• 한국의류산업학회지
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• 제17권3호
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• 복식문화연구
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• 제22권3호
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• pp.450-467
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• 2014

Modern society attaches great important to state of the technology, but, unconscious desire and subconscious are also discussed in an important value. In the social background of such madness is acting as an artistic inspirational to the many people. At such a time, fashion photographs also being used medium which speak for people's desire. Editorial fashion photographs with unusual stories or including experimental visual elements unlike fashion advertising have increasing. The subject of this study is the formative characteristics in recognition of madness from ancient times until now and find out new meaning of the unusual and informal form of editorial fashion photographs showed in Vogue Italia since 2000. The analysis data of this study, we used 36 photographs of editorial fashion photographs taken by Steven Meisel, Tim Walker and Miles Aldriege. The final process of analysis made in with agreement of 10 major people. We used photograph's basic visual elements as analysis to avoid arbitrary interpretations. The content of this study is drawing in editorial fashion photographs from the viewpoint of Michael Foucault's Madness theory, Deleuze and Felix Guattari's Madness as the aspects of desire. The madness images in the editorial fashion photographs were showed as Decadence, Blindness, Violence and Grotesque based on the analysis results from above. The formative characteristics of editorial fashion photographs enabled the awareness on the value and importance of madness in modern society. These editorial fashion photographs can be the source of our wider perspectives for changing recognition of madness.

• 복식
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• 제52권7호
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• pp.103-121
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• 2002

This study intended to analyze the transition of design of Korean soccer player's uniform according to development of the society and changes in formative elements, and examine features inside them by considering designs of soccer player's uniform by ages ranging from the introduction of soccer up to now. Results of the study are summed up below. First, as a result of analyzing designs of soccer player's uniforms from 1920 to 2002 Korea-Japan WorldCup based on formative elements of the style of dress. \circled1 it is shown that basic shape has been kept but changes in only color. cutting, trimming, logo and symbol have existed. \circled2 Colors of the uniforms have been different according to ages but red, blue and white colors have been used most and sometimes black was employed. so it is known that colors in the Korean national emblem have been all used. \circled3 In the beginning of the uniform there was a limitation in its design due to absence of functional materials but now highly-sensitive textile products and highly-functional textile materials guaranteeing optimal condition and highest activity of a soccer player have been utilized in various ways. \circled4 It is known that symbols modelling the image of Korea have been used in diverse ways but effected much by directions toward images pursued by designers of sponsors. Second, the meanings represented by designs of the uniforms are classified into a degree of symbolizing Korea, tradition, superiority and dynamics. That is to say, \circled1as colors and symbols coming from the emblem have been used in the uniforms. they have symbolized one nation and possessed the meaning representing even Korean national spirit. \circled2As traditional colouring and symbols have been used in the uniforms, they have shown the Korean sense of a beauty. \circled3 Colors, tones and designs overwhelming the mood of play have been used in the uniforms, so that they have played a role in making players of other team flinch mentally and making Korean players gain an advantage over them. \circled4 Thanks to strong symbols or comparative effects of colors. they have shown the dynamics representing power and energy.

• 패션비즈니스
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• 제5권4호
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• 한국의상디자인학회지
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• 제21권1호
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• pp.87-101
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• 2019

The sleeve is closely connected with activity in terms of costume. As a kind of overcoat, Dap-ho of the Joseon Dynasty is short-sleeved or sleeveless. Dap-ho, with simple sleeves is convenient for layering and taking off and since it is easily adjustable using a gusset, a slit, or coat string, and this can be applied to layered look-related designs. This study aims to suggest a design item, which sustains the existence of traditional costumes and facilitates diverse layered looks and co-ordination, using the formative elements of Dap-ho. For this study, theoretical backgrounds and relics of Dap-ho of the Joseon Dynasty were analyzed, based on the previous studies, ancient literature, "The Annals of the Joseon Dynasty", and relics preserved in museums. The analysis targeted nine relics that show the birth and death years and the constructive changes in shapes, colors, materials of Dap-ho. Formative elements of Dap-ho were applied to the designing and the manufacturing of clothes for middle-aged women in their fifties and the research conclusions are as follows. First, from a morphological perspective, the silhouette, gusset, slit, and the indirectly attached coat string of Dap-ho are good to be used as various design items for covering the body shapes of middle-aged women, and the short-sleeved or sleeveless type is convenient to be layered. Second, when it comes to the material, it is possible to emphasize a traditional image and practicality at the same time by mixing and matching the Hanbok cloth and cotton. Third, in relation to the colors, the coexistence-based color arrangement method considering the theory of Yin and Yang can be applied to modern clothes and this makes it possible to express a traditional image in a harmonious way.

