• Journal of Digital Convergence
• /
• v.12 no.12
• /
• pp.601-609
• /
• 2014

This kind of goal orientation in Art Nouveau has provided nature-friendly designs to modern people living in a post-industrial society. For these people who want to have their own style in a natural and comfortable space and take a break from daily hectic daily routines for a moment, hair-by-night styles were created by adding the images of Greek goddesses to the nature-friendly features of Art Nouveau patterns known as 'flower pattern', 'wave pattern', and 'vine pattern'. In terms of the scope of this paper, four designs (Eos, Hestia, Artemis and Demeter) were created by using Art Nouveau patterns which are connected with flowers in an organic manner based on Rene Lalique and Emile Galle patterns.

• Fashion & Textile Research Journal
• /
• v.18 no.6
• /
• pp.787-799
• /
• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.

• The Research Journal of the Costume Culture
• /
• v.22 no.5
• /
• pp.670-687
• /
• 2014

This study focused on Jungchimak (coats with side slits) which was typically worn by men in the mid and late Joseon Dynasty. It was done research by examining the case of wearing Jungchimak centering on literature and paintings and analyzing its changes in terms of its form based on the relics that have been found in order to suggest the standard for the evaluation of the period of Jungchimak. Results are as follows. First, men who wore Jungchimak were the king, crown prince and Aristocratic under the official uniform or other robes or as ordinary clothes and shroud. Second, Jungchimak for king was mostly made of Dan (satin damask) and mostly jade green & navy in color, and it commonly used dragon pattern, cloud and treasure pattern, or grape pattern. The fabric used to make Jungchimak for crown prince was Dan & Ju (coarse-finished silk) and puple, green, jade green & navy in color. The fabric used to make Jungchimak for Aristocratic was Ju and indigo or white in color. Third, 251 relics have been announced until now. Most of them were made of silk fabric and had cloud and flower patterns. Fourth, Jungchimak showed changes through time in terms of collar and sleeve shapes, the ratio of armhole to sleeve opening, Geotseop (panel sewn on front opening for overlapping), Dang and Mu (side panel), the ratio of the total length of outer collar to the length of side slits, and the ratio of chest size to the width of lower end.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.10 no.2
• /
• pp.149-161
• /
• 2008

Since the use of textile has become more extensive and applied for various products, today, the importance of utility, ornament and civilization of textile is emphasized. Textile design should be able to satisfy the designer's creativity and his/her world of art. Moreover, it should be appropriate for the industrial technology circumstances, and taste of consumers. In Korea, traditional culture has been extremely valued, allowing people to be more interested in textile designs derived from traditional cultural. Therefore, designs inspired by the spirit and sense of traditional patterns has been used to develop modern textile designs. Prior research on products, however, show that cultural motive was insufficient, therefore, in this research the purpose is to design textiles and to develop Korean neckties, an essential component of men's attire, by adapting Korean traditional patterns. In order to conduct the research, first, numerous parers on Korean traditional patterns have been studied to select fundamental data about the development of necktie textile designs. Second, Korean traditional patterns were applied while following the target and concept, and two pieces of necktie textile designs have been suggested. Patterns had been designed by hand drawing and CAD system, they have been suggested as a portfolio. As a result, this article suggests new necktie designs utilizing Korean traditional patterns and, attempts to develop particular pattern designs, which have power to accommodate globalization and to express the special qualities of Korea.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.1
• /
• pp.91-109
• /
• 2013

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.

• Korean Institute of Interior Design Journal
• /
• v.14 no.4 s.51
• /
• pp.19-26
• /
• 2005

Digital technology continually makes a space evolves. The real-time behavior design communicates the data with the situation of circumference of the space(visitors moving, interior and exterior situations). The space form was changed because it interfaces in real time. The purpose of this study was finding out the characteristics of real-time behavior space design through the analysis of space formative languages, sensorium, S-R and material. This study will be the one of basic references for the digital space design. The boundary of this study set limits to the works of digital space designer who applies the real-time exchanging data to their design among the digital space design works from 1996 to 2004. But it excepted from the real-time behavior space in virtual realty. Therefore, the objects of this study were the works of onl and NOX(paraSITE, Trans-port 2001, Muscle, MotormeCCa, Handdrawspace, Saltwater Pavilion, Son-O-House, H2O Expo). The method was the contents analysis of space formative languages(Greg Lynn's ten space formative languages; bleb, blob, branch, flower, fold, lattice, teeth, shred, skins and strand), sensorium, S-R and material. The results of the study are as follows: 1) The organizational elements; Space formative languages(bleb, blob, fold, shred, skins, strand), stimulation(Human Participation, Human Moving, Weather Conditions), and response(Spatial Moving, Sound Pattern, Lighting Pattern, color Pattern, Activating Particles, Moving Picture, Virtual Friend) 2) The material Use; Sound, lights, and network have been used in the space. Immaterial matter will be used the main material of space design in 21"'century, 3)The spatial types; formal changing of space, projecting immaterial elements, and changing the sound.

• Fashion & Textile Research Journal
• /
• v.21 no.4
• /
• pp.412-419
• /
• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• Journal of the Korean Society of Costume
• /
• v.62 no.7
• /
• pp.13-28
• /
• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• Journal of the Korean Society of Costume
• /
• v.62 no.3
• /
• pp.137-151
• /
• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Korean Journal of Food Science and Technology
• /
• v.32 no.1
• /
• pp.9-16
• /
• 2000

Aroma of various extracts of Agastache rugosa O. Kuntze was analyzed by electronic nose with 32 conducting polymer sensor arrays. The 57 extracts were prepared by extraction solvents (hot water, ethanol and NaCl solution), extraction temperatures $(100,\;80\;and\;60^{\circ}C)$, solvent mixture ratios of solvent (10 times 35 times) and parts of Agastache rugosa O. Kuntze(flower, leaf and stem). Aroma pattern of Agastache rugosa O. Kuntze extracts showed big difference in normalized pattern and odor intensity with extraction temperatures and parts, but showed no difference with extraction solvents. Especially in the case of ethanol extracts, because odor of ethanol itself was very strong, difference in aroma of extracts with extraction temperatures and parts did not show through the electronic nose. The organoleptic characteristics such as mint odor, grassy odor, mint taste, medicinal herb taste and sweetness for Agastache rugosa O. Kuntze extracts were determined by the profile test and the result of sensory evaluation by quantitative descriptive analysis was explained to QDA diagram. In correlation with the result of aroma analysis by electronic nose and the sensory evaluation, difference in aroma pattern among the extracts concretely brought to light definite characteristics such as mint odor and mint taste.