• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.845-855
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• 2001

Now the most important thing in fashion industry is find out the fashion sensibility and preference of customers exactly. Thus it is needed that fashion sensibility is connected with formative properties in clothing. The purpose of this study is to clarify the relationship between the fashion sensibility and the formative properties in clothing. 91 kinds of costume samples have been selected from photographs in fashion magazines under color combination, inside form, texture, pattern type in clothing. I have measured fashion sensibility by using Semantic Differential method. The obtained data were analyzed by GLM, discriminant analysis. The results of analysis are as follow; 1. The discriminative images were significant difference in formative properties - color combination was related to attractiveness, inner form to decorativeness, pattern to harmony and texture to surface of soft and hard in clothing. 2. fashion sensibility was significant relationship with formative properties especially inner form in clothing. And the trimming was identified as gorgeous and feminine. 3. Preference, Buying needs, Riches and Pleasant were significant relationship with formative properties in clothing especially color combination and texture.

• 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 the Korean Society of Costume
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• v.59 no.10
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• pp.151-171
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• 2009

The purpose of this study is to analyze the formative relationship between clothes and hat with the works by Philip Treacy, the designer who raised hats to one of important fashion accessories. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat had an organic relationship, and a hat style was changed with formative elements of clothes. Clothes and hats by Philip Treacy were analysed in the aspects of Form, Color, Material, and Decoration. As a result, hats by Philip Treacy were mainly designed by the relationship between whole types without a closed line and showed geometric and formative forms, similarly harmonized with clothes. To highlight hats, the achromatic colors such as black and gray were used. Besides clothes and hats were coordinated by the same colors, but contrary colors were used to express a strong image. Felt or straw materials maily used to express a formative and fixed form were well matched with smooth, opaque, and lusterless materials such as wool. Also when transparent materials were used for hats, lace was used for clothes. A hat made of acrylic was matched with clothes made of glossy vinyl coating materials. Decoration was mainly removed but if used, feather decoration was added to clothes.

• Journal of Fashion Business
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• v.9 no.1
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• pp.34-56
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• 2005

This study analyzed the formative relationship between clothes and hat, and to find out the development direction of next hat design. To do these purposes, Fashion photos were picked up from all kinds of fashion magazines containing in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked. The method to analyze was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.11
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• pp.5083-5090
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• 2012

This study was designed to examine the effect of emotional control and interpersonal cognitive problem solving ability on children's interpersonal relationship formative. The subjects were 133 boys and girls who were day care center in G metropolitan city. Data analysed with t-test, ANOVA, Pearson correlation coefficient, regression. The results were as follows. First, there were significant differences in the children's interpersonal relationship formative according to children' sex. There were significant differences in the emotional control and interpersonal cognitive problem solving ability according to their sibling and mother occupation. Second, there were significant correlations between the children's interpersonal relationship formative, emotional control and interpersonal cognitive problem solving ability. Third, the children's interpersonal relationship formative was affected by emotional control and interpersonal cognitive problem solving ability.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.66-81
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• 2009

The purposes of this study were to analyze the formative relationship between Surrealistic clothes and hat with the focus on the period from the 1990's to 2008 and to find out the development direction of next hat design. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. Hat design of surrealism was cylindrical or tear drop in a shape according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and was similar with the Form of a jacket, a sleeve, or a skirt. In color, accent color coordination mainly appeared and sometimes contrast color coordination induced illusion effect. In material, a variety of materials were used according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and contrast was widely used like color. In Decoration, the decoration or pattern of clothes was intactly applied to hats. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• Journal of the Korea Furniture Society
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• v.26 no.3
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• pp.267-273
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• 2015

This study is a review on the relationship between furniture purchasers and producers in the Joseon period. Understanding the relationships in our traditional spirit and the Joseon furniture that reflects a aesthetic sense is a meaningful work. Joseon was to build an ideal country which put emphasis on the order and harmony through Theory of 'Yeak' as the confucianism nation. Human aesthetics, which emphasis on the spiritual value by confirmity to nature and forcus on the relaxed, deficient personality rather than completeness was established as the central formative consciousness of the Joseon Dynasty. The nature of things in the confucian scholar prior to the representations of things is expressed in the form of master craftsman's skill and soul. Formative consciousness of the confucian scholar is to realize ideals by communciation and interchange with master craftsman's soul in the form of the Joseon furniture. The beauty of restraint and brevity in the Joseon Dynasty furniture includes meanings and procedures of art work. It implies an orderer's purpose of production and a producer's products. Understanding the spirit of times in the production becomes the cornerstone capable of getting closer to the furniture ultimate proper function. These problems have a very close relationship with the problems of modern people's commnuication. We expect an even higher growth of the furniture by achieving more improved communication based on the consumer's great insight and the producer's passion.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.415-443
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• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.153-161
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• 2004

Organic Modernism was inaugurated by Alvar Valto as an alternative plan to the formative limitation of Geometrical Modernism. It began to appear in the 1930s in the fields of Architecture, Furniture, Product Design and so on. It is known that began with organic formative language is closely related to surrealistic artists Andre Breton as well as other artists and sculptors in that era. Such Formative Language formalized a stream of Organic Modernism Furniture Design unique to the regional and cultural characteristics of Scandinavia. After crossing over to America, mass production of Furniture was born and new materials were linked by industrialization. The Characteristics of Organic Formation in Modern Art such as Three -Dimensional, Biological Morphological, Symbolical, Primitive, Fantastical, Non-Realistic, Incidental, Irregular, transmit to Furniture Design. They are as Characteristics especially with Three-Dimensional, Biological Morphological and Symbolical aspects. Histories of Art and design, there are some examples showing mutual Interchange between Functional and Artistic Character. This thesis also clarifies the Formative Relationship that the Furniture designers who pursued Functionality and Mass Production had obtained from Modern Artistic works and the Artists, through the process of comparing and researching the typical Artists and their works.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.7
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• pp.976-986
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• 2000

The purpose of this study is to clarify the relationship between the visual sensibility and the decorative design of clothing. 41 kinds of costume samples have been selected from photographs in fashion magazines under detail and trimming, and divided into three types according to line, shape, and form. I have measured these images by using Semantic Differential method. The obtained data were analyzed by factor analysis ANOVA, discriminant analysis, regression analysis and MDS. The results of analysis are as follow; 1. Factor analysis has extracted five factors which consist of decorative design sensibility. These factors are Attractiveness, Hardness and Softness, Rhythm, Decorativeness, Cuteness. 2. There were significant differences in visual evaluation of decorative design and demographics 3. The discrimination among formative designs was closely related to decorative image, especially between line and form. 4. The Image effect on Preference, Buying needs, Riches and Pleasant was consist of complicated sensibility. 5. Evaluative dimensions of decorative design were identified by Simple-Complicated, Cubic -Plane perceptive image differed in degree of similarity in spite of same formative design.