• Journal of the Korean Society of Costume
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• v.32
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• pp.101-116
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• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.65-76
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• 2009

Korea has established a code for the economic and cultural industry that covers a wide range of classes unlike the old information era which was limited to the simple knowledge, technology, tools, morals, and customers that had been established in our society. On the other hand, 'culture marketing' is a series of marketing activities in which value-added items are created and shared. The combination of business management and culture seemed pretty awkward considering how rapidly the world was changing, however, the nature of today's culture has changed and the economic nature of culture products has resulted from those changes. In this paper, two authors who expressed the cultural identity in the culture products are studied through a comparison analysis; the author Min Yeongsoon expressed the identity confusion that she experienced in a foreign country and how she overcame homesickness in her work; and the author Kim Ata expressed his confidence in Asia and used his clear and loud voice to express the culture in his work. In addition, today's culture products are affected by the surrounding cultures such as the member's traditional society, environmental culture, and individual's culture. It is a good source for good works of art. In this study, the efforts of seeking the cultural identity, structuring the concept, seeking a new market and possibilities are used to make a consistent process in order to make a series of the systems required for planning and developing culture products.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.113-130
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• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.945-956
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• 2001

The costume for gods in the Ancient Roman myth was studied by examining in the embossed-carving, sculptures, mural-painting and various documents of the period. The clothes item, hairstyle, symbol & ornaments and shoes of the gods in the Roman myths were analyzed to understand the formative process in the religious costumes, and results are as follows. First, the costumes for male gods are the same as those for ordinary men lived in ages, including toga, paludamentum, tebenna, tunica. The costumes for female gods are also the same as those for ordinary women lived in ages, including stola, palla, tunica. Second, the hairstyle of male gods is short curled-hair, twisty roll-up hair and braid long-hair due to the influence of Etrurian in the early days. Another hairstyle is appeared in form of the laurelled-crown. The hairstyle of female gods is curled long-hair, chignon style and braid roll-up hair decorated with hairband. Third, the symbol & ornaments which represent the responsible possession of male gods, are appeared in beard, a stick of the message, arrow-case, offering-dish, antlered-glass, shield, spear-handle, as the superhuman forms, such as the lightning shape. For female gods they are is appeared plastron, a stick of the message, flower. some female gods wear necklace, foot-ring, bracelet. Fourth, male gods wear shoes in forms of sandal, buskin, boots, but all female gods are in barefoot. It could be explained by the fact that a man-centered society in the ancient roman is reflected in the world of gods. As mentioned, Gods costume in Roman myths was very similar to or nothing different from the ordinary peoples in Rome. However, they used corps, sacrifices or sepcific symbols depending on the fields that they were responsible for in order to be distinguished from the ordinary people. This is the result from the peoples expression that they should keep a close relationship with Gods hoping to be protected, and rely on them under whatever circumstances.

• Trans-
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• v.1
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• pp.91-116
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• 2016

The theme of this research is the music visualization on stage. As the collaborated work, combining the dance, images with the Isang Yun's music, is showing the staged music, which is expressing the music not only through the sound but also the visualization. In the process of visualizing the music through the body and images on the stage, Isang Yun's musics are recreated in the hand of today's artists. The study found that the recreated work from the new point of view, like Interview with Isang Yun can be the bridge between the composer and today's artists and we can see the future through it. Even though, this paper analyzed the work through the aspects of dance and images, the main theme of the work is focusing how can we deliver the music in the new representative form through formative visualization on the stage.

• Archives of design research
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• v.14 no.1
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• pp.119-134
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• 2001

It can be said that Italian designs are unrestrained, aesthetic and art for arts sake, and they come to stylize their character based on geographical features, racial traits and culture. The Italian architects work for the reconstruction of their devastated country and spare no pains to produce competitive goods on international markets since the second wend war. In spite of a inherent scarcity of resources, Italian furniture is the product of mixture of aesthetic material and new material with creative gifts. A lot of companies succeed in finding and training capable designers and devote themselves to modem furniture industry. As a result, Italy becomes one of the worlds most eminent furniture industrial countries now. And the fame is owed to Italy's national awareness of the importance of the matter and endeavor without sparing systematic support. This research is to find out which factors have an influence on the progress of furniture design in Italy and to analyze how these factors build up formative arts combining with historical background in Italy. Moreover, this research suggests how to make contributions to the cause of furniture design growth when considering our geographical features, racial characteristics, culture and industrial circumstances, by analyzing the process of development and strategy in Italian design industry.

