• 복식문화연구
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• 제30권1호
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• 패션비즈니스
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• 제18권6호
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.152-160
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• 2017

The purpose of this study is to propose a space design plan for brand experience that can enhance consumer satisfaction and brand awareness by conducting a survey on the consumer satisfaction with space expression methods in an eyewear flagship store. Through theoretical review, brand experience was defined as the 'process and outcome of experiences caused by stimulations associated with the brand in a series of processes. After reviewing previous studies, 5 elements of brand experience such as the sensory, emotional, behavioral, cognitive and relational experiences were extracted. Upon deriving a checklist through these elements, a survey was conducted. The analysis of the survey showed that the process composed of cognitive experiences that promoted to remember the brand was intensively expressed in spaces. Thus, the results of this study are as follows. First, the process composed of cognitive experience should be applied with a higher priority to increase brand awareness, and such a process accompanied by the behavioral and sensory experiences. Second, beyond a simple visual experience, various senses such as olfactory and auditory senses should be stimulated, and behavioral experience provided as an experience factor. Third, brand image and sales spaces should be composed under a single theme with a connectivity. Fourth, in external spaces, the curiosity of consumers should be stimulated with a theme matching the brand image. Fifth, it was found that the visitor satisfaction was higher when formative elements consisted of not only static but also dynamic features. Sixth, among the elements of brand experience, emotional experience should be improved to complete the 'process and outcome of experiences'. It is considered that further studies are needed, which expand the cases of eyewear flagship stores not only in Korea but also overseas, and propose more specific plans and design strategies through in-depth interview methods in the future.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.40-50
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• 2014

The purpose of this study was to investigate how brand identity expressional elements in cosmetic road shops' facades would affect the brand awareness of consumers while extracting those brand identity expressional elements observed in the facades of the cosmetic road shops. In order to achieve the research goal, the study used Q methodology, a method to measure subjectivity. The results have been summarized as follows. (1) The elements to express the brand identity found in the facades of the cosmetic road shops were observed to be two-dimensional expressional elements, and they should include a symbol, a logo, a signboard, materials to express an image (products, models) and a brand color. As for the three-dimensional expressional elements, they were a building (form, materials, pattern), decorations (lean-to roof, canopy, sculptures, lighting, screen) and a display window (focusing on products, visuality or the inside of a shop). (2) The findings of the analyses on the brand awareness using Q methodology have been presented as follows. (1) When multiple identity expressional elements which would be associated with each other are used, the brand awareness gets increased relatively efficiently. (2) In case of men, they would perceive a brand more easily through those formative expressional elements such as a form of a building. (3) In case of women, they would perceive a brand more conveniently through those visual expressional elements such as a brand color. (3) In conclusion, the study figured out that, among the brand identity expressional elements, the one which would influence the brand awareness most would be (1) the brand color, followed by (2) the building-form, (3) the lean-to roof, (4) the display window and (5) the logo. Based upon what has been learned so far, the study confirmed that when it comes to securing the brand awareness in the market, cosmetic companies should, first, realize how important it is to make good use of the two-dimensional (visual) expressional element, the brand color, and the three-dimensional expressional element, the form of the building, together before they even try to design facades of their shops on the streets.

• 복식
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• 제57권5호
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• pp.45-57
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• 2007

This study is on the aesthetic characteristics of Balenciaga design succeeded to by Nicolas Ghesquiere, and tried to understand his pursuing brand's new design concept and aesthetics. The three key characteristics of Balenciaga designed by Nicolas Ghesquiere are Retrospecitvness, Eclecticism, Deconstruciton. First, Balenciaga looks retrospective sense through reinterpreting tradition. Nicolas created a new sense of expression by mixing his proper instinct with Balenciaga's original properties, historical components of the past western dress, and various design elements of assistants who used to work in Balenciaga. Second, Balenciaga expresses uncertain meaning by compromising between contrast and synthesis among the past and the future, the males and the females, simple and ornament, or different styles. Third, Nicolas's experimental and outsider-oriented view of Deconstruction through reorienting of thought is considered a try for a new formative concept as a designer who is not limited by general rules.

• 한국디지털건축인테리어학회논문집
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• 제9권3호
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• pp.15-23
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• 2009

Chaos theory, qualitative study of unstable aperiodic behavior in deterministic nonlinear dynamical systems, is dominant paradigm in the twenty first century. Fractal geometry, as an expressed form of chaos, now influences many areas such as architecture, art, music, economics, literature, etc. The purpose of this study is to analyze fractal geometry and fractal formative elements in architectural design. There are scaling, superimposition, distortion, deformation and repetition in the fractal form generator that can be applied to design concept and process in architecture. This study shows fractal geometry can be the architectural form creation method. Fractal geometry similar to nature's patterned order can be provided endless possibilities for design analysis and methodology in architecture. Therefore the further study of fractal geometry should progress synthetically through the basis of the study.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.51-51
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• 2003

The purpose of this study is to investigate the trends of, the ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the possibility of expressions through formative elements such as shape·texture·details and to anticipate the prospect of the Make-up in the future. The results can be summarized as follows. First, Ugliness is the most negative aesthetic value which is lack of beauty, and ultimate beauty is achieved through the combination of beauty with ugliness. Second, the images of ugliness have been expressed in paintings and fashion. The 20 century paintings, representing the ugly shape are extremely exaggerated with yellow, red, black, blue, white, green. The shape have been distorted, deformed, destroyed. And Pluralism and De-constructivism with its traits of indeterminacy have become the background of ugliness images in Fashion.

• 한국의류학회지
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• 제28권2호
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• pp.364-375
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• 2004

The purpose of this study is to analyze how the men＇s fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men＇s fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men＇s fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic fabric has a effect of minimalism of the last 1990＇s fashion, and wave hair of gentle image has a effect of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men＇s fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men＇s fashion has referance to fashion.

• 패션비즈니스
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• 제8권2호
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• pp.154-167
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• 2004

The purpose of this study was to develop fashion designs using masks on the basis of plasticity of masks. This study was conducted both theoretically and empirically. In a theoretical study, mask-related research and fashion-related literature were examined. In an empirical study, masks used in collections since the 1990's were analyzed through fashion magazines and fashion web sites. Based on such theoretical researches, masks used in modern fashion collections were divided into accessories and clothing to analyze and three fashion designs were developed on the basis of results described above. This study intended to express a romantic look with primitive mood that added formative elements of a mask to the design concept of "Romantic-Primitive". First, forms of masks were simplified and deconstructed and then some methods such as textile printing, leather handicraft, or applique were expressed.

• 한국실내디자인학회논문집
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• 제30호
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• pp.28-34
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• 2002

We need to think that space is not static but dynamic because it becomes wide and narrow, newly appears and disappears by human's behavior. Generally such movement in a space is a thing of feeling and dynamic about movement. But it is extending the experience of the subject by scientific technique's development and anticipation about the feature. The practical movement is actively introduced into architecture and interior design scope and occurs a trial about this movement. By using four elements -a form, hue, movement, light- kineticism becomes visual arts united with art and science. It recovers the art's sociality and arises participation of spectators. In the environment and art field kineticism is not simple ostentation but a current trial for human's mind and sensitivility. Kineticism is four-dimensional space considered by human's experience and is related to an observer, or experiential subject of space. Now the space except human's mind feature re-illuminates kineticism, that is, the field of the formative arts in the early part of the 20th century and gets to be 'the consensus space'.