• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.1-15
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• 2022

This study aims to investigate the socio-cultural background of Poulaines, which influenced fashion and contemporary shoe design. Analyzing the characteristics of the Poulaines provided basic data for different shoes. The study method utilized previous studies to explore the concept and characteristics of Poulaines. In the empirical analysis, shoe design data mainly came from collections that illustrate formative elements of contemporary shoe design from the 2010 S/S season to the 2020 S/S season. A total of 709 photo materials were collected and analyzed. The results showed that the morphological characteristics of Poulaines were exaggerated to symbolize classes of the past and sexual expression. The expanding structure was divided into the fore nose, heel, and top-line and featured a design that expressed the formative beauty of Poulaines. Additionally, the decorative desire to represent wealth and class using various materials introduced new designs into contemporary shoe designs while showing extreme decorativeness through over-trimming and color contrast. Furthermore, the heterogeneous characteristics that come from the change and harmony of the shoes' body and heel that deviated from the existing shoe shapes were classified into the dissolution of shapes and mixing and matching. Thus, they broke the monotonous silhouette of shoes and gave variety delicately.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.38-38
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• 2003

Costumes has changed according to its historical background, social conditions and life style for that particular age. The same is true of our clothing. Many changes are found in them based on our ancestral knowledge in an effort to apply better conveniences and more sophisticated clothing culture.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.720-737
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• 2023

This study aims to merge Picasso's expressive elements and deconstructive fashion's formative traits, proposing an upcycle fashion design that fuses artistic and philoso-phical aspects. The analysis of Picasso's Cubism identified qualities like liberating revolution, fluidity of vision, geometric reducibility, complex symbolism, and creative imitation. The analysis of Derrida's deconstructionism revealed expressive traits: uncertainty, intertextuality, différance, and dis-de phenomenon. An upscale fashion design was developed based on six Picasso works featuring women. The design was created using the fashion design software CLO 3D and integrated clothing waste and scrap fabrics as materials.The results are as follows. First, upcycle fashion was viewed from a new perspective based on Picasso and Derrida's values. This perspective suggested creating better ethical values by upholding environmental protection in novel ways that overcome limitations rather than destroy existing values indiscriminately. Second, upcycle fashion design methodologies were derived from various perspectives utilizing formative features of Picasso's works and specific expressive features of deconstructed fashion. Third, the direction of mitigating waste and pollution from clothing production and transportation was revealed by making clothes in a virtual space using the CLO 3D program. This study contributed to obtaining various methods for developing upcycle fashion designs using own methods of Picasso and Derrida to diversify the approaches of upcycling, which is relatively stagnant in disassembling.

• The Research Journal of the Costume Culture
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• v.5 no.1
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• pp.85-98
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• 1997

The purpose of this study is to pointed artistic representation design on fashion through observation, integrating of the formative arts. Above all, designing principle should be considered with trend, styling ,coloring. Suggested designing study is the essence of present methods. ① Clothing as an art ② Expression in fashion design ③ Creation of the artistic sense ④ The various techniques of design ⑤ Perform the steps of design (Ⅰ) ∼ (Ⅲ) That is to say, fashion is reflected in the spirit of painters as well as designers. Art is close and common relationship between individual will-to-form and the sense of value. Thus Art wear is represented the minute expression of designing the function with artistic originality. I submit some opinion and my studies. ① Forms of Formative Arts ② Analysis of the Silhouette & Design - - ③ Color scheme of Design ④ Artistic representation techniques - Knit wear design ⑤ Emotion of Beauty The results of this study were as follows : 1. Fashion design is demanded to do motivation by means of artistic representation. 2. Smart, sophisticated image effects, avoiding posterlike garish appearance. 3. It is supported for fashion information which is relating to design through industry society.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• Journal of Fashion Business
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• v.18 no.2
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• pp.113-131
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• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.151-156
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• 2007

