연구
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• 제11권3호
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• pp.367-374
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• 2003

When analyzing forms in the human body and clothes, we conceptualize each part into a cone, sphere, and cylinder, and the esthetic characteristics of our fashion culture and esthetic fashion characteristics of Koreans are composed by expressing with universal images such as circle, square, and triangle when forms are expressed in a plane. To determine how the structural principle of shapes that are the shapes of all things and basic to geometry, i.e., circle, square, and triangle, applies to clothes that cloth our body called the small cosmos, we discussed the symbolic meaning hidden inside the structure of Korean clothes based on the basic pattern drafting method of Korean men’s traditional trousers. We drew the conclusion that Korean men's trousers composed of circles, triangles, and squares express the five elements diagram through their plane structure, are designed in circles with cones and pyramids, and are made to well express the principle of the small cosmos of our body. Moreover, when the basic pattern of Korean men’s trousers explained with the antipathy diagram is viewed to create all things while maintaining opposite and complementary relationship with Sangsang (mutually benefitting factor), it would be correct to say that the principle of the top verse the bottom is viewed as conflicting. From the structural point of view, since the philosophy of the Samsu principle (the principle of 1, 2 and 3 in which 1 represents the heaven, 2 represents the earth, and 3 represents the people) is hidden in Korean men's trousers in which Hurimalgi (the part of trousers corresponding to the waist band of Western pants) is the circle representing the heaven, Marupok is the square representing the earth, and Sapok is the triangle representing the people, we could look at deep meaning of our ancestors expressed in our clothes.

• 복식문화연구
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• 제16권1호
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• pp.130-144
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• 2008

A recent concern about Goguryeo era reflects the efforts to find out our spiritual roots, which have descended from the ancient times; Goguryeo clothing study leads to analysis of our national spirit in terms of form. This study aims to analyze formal property and intrinsic meaning of Goguryeo clothing for Korean ramie clothing design and draw traditional images to derive design elements applicable to ramie clothing. On the basis of technical books, newspaper article, internet and precedent studies, theoretical study on Goguryeo clothing and ramie property was followed up with positive study to analyze the clothing on the Goguryeo ancient tomb mural. The results are as follows: First, a progressive spirit is to progress and develop anything actively; This spirit represents Goguryeo people's ambition and racial characteristic as horse-riding people; The rigidity of ramie fabric is suitable for expressing straight silhouettes and detail in Goguryeo dress. Second, a fluidity means flowing property in opposition to fixation; in the case of clothing, it has a tendency to change form according to body motions; The extensibility and crease-resistance of ramie fabric is suitable to express pleated skirts and holds high design value for modern people who tend to regard clothing as important individuality expression. Third, a universal property to introduce and receive; as Goguryeo was a prosperous country established by conquering an open plain, the period formed a society that recognized diversity by introducing foreign cultures freely; a universality suggests the direction of modernization of traditional ramie clothing and stimulates us to discovert new design through compromise between various cultures rather than to stick to traditional style. Considering the fact that precedent studies on traditional clothing are concentrated upon the Joseon period and also limited to formal analysis, this study aims to derive design elements for actual clothing making. These results are expected to be used as basic material for study as well as reference for designers who wish to design modern Korean clothing.

• 한국의상디자인학회지
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• 제16권3호
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• pp.101-115
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• 2014

This study evaluated the effect of image type of the beauty trainer on satisfaction and stress regarding the major. The data were analyzed by spss 18.0. Frequency analysis, causal analysis, reliability analysis, T-test, one-way variance analysis, and multiple regression analysis were carried out, and the result is as following. First, as the result of analysis the image of beauty trainer, we defined inner, outer, and social image. Second, the difference between images of beauty trainers revealed that people with high interest in the major ranked the inner image of beauty trainer the highest. Respondent with the lowest and the higher class satisfaction also deemed inner image important. The same was for respondents with beauty awareness. For outer image, people with the lowest class satisfaction ranked outer image the highest. And people with beauty awareness recognized beauty trainer's outer image more important. Respondents who said the major have bleak future deemed outer image even important. While the social image was recognized the highest by respondents with lowest class satisfaction. Third, as we analyzed the correlation between the image type of beauty trainer and major stress/satisfaction, the higher the satisfaction for the trainer's outer and social image gave higher class satisfaction. And less stress about the major resulted in higher major satisfaction. Fourth, we evaluated the effect of trainer's image on the class satisfaction and stress. Fifth, the lower the awareness of inner image and the higher awareness of social image resulted in higher major stress. Lower inner image gave high major satisfaction, while high social image resulted in high major stress.

