• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.120-136
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• 2012

The purposes of this study is to analyze the formative relationship between artistic eye-makeup and clothes design by focusing on the period from 2000 to 2010 and to find out the development direction of the next makeup design. This study considered formative theory to analyze the formative relationship between artistic eye-makeup and clothes design of $Marian$ $L.$ $Davis$ and $Marilyn$ $R.$ $Delong's$ theory, and analyzed the formative relationship between artistic eye-makeup and clothes design in an aspect of line and form, color and material, The results are as follows: First, the shapes of the artistic eye-makeup such as tear drops, and rectangular paisleys were similar with the form of clothes such as the hourglass, cylinders and mix-types. Second, monotonic color coordination mainly appeared and sometimes contrast color coordination that induced complex contrast coordination were apparent as well. Third, the objects of the artistic eye-makeup such as glitter papers, spangles and beads had similar features as the material of clothes such as silk and spangle, and contrast was partially used like colors. The results suggest that artistic eye-makeup and clothes have an organic relationship, and artistic eye-makeup is changed with formative elements of clothes.

• Journal of Fashion Business
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• v.4 no.2
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• pp.1-17
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• 2000

Kitsch is one of the various mass-cultural phnomena in the late 20th century, with it's own new aesthetic value, 'self-expression' through 'destruction', denying the existing established way of thinking and escaping from the stereotypes or fixed ideas. This is called 'aesthetic inadequacy'. The purposes of this study are to examine the different preferences between the western and the domestic Kitsch Fashions to investigate the formative and aesthetic characteristics of domestic Kitsch Fashion based on substantial data, and to propose the creative Kitsch design. The results of this study are as follows; 1. The formative characteristics of domestic Kitsch Fashion are marked by amusement, disharmony, epicureanism, satire, and use of imitation. 2. Then, based on theoretic research, this study applies aesthetic characteristics of Kitsch to the creative design. According to the formative characteristics for Kitsch Fashion, the Design Concepts are developed in order of Optimism, Multi Form, Decadence Chic, Neo-Naturalism, and Poor Vintage. And the Fabric direction is given in Design Story with sub theme such as Cheerful, Game, Decadence, Environment, and Grunge.

• Journal of Fashion Business
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• v.5 no.4
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• pp.101-117
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• 2001

Artist's creative works is accomplished in the very complicated network being in fluenced each other, getting celebrate from surround and center, and showing repetition and change. It took an important role of 1920's culture with new social and mental feature generated by revolution. It also has been influenced on an intellectual paradigm and artistic tendency. According to the feather the Art to Wear of Constructivism, at first, design as absolution of folk art in Russia prior to the concept is coming up to systematic design and useful article's performance. Courageous arrangement of color and rhythm is unique. The second is a tendency clothing design of productirism. It is connected with material culture and artists insisted creature of productive material that is a essential in life than Arts in museum. The third, tendency clothing design of minimalism emphasis functional aspect that is produced industrial aesthetics. The examples are simply designed and functional cloths for sorking uniform. This thesis is studied about clothing and textiles of major artists, formative property, and international reflection from October revolution in 1917 that is strengthen a system by introducing a new economic policy to a five year plan.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.70-90
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• 2023

This study aims to use Art brut works-the artwork of the socially underprivileged and alienated-to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut's concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann's work were collected through online sources like the Gugging Museum's website, Christian Berst Gallery's website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann's works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann's works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann's work is a color block design of fashion, which utilizes the formative fun.

• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.294-309
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• 2015

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.41-54
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• 2010

This paper aims at studying about spatial structures and formative characteristics of Lucy Orta's fashion design. Her works utilizes the thought related on the architectural space that has been revealed sharp change of the paradigm since the late of 20th century. Lucy Orta against individualism of the urban life, and manufactures portable and moving housing and multi-functional fashion that is paved with individual rest unit and give a sense of security through simple combination among the units. Besides, she has development multiple portable clothing and equipments for the rescuethrough exploiting pioneering high technology. The results of this study can be summarized as the following: 1) refuge habitant creates individual space for physical and mental protection from the urban surrounding, 2) nomadic dwelling shows multi-functional fashion space fit for digital nomads' life style aims at continuous movement, 3) connective nexus and urban life guard are comprise of detachable individual unit in public space for remaking of the bonds, affinity, and relationship, and the complex of rescue clothing and equipments for meeting a challenge of the threat about human existence from uncertain environmental change in the future.