• 한국콘텐츠학회논문지
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• 제7권7호
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• pp.96-103
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• 2007

리인커네이션의 개념은 환생이라는 의미로 번역할 수 있다. 우리의 생활 속에 밀착된 물질과 정신적 요소를 조형 형식으로 탄생시킨다는 것으로 마치 불교와 도교 사상의 윤회와 같은 개념으로 설명할 수 있다. 보잘 것 없는 것이라 할지라도 새로운 가치와 의미를 부여함으로써 그 오브제는 빛날 수 있으며 이런 윤회관은 물질에 대한 새로운 예술관을 의미한다고 할 수 있다. 따라서 리인커네이션은 물질과 의미들의 조형적 가능성이며 예술의 분자로서의 에너지원이 될 수 있다. 리인커네이션적 사고로 활발히 활동한 그룹은 팝아트이며 그 중심에 앤디워홀이 있다. 워홀은 예술과 삶을 이분법으로 생각하지 않고 리인커네이션적 발상과 유희를 시도했다. 팝아트이후 우리나라에서도 디자인과 광고에서 실험적인 리인커네이션 작업들이 이루어지고 있다. 현대문화사회는 인터넷과 디지털의 매체가 리인커네이션적 사고와 활동을 확산시키고 있으며, 그런 리인커네이션은 예술의 보편적 철학으로 인정되고 있다. 특히 지속가능한 디자인의 실천적 대안으로서의 리인커네이션은 우리에게 시사하는 바가 매우 크다. 물질이라는 오브제를 자유롭게 차용하고 변형시킴은 새로운 조형시대를 예고하고 있으며 우리 모두는 그러한 즐거움을 기꺼이 즐겨야할 것이다.

• 한국가구학회지
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• 제25권2호
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• 한국의상디자인학회지
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• 제21권4호
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• pp.81-96
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• 2019

The study intends to seek the creative ideas that can satisfy the needs of individual consumers by rediscovering the modern meaning and the artistic value of geometric ornaments engraved on the backside of Danyugyung, which is a traditional Korean pattern. In terms of the study method, the symbolic meaning and formative characteristics of Danyugyung were determined, and the form of its pattern and the geometric characteristics were analyzed. Based on this, Photoshop and illustrations were used to apply the shapes of Danyugyung and internal patterns to the textile designs, and the results are as follows. Firstly, it was found that Danyugyung was associated with the bronze mirror, which was used from the Bronze Age to the Early Iron Age, and was the product of artistic activities and an object and acted as a shamanistic and authoritative symbol of the ruling parties, which were responsible for the acts related to the spiritual world. Secondly, it was discovered that forms of Danyugyung were classified into Jomungyung and Semungyung in accordance with Forms of Danyugyung (造飾), and the formative features of the geometric ornaments that were engraved in great detail on the backside could be found in the images which change according to the form of the inner patterns. Thirdly, with regard to the development of the textile designs utilizing the shape and inner patterns of Danyugyung based on the formative features, it was could discover that the simple shape of Danyugyung presented a value which can be applied as a unique design factor delivering a visual rhythm by attempting to create various harmonies overlapping lines engraved on the inner patterns and the shapes of Danyugyung. Based on the above-mentioned outcomes, the possibility was confirmed that Danyugyung can be used as a novel motif and as a standard unit of patterns for textile design. With future studies, I would like to utilize the unique and diverse images as pattern motif for textile design.

• 한국의류학회지
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• 제32권5호
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• pp.741-752
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• 2008

The purposes of this study are to review the status of dress material in the contemporary fashion design by examining the intertextuality of many materials other than textiles used in the contemporary fashion and to show that the development of new fashion materials is a factor for designing competitiveness. The results of this study are summarized as follows: First, foods and natural objects are used as fashion materials to reveal natural beauty, and at the same time new formative elements are expressed in combinations of life and fashion. Second, common paper and luxurious jewelry are presented as a formative element symbolic of an aspect of the contemporary society or embodied in elaborate handicraft techniques. Those materials boost the luxuriousness of costume and create a strong futuristic image according to how they are expressed. Third, plastics available for a variety of objects in different shapes and colors offer such formative features that could be shaped with textiles, as high-end technology is introduced to fashion. Fourth, metallic materials have added freedom to design formality due to their qualities of convergence and displacement and by the introduction of brand-new technology, suggesting a new future for the fashion industry. Fifth, using a variety of anti-fashion materials including semiconductor chips, mirrors, vinyl, wires, and rubber makes a change in the existing points of view regarding the formality of things and helps create a special aesthetic effect in a visual respect to develop a strong intertextuality of materials.

• 복식
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• 제60권10호
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• pp.1-15
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• 2010

A Korean knot is one of the ornamental elements that our ancestors used intimately in their daily lives, and the diverse forms and structural features of the Korean knot have sufficient creative and aesthetic value for it to be recognized as one of beautiful products that was relished by individuals of the times. Starting from two strands, Korean knots make unique forms as they are overlapped or plaited, crossing each other in many ways. The forms of Korean knots were given names such as "nabi maedeup"(butterfly knots) and "gukwa maedeup" (chrysanthemum knots), in reference to things in the surrounding environment that were perceived as being similar in their appearance. It is considered that with their unique structure, such Korean knots may provide a good motif for creative design. As well, it is believed that combining the traditional beauty of Korean knots with a contemporary sensibility will lead to the creation of truly forward-looking design. Against this backdrop, this study aims to inquire into and analyze the formative characteristics and aesthetics of Korean knots, with an eye to their use in future design. In addition, it aims to help to put such historical knotting practices into practical and functional use in the future, through a study of previous uses of historical knotting practices with a modern sensibility. It is thus expected that this work will contribute to the inheriting and development of traditional culture, and ultimately to enhancing the status of Korean design in the world.