• 디지털융복합연구
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• 제10권7호
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• pp.237-243
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• 2012

인류는 끊임없이 도구를 만들어 사용하였다. 이것은 인류의 역사가 창조적으로 유지되고 발달되어 왔다는 것을 말한다. 인간은 보다 더 나은 삶을 영위하기 위하여 문명적 발전과 더불어 미적 욕구의 충족을 위한 조형성 추구 등 문화적 개발에도 끊임없이 노력해 왔다. 규방용품은 지극히 여성적이고 한국적인 정서를 담고 있으며 한 문화, 예술의 한 장르로서도 평가 되고 있다. 규방공예는 당시의 사회적, 문화적, 종교적 배경을 바탕으로 독자적이고 독특한 조형미를 형성되어 있으며, 여인들의 벗이라고 할 수 있는 침선구는 연인들의 희 노 애 락 속에서 삶의 모습과 정신세계가 문화적 깊이를 갖는 예술적 정서를 나타내고 있다. 여인들의 시대적 삶의 바탕으로 동고동락했던 침선구의 조형적 이미지, 융합적 결합 및 조화를 통한 장신구로 연관하여 재현시킴으로써 보다 구체적이고 현대적인 감각을 표현할 수 있으리라 의도하여 출발 그 가능성을 다각적으로 모색코자 하였다. 이와 같이 여인의 체취와 정신적 염원이 담긴 규방용품 중 침선구 중심으로 그 특성과 조형성, 융합적 조화, 단아함, 섬세함, 미적 아름다움을 재발견하고 전통 문화 예술의 우수성과 미적 가치를 장신구로 재인식 할 수 있는 계기가 되길 기대한다.

• 복식
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• 제43권
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• pp.225-242
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• 1999

Generally people and their lives are the basic object of literary works. Although each literary work possesses a different degree of significance depending upon the author's intention the description of costume becomes an indispensable factor in the formation of characters and the social background. In this paper the types of men's and women's clothing in fashion from 1895 to 1942 are studied fior the purpose of understanding the correlation between hyo-Suk's description of the attire and the vogue of the time. Consequently it was clarified that his descriptions of costume have an analogy with the fashion during the era. Especially this study ascertains that the beauty of costume as a formative art emphasizes the altered inherited and developing traditional Korean beauty influenced by exoticism. In conclusion the aesthetic consciousness of Hyo-Suk Lee tells us clearly that the beauty of Korea is the universal beauty apprecialted regardless of place and time. Such an aestheitic consciousness is not rigid but continously transforming. his literarywork clearly shows a new aesthetic categry formed by combination of traditonal Korean beauty and the aesthetic consciousness of exoticism.

• 대한가정학회지
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• 제50권3호
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• 한국가구학회지
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• 제25권1호
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• pp.11-18
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• 2014

Beauty of balance, can be found in antique furniture of the Joseon Dynasty. Balance, give comfort and peace of mind to people. Even today, the balance in various fields, it is easily viewed, and an important one element indispensable in the design. Various lighting is an essential element of the interior to create an atmosphere of space. It is also useful in a variety of ways for beauty, emotional effect, such as the switching of visual atmosphere. This design was designed with the concept of balanced. In addition, I have applied a simple graphic appearance. To give the fun and tension while giving it a well-balanced when you meet the figure. The design of this study is nothing more than a single direction. It will be in the traveling direction of the future as a designer by using a simple structure and phenomena that appear in life, is given to the design without the feeling of rejection to the user.

• 한국가구학회지
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• 제24권3호
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• pp.217-225
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• 2013

The furniture of the Joseon era, life sense of human forms a culture has appeared well. Feeling of life refers to the sense of feel natural to the history and traditional culture of the area and their own customs. Further, it is possible to be a sense that reflects the mental contents ego, ethical and religious. Furniture traditional and sophisticated sense like this is to take care of the sophistication that comes out from the inside than the beauty artificial as a function of the sense and user preferences. This is a feeling of unique Korean. Due to changes in the housing, the beauty of these illustrates the altered form mechanically a uniform in modern times. Have that desired to be manufactured furniture by applying the neck Korean furniture of our living environment that will change in Western Europe of today, with the tradition of the modern lifestyle.