• 복식
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• 제59권10호
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• pp.85-97
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• 2009

This study aims at applying Photoshop functions to digital make-up(DM) for aging effect based upon the knowledge of phrenology, comparing the result with that of the real or off-line make-up(OM) and identifying any possible difference between two methods: which contributes to understanding the potential and problems of DM at application level. This study aims at suggesting a method to apply computer graphics(CGs) to special effect make-up for aging effect through a case, contributing to attracting academic concerns and building theoretical frameworks for DM. It used 'Aging Process' in Adobe Photoshop CS4 Extended(CS4E) to change a young girl into a senior lady. In the process of DM, the study applies various tools and methods to making face wrinkled, finds the most effective way among them for each area of face, suggests a method to integrate the ways and shows the result of the method. Compared with OM, DM using CS4E is the less constrained work regarding procedure and time. Specifically, it can save the time tremendously because the reiterative operation of work can be omitted, when the same work is repeated, using 'Action' function which memorizes the history of the work. Once a DM work is produced, since it is durable, reusable and convertible to various images with additional operations, it seems very economical as well as highly promising to market the work through on-line sales. Regarding face features and skin, it reviewed literature in make-up and phrenology while it used Photoshop CS4 Extended tools to demonstrate a case of aging effect by combining and painting pictures of a young lady and a senior citizen.

• 복식
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• 제59권1호
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• 한국의류산업학회지
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• 제16권4호
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• pp.645-652
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• 2014

This study identifies consumer needs and a pattern sensory evaluation of jacquard fabrics for raincoats using quick-drying-absorbing polyester. We investigate the consumer's consciousness and raincoat improvements. Twelve kinds of jacquard fabrics were developed for use in this study. Developed jacquard fabrics were assessed subjectively by 152 university students using a 7-point scale of 26 consumer needs and 31 pattern image sensory descriptors. Data were analyzed by SPSS. The major results were: There was a need for consumers to improve the front fastener type, cuff fastener, mesh patch position, and raincoat pocket position. The most important parameter to choose raincoat fabric was waterproof and the other parameters were vapor-porous/water repellent, design, color, fashionability, air-permeability and easy-put on/off. The pattern image sensibility of jacquard fabrics was explained by seven factors: gorgeous, simple, cute, futuristic, ethnic, feminine, and cool. A higher pattern preference was found in the jacquard fabrics of unique, sporty, natural, luxurious, and trendy images. The pattern preference was predicted at 45.3% with gorgeous, simple, pure, cute, futuristic factors. The correlation coefficient between the pattern image sensibility factor 1 (gorgeous) and pattern preference was 0.674 and with factor 3 (cute) was 0.416, and with factor 6 (cool) was 0.209. The 4 factors (gorgeous, simple, cute, futuristic) were selected as a significant pattern image sensibility that influenced preference.

• 복식
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• 제58권7호
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• pp.13-30
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• 2008

Visual language is 'a form of communication without text'. Visual language is one of the strongest methods to spread knowledge. Uniforms could be interpreted as a symbolic language that establishes order in this complicated modern society by placing identity and responsibility on each members of various different organizations. In light of the above, the purpose of this research paper will be to analyze police uniforms of U.S.A, Great Britain, Italy, France and Korea as a form of visual language and interpreting them in terms of visual design in order to understand the fundamental ideas behind the designs and the effective applications thereof. Upon analysis of traffic police uniforms of each individual county mentioned above by separating each uniform's distinctive design, pattern, color, material and decoration based on visual factor, three characteristics of authority, dynamic functionality and friendliness were derived from comparing and analyzing each country's distinctive uniform design. The traditional unique role of police in our society was to maintain social order as their nature inherently possesses characteristic of authority and preservation, but has since undergone transition in many countries to appeal to the broader public by incorporating friendliness and dynamic functionality. Analyzing police uniforms in terms of visual linguistic sense requires a much more profound process of understanding beyond simple interpretation of configurative shapes. In conclusion, the true purpose of uniforms is to include and portray images of mankind's desire toward expressing ideas like 'mankind's bias toward existence beyond theirselves and the exercise of force through authority' and materializing such ideas into a physical form.