• Korean Journal of Human Ecology
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• v.17 no.6
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• pp.1205-1213
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• 2008

Material is a factor for maximizing formative aspect among fashion design factors. Therefore, central axis of modern fashion is performing various trials for escaping from existing cloth and searching for artistic value. Especially, Korean paper is a formative material, which is manufactured through traditional manual work in Korea. The material is used in various fields on the basis of its aesthetic feature. Especially, fashion field performs handcraft activity on the basis of mulberry pulp, which is a prime material of Korean paper. Because the activity can be reinterpreted by world designers, who want to find motive of fashion material in the third world, it is necessary to perform experimental study for developing expressive form on the basis of diversity of Korean paper material. Therefore, the purpose of this study is to perform experimental study by focusing on the development of Korean paper material in order to express formative feature. The study purposes are as follows. The first purpose is to reinterprete the theory through actual work of fiber formation using Korean paper in the current flow where art and design field are fused and compromised. The second purpose is to suggest vision of material development on the basis of formative feature to fashion world focusing its eyesight to Asia and the third countries. The study results are as follows. First, Korean paper has been evaluated as proper material for the fusion of design and art because of its handicraft feature, long-term preservation, heat insulation, absorption, diversity and eastern feature. Second, the study performed various trials for artistic dress material by developing 12 Korean paper works and suggested the development of new material on the basis of formative feature of modem fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.777-787
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• 2007

The purpose of this study is to consider various characteristics in the graffiti-look in the modem fashion by interpreting meanings and properties of graffiti, transferred from street art to a new main stream in art. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The first characteristic is satire. The graffiti-look conveys directly or indirectly with phrase or symbol various messages of politics, social ideology, wealth and poverty, environmental pollution, anti-war, etc. Body is even more used for graffitiand designers express freely their identity or ideology through the formative style of graffiti. The second characteristic is pleasure. Fantastic expressions from a fairy-tale or fable in the graffiti-look give humor meaning freedom and sense of liberation in a sense of catharsis to the modem people's emotion. The graffiti-look uses graffiti works to introduce its original message of humanism, happiness, humor, etc. to clothing; as a result, the graffiti-look features pleasure. The third characteristic iscommercial application. Brand logo designed by graffiti style is decorated with clothing, accessory, or ornament. This may not only emphasize brand name through lingual function of graffiti, but also be used for a distinctive marketing strategy against other brands. Logo which is regarded motive or pattern of design leaves a image instead of a meaning and performs a design function stressing formative sense.

• Journal of the Korean Home Economics Association
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• v.40 no.7
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• pp.173-192
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• 2002

This study is intended to observe the meaning, aesthetic formative characteristics of the human body which is introduced and applied to the fashion design. The analysis of the modern fashion design describing the human body refers to the extracted fashion design which expresses the human body appearing in domestic & foreign fashion magazines as well as publications associated with it and published since 1990. The analysis of the way of expression, the image and the design elements in these fashion design works, has had to formative characteristics in each of the three parts. The pursuit of formative characteristics through simplifying the expression of the human body, uprising of anatomical expression, and metaphorical expression with the help of personification and objectification can be thought of as characteristics of expressing pattern. And the op-art, optical illusion by virtue of pointillism, the use of non-woven molding, and action painting technique can be described as expression tools to recognize the human body. Images are presented in the characteristics of being grotesque, humorous, erotic, futuristic and mysterious. The characteristics of designs are expressed in creative detail, trimming, pattern and accessory using the form of human body itself as an item of clothing tends to show the unity of human body and clothing. The human body in the modern era reflects the post human image as well as its meaning as a medium and tool. It is also perceived as a specific object to be self-conscious of in this reality with the loss of humanity, alienation and the confusion of identity. The analysis of the image and way of expression of human body in the fashion design, and the meaning of human body will play an important role of identifying tole viewpoint about human body as well as prospecting what the human being will be in the future.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.