• 패션비즈니스
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• 제20권1호
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• pp.127-141
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• 2016

Korea traditional dresses are making news everyday through popular media and a number of exhibitions and fashion shows that have been held as a way to activate the use of the hanbok. This study intends to examine the current status of handbook brands and analyze the aesthetic characteristics of the hanbok. This study defined the terms related with the hanbok and examined the chronological changes in the hanbok through a literature review, an examination of the aesthetic characteristics of Korean traditional clothing, and an analysis of the aesthetic characteristics by dividing currently available hanbok brands in to the traditional hanbok. According to the results of the study, hanbok brands were divided into Traditional Hanbok, Life Hanbok, and New Hanbok. The Traditional Hanbok brands represented traditional beauty, the beauty of formality, symbolic beauty, and the beauty of nature. The Life Hanbok brands represented symbolic beauty, natural beauty, the beauty of blending, and the proportional beauty. The New Hanbok brands represented natural beauty, unproportaional beauty, the beauty of line, and the beauty of moderation. Therefore the New Hanboks gave changes to the traditional clothing and the unique clothing of our nation. Its formative elements coexist according to their characteristics.

• 복식
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• 제52권6호
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• pp.103-114
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• 2002

The purpose of this study was to present adapting Korean aesthetics to the design of Wedding dress. For this study. Chosun Women's Pyoeui(coat) were considered. Pyoeui had the courtesy and variety. They were Jugeui, Wonsam, Hwalos, Dangeui, and Jangeui. Pyoeui were considered the formative features and the aesthetical values describing Shape, Color, Material, Pattern, and Ornament. And Pyoeui were considered the instances which were adapted their formative features to Wedding dress. The formative features appearing on Wedding dress were merely applied the outward shape. Therefore it will be necessary to understand the outward features and the aesthetical values about Women's Pyoeui for adapting Wedding dress. And then the continuous attempt is needed to adapt Korean aesthetics to the design of Wedding dress.

• 복식
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• 제63권3호
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• pp.33-45
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• 2013

This work developed the basic motive design utilizing the physical beauty of the traditional ornaments used uniquely by Korean females and suggested some textile designs and fashion cultural product designs. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as well as literature examination. The motive was mainly based on the dwiggoji and ddeoljam, which are female ornaments. The formative shape in woman ornaments was classified into four kinds: plant, animal, geometry, and hybrid. The hybrid type was divided further into such combinations as plant, animal, and geometry, which came up with 8 fundamental motives for design development in total. With regard to the basic motive design, the coordinated concept was adopted with a combination of traditional taste and contemporary taste in harmony for the expression of delicate image on the condition that the basic format in female ornament is maintained. Textile design was processed with symmetry, rotation, repeat, and overlap as fundamental motive. As to the design for fashion cultural products, design mapping was proposed for neckties, handbags, clutches, shirts, and one-pieces. Utility and beauty in the traditional ornaments unique to Korean women could be recognized once again through this work. This work also assured the possibility for the endless improvement as a design development motive with originality.

• 한국패션뷰티학회지
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• 제3권1호
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• pp.29-38
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• 2005

Nowadays, fashion is high evaluated as a mean of self expression as well as a formative art itself, The moderns' elevated beauty sense and strong desire for individuality expression have not only advanced various and refined fashion presentation but also led to expansion of fashion to a total coordination covering hair and makeup. Of them, hair styling does play an important role in rounding out the various image of fashion. It is not only far from omittable part but also, out of simplicity in the past, taking formative characteristics in form and structure day by day. Especially, artistic elements of modern arts are being introduced as motives, and of which representative is e introduction of kinetic art which is thought the artistic approval on mechanization trend in the 20th century. Thus, the study was intended to investigate how and in what forms the various features of kinetic arts is reflected in the modern hair shaping, and to suggest a new prospect of kinetic art-applied hair shaping.

• 한국의상디자인학회지
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• 제16권3호
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• pp.87-99
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• 2014

This study aims to suggest a bag design focusing on the symbol of Bo patterns by developing a pattern-based textile which forms a Korean design with a modern sense of beauty as well as following the conventions of traditional cultures, a design which is based on the previous study on formative characteristics of Bo patterns. That is, seven pieces of motifs are considered as proper patterns that have a symbol suitable for the materials of bags, showing their individual beauty well. This includes Horomum (longevity and prosperity of desendants), Banjangmum (eternity and samsara), Jeonbomum (treasure and luck), Seobomum (innate good fortune), Bangseungmum (it means that things don't break in harmony with one another), Bomum (embroidered patches for royal family representing justice), and Seogakmum (blessed life). With these seven motifs, we developed textile patterns and printed them through DTP. Then, we created a fashion bag design with a high quality using durable canvas fabrics. Therefore, a fashion bag with the Bo patterns symbol has a propitious symbol designed with a propitious shape, not to mention its formative beauty. It is expected to have value as a fashion art item by being redesigned for benevolent patterns with a modern image.