• Journal of the Korea Furniture Society
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• v.22 no.3
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• pp.160-173
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• 2011

Increased internet use under a ubiquitous environment may be called as a great human information space revolution followed by Industrial Revolution. This revolution is exerting its significant influence over all the industry as a whole with speed faster than that of any other times. Along with this trend, if furniture design field that leads living culture should fail to jump on this main stream without noticing it, it may be reduced to a unpopular field some day without any sign of recovery. Under this background, this study is intended to recognize a goal aiming at understanding our rapidly changing living environment and leading our way positively. Currently, our surrounding living environment is immersed in computers here and there and Mark Weiser once defined a system that moves in advance before an action as ubiquitous computing and in this respect, I am going to observe a detailed transformation process of space. First nature of the space may be defined as atoms, a physical space equivalent to a spatial element and Bits space that is untouchable is usually called as 2nd space and a combination of atoms and Bits is an intelligent space - 3rd space - that can be intelligible without touching it and finally, this space is called as a ubiquitous space. This spatial transformation is developed by several changes of living environment and we may call it as living trend or interior design trend. Transformation in terms of social perspective, space structural perspective and digital technique perspective may be enumerated. These transformations were surveyed based on its contents being implemented at a future housing exhibition hosted by 5 construction companies along with fusion of information furniture and furniture depending on each housing space. In conclusion, it could be realized that most of the companies were decorating future space by implementing ubiquitous environment as a success factor of future housing market. It may be meaningful to note once again that under an interior environment, a fusion of furniture and information furniture is required considering interior trend elements.

• Journal of Fashion Business
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• v.20 no.2
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• pp.124-133
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• 2016

Currently the fashion industry is developing to create a novel culture due to the very sensitive and knowledge-oriented advancement of the IT industry. With fast turnover of information, consumers have come to have a more diverse desire for purchasing. Cubical expression techniques, which empathizes formativeness, can be a creative expression method adjusting into the trend of this era. Along with functional aspects of consumers, even in a textile manufacturing sector, new materials are required to meet sensitive and emotional aspects. Consumers' desire for new and creative designs and the development and adoption of new materials are essential to meet their emotions. The IT industry and fashion industry are forced to combine and a 3D apparel CAD system has been developed, enabling virtual clothing to be represented within a computer virtual space. All processes such as design, pattern creation, sewing and simulation are possible in 3D level. Digital clothing can shorten the production process time and is very effective in that it can reduce clothing waste generated during the sample production. This paper reviewed the works of Dutch designer, Iris van Herpen, who has developed formative designs. She tries to build, construct, and sculpt employing diversified materials other than soft textile materials, as shown in her series of fashion shows. The materials include films, 3D printed polymers, stiff and sheer organza, and artificial leather textiles. A few characteristics of her works have been selected in order to prepare patterns exhibiting the traits. The paper further focused on the physical features of the textile materials used to express similar techniques and its various forms were reviewed.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.190-199
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• 2020

Globally, more super-tall buildings tend to be constructed competitively in the social and economic foundations. In the circumstance, this study is aimed at establishing a paradigm of super-tall buildings in terms of their various forms. Symbolizing a city or state, super-tall buildings not only are used as resources of tourism, but play an important role as a characteristic landmark. Therefore, it is necessary to find a curved form for a futuristic perspective. The purpose of this study is to infer the convergence relativity of curved forms among complex and diverse unstructured construction forms. This study used as subjects 50 super-tall buildings among the ranking data selected Council on Tall Buildings and Urban Habitat (CTBUH) in order for the basis of constructability related to actual design, rather than the way of recognizing a formative type, in the classification of curved forms into regularized surfaces, developable surfaces, and double-curved surfaces. The results of this study are presented as follows. This classification can be used as a fundamental material which is reasonably involved in the design process pursuing diverse curved surfaces in terms of design of tall buildings.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.99-108
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• 2017

In modern society, the succession and development of tradition can be an enabler of the state in the flow of culture, and the process of modernizing traditional costumes is meaningful work. Neckties are essential in modern Korean men's wear, and they are an important part of men's ornamentation. Accordingly, this study aims to present a necktie design that applies the traditional men's ornaments such as the Ip, Ipyoung and Manggeonsik. The research method is based on a literature review and presents four Korean necktie designs via Adobe Illustrations. As a result of analyzing the beauty of the traditional Korean men's ornamentation, it was categorized into rhythmical beauty, emphasis beauty, and natural beauty. Applying this to necktie design, Design 1 imagined the silhouette of a man wearing a Got and Durumagi. This applied emphasis beauty. Design 2 applied the shaking images of Got and Got-kkeun to apply rhythmical and emphasis beauty. Design 3 applied a man's upper body silhouette and the shape of wearing a Got. This was to apply natural beauty and emphasis beauty. Design 4 applied the shape of Got-kkeun and Gwanja to rhythmical beauty and natural beauty. The significance of this study is that the development of necktie designs using formative Korean elements can be a part of efforts to recognize the possibility of traditional Korean culture and to explore developmental directions under the current situation in which Western clothing is accepted without thought. It is a good idea to suggest the possibility of the modern use of Korean men's ornaments.