Slashes, deprived from the Crusaders' military uniforms, take their places among the fashion terms in modern fashion, and they are represented with some techniques such as fraying fabrics or making holes. Slashes are also used in various ways across all the fashion areas including clothing to accessaries. Slashes, which were once used to represent a solid body and to make a body move suitably, are used not only to express the formative of clothing but also to allow wearing sensations and functionality to wearers depending on their daily lives and the movements of their activities in modern fashion design. Optical illusions of fashion, image variabilities, functionality and ornamentation, and design principles, which were once represented with materials, colors, and details mainly used in fashion designs, are represented using slashes in modern fashion.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.12-27
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• 2004

The Tuck, an important component of modem clothing design, was analyzed through various sources of literature comprised chiefly of domestic and imported fashion magazines from 2000 to 2003. The results were as follows: 1) The Tuck was organized in horizontal, perpendicular, oblique and radial directions. Application methods included repetition, gradation, radial arrangement, sequence and alternation of individual lines. 2) The Tuck was found in a variety of forms and uses. But due to structural characteristics, its function is more psychological and aesthetic than functional. The aesthetic properties of the Tuck included rhythm, optical illusion, abstraction, and material. The structural property of the Tuck occasionally substituted bust or waist darts. 3) The individuality and originality of the Tuck was used in unpredictable ways to give spatial ornamentality and emphasis on material. This enabled aesthetically unique designs to arise. To summarize, the Tuck, a component of clothing design as a formative art, was used in a variety of methods towards developing creative clothing design.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.14-28
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• 2013

This study aims to identify the elements of black culture and use it to analyze the formative characteristics of casual fashion items as well as the symbolic meanings presented in the graphic designs of the items. First of all, in order to distinguish the identity of black culture, this study made a division into racial, social, and artistic aspects based on cultural specificities of Stuart Hall, a culture theorist. This was for a theoretical review and based on this review, a theoretical framework was developed to analyze the characteristics of American casual fashion design of black people. The case study selected 1719 fashion images of 137 male brands and 33 female brands from websites of companies manufacturing casual wear of black people in America. The following is a summary of the study results. The conceptual characteristics based on specificities of black culture can be categorized into ten attributes: playfulness in order to digest human grief and emotion positively, satire of the mainstream society, spontaneity through emotional expression from the heart, abstractness of various emotions elating suffering, humor trying to express negative aspects as the meaning of light and innocent laughter, dependence with passive attitudes toward discrimination and master-slave relationships in history, resistance against discrimination and disadvantages, African orientation and primitiveness pursuing natural conditions, aggressiveness against violence and unfair treatment, and confidence and defiance against social deprivation and corruption. Based on the results of an analysis through formative classification system founded on racial, social, and artistic aspects of black people, specificities of black culture are of formative characteristics of their casual fashion design. These elements are presented on graphic t-shirts through strong colors, loose silhouette, and details with many pockets. These characteristics were reflected in symbolic meanings presented in the graphic.

• Journal of the Korean Home Economics Association
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• v.48 no.6
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• pp.9-16
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• 2010

The formative exaggeration phenomenon, which makes the plastic space, escaping from the form peculiar to the human body, is being developed into the more diversified and abstract structure. This study analyzed the form and shape of costumes with objective attitude through the use of an oppositional concept method, which Delong presented from the formative viewpoint. Delong's theory, which was presented in this study, can be said to be one index that analyzed the form and shape of costumes. The costumes of the Renaissance Era, in which formative exaggeration is remarkable, are determinate in that they are closed and static, and can be classified into part, planer separation, and flat. The costumes of the Baroque and Rococo Eras are divided into similar formative perspectives, and can be said to be open, whole, and integrated due to indeterminate and diverse decorations. Entering modern times, the formative-exaggeration phenomenon in costumes of the Romantic Era are characterized by closed, part, and planer separation similar to costumes of the Renaissance Era. However, in the aspect of sleeve design and decoration, the characteristics of determinate and indeterminate were considered.