• Title/Summary/Keyword: Formative relationship

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A study on User-centered product design process proposal for materials adoption (소재 적용에 대한 사용자 중심의 제품디자인 프로세스 제안에 관한 연구)

  • Han, Sang-Yun;Kim, Hyun-Sung
    • Journal of the Korean Crystal Growth and Crystal Technology
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    • v.27 no.4
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    • pp.186-190
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    • 2017
  • When a product is designed, user's requirements should be well analyzed and applied to the design so that the psychological and aesthetic factors of a product can be accurately conveyed to consumers. The essence of product development is to analyze the changes in the purchasing tendency of consumers and the needs of times, find out user experiences to apply to a design, and establish the objective of product development that well considers those. Designing should be recognized as one that designs even the sensitivity and experience created in the relationship with users, beyond the conventional notion of design that it draws the physical form of a product. As the subjects that design should consider have expanded like this, it has become important that today's design provides a new experience as well as simply develops formative elements based on the functions of an object. As a result, it becomes impossible to accomplish such objective only with the traditional design process that existing designers have stuck to so far. In this respect, this study is aimed to draw out a system and methodology for a user-oriented design process so that design can provide expanded experience to users from product form, applied material, and service.

A Study on the Formativeness of the Fashion Shoes in High Fashion (하이패션에 나타난 패션구두의 조형성)

  • Lee, Hyo-Jin
    • Journal of the Korean Society of Costume
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    • v.59 no.9
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    • pp.55-70
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    • 2009
  • This study aims at analyzing the formativeness of women fashion shoes shown in the high fashion since 2000 along with the necessity of study for such purposes. Fashion shoes designed for the perfection of high fashion have been positioned as an important item to increase the value of fashion. Subsequently, three formative images through the research method under the literature study could be analyzed as follows. First, the Fetishism image appeared from 18th century and the shoe heel has the erotic internal beauty while attracting the erotic nature from the perspective of 'feet confinement'. The high heel came to have an absolute relationship with the feminine beauty, and the feet and shoes are accepted for the erotic symbol regardless of anyone in the East or West. Second, the fashion shoes in the Maximalism image to pursue for the dream and excitement at the same time have been shown at the same time by using various ornaments in an exaggerated manner for the use of ornaments to clothes through designs by shoe designers. Third, the Aristocratism image in the fashion shoes was remarkably highlighted with the use of materials from processing natural materials with the best quality, which was expressed in an exotic manner with roughness and comfort despite the nature of refinement balanced with the simple reactionary tendency and technical senses of handicrafts. It can be perceived that the inner emotions of human beings are expressed by intentionally dismantling the functions of shoes in terms of functionality even in the fashion shoes in completing the ideal images after which are pursued by people.

Aesthetics of Japanese Avant-garde Fashion -Focusing on Planarization of the Body- (일본 아방가르드 패션의 미학 -몸의 평면화를 중심으로-)

  • Yim, Eun-Hyuk
    • Journal of the Korean Society of Costume
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    • v.57 no.1 s.110
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    • pp.50-65
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    • 2007
  • Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

A Study on Arts and Crafts ideas with Works of William Morris

  • Lee, Jaehyuck;Kim, Cheeyong
    • Journal of Korea Multimedia Society
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    • v.16 no.9
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    • pp.1119-1133
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    • 2013
  • These days there is a flow of support for returning to design and handcraft, and the arts and crafts ideas of William Morris have an influence until the present over periods. The semanticity and methodology of guild production method supported by William Morris is studied. The foundation that human is in beautiful harmony with nature is on free labor and artistic life. In the organic relationship, the decline of art is understood as general crisis of culture, and human living condition should be changed in order to rouse the human sense of beauty and comprehension of art. Once human labor becomes artistic, the consumption living and local living become artistic as well. And then consumers desire more artistic works, structures, or urban spaces, and the demands for those move artificers to go toward producing more artistic works and structures. That is, the course of succession of art and culture through living is the driving force of social progress. Even if the period when Morris lived and the present are very different, this paper will shows that a large amount of art and culture will be greatly developed in twenty-first century which is 'the period led by cultural consumers', and the people directly creating art works will be also increased at the same time, as Alvin Toffler suggested. Furthermore, we can aware through this paper that such the people will rule the world. Finally it reached the period that we must face to 'making artistic life' as Morris expected a century ago. According to the result of this paper, we realized the study about Morris will contribute greatly to improve the quality of human life.

Transfiguration in Fashion Design - Focused on Stationary Space Isolated from the Body - (탈(脫)신체적 패션 디자인에 관한 고찰 - 몸과 유리된 고정 공간의 형성을 중심으로 -)

  • Yim, Eun-Hyuk
    • Journal of the Korean Society of Costume
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    • v.57 no.4 s.113
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    • pp.70-80
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    • 2007
  • Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

A Study on the Costume of the Gods in the Ancient Roman Myths (고대 로마 신화에 등장한 신들의 복식 연구)

  • 임상임;추미경
    • 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.

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Virtuality in Digital Fashion Images (디지털 패션영상에 나타난 가상성 연구)

  • Kim, Hyang-Ja;Kim, Young-Sam
    • Journal of the Korean Society of Clothing and Textiles
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    • v.39 no.2
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    • pp.233-246
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    • 2015
  • Focus on Digital Fashion Image, the conceptual framework for the thesis is established from Virtuality in Digital Art. Formative characteristics and aesthetic characteristics were studied by classifying the Digital Fashion Image applied and expressed by digital media and technology. A detective research method was used for a case study. A literature study for case-by-case data was analyzed with focus on the works expressing fashion that utilized digital media and technology since the 2000s. Through this study, the Digital revolution has created the socio-cultural impact of a Virtual representation to implement technology and fashion culture that finds ways to take advantage of the image shown in a Digital Fashion Media by understanding Virtuality. The results are as follows. First, it was a re-formation of the fashion culture through the experience of virtuality with mental zone parameters between the media 'Mediation Code'. Reflect the reality of the virtual environment as represented by a cultural image of fashion brands and fashion that reset the team relationship and formed a Homo Ludens cultural code. Second, 'Interactive Exchange' acts on the exchange interaction between the method of digital technology, the human and the machine as well as the technical interoperability of network elements and techniques. This exchange is applied to fashion images that express emotion. Forming personalized fashion items and the user interactively storage that expresses the interactive exchange to forward the identity of the emotional fashion by a change in the message delivery system fashion. Third, the emphasis on intuitive artistic expression 'Synesthesia Immersion' induces a sense of immersion and excitement through the fusion of the interconnected. Enhance a visual image in fashion sensory representation and maximize a tactile and visual virtual reality involvement.

Representation of the Body in Fashion (II) - Focusing on the Representation of Physicality - (복식에 표현된 몸의 재현성 [II] - 몸의 사실성 변질을 중심으로 -)

  • Yim, Eun-Hyuk
    • Journal of the Korean Society of Costume
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    • v.56 no.9 s.109
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    • pp.66-82
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    • 2006
  • Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

The Study on the Costume of Art in the Russian Suprematism - Focused on Kasimir Malevich's Art Works - (러시아 절대주의 예술의상 연구 - 카시미르 말레비치의 예술작품을 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.17 no.6
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    • pp.1083-1098
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    • 2009
  • The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

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A Study on the Interior Design representation-language from image scale of Trend - Focused on 2008~09 international Fair - (이미지 스케일에 따른 트랜드 중심의 실내디자인 표현어휘 연구 - 2008~09년도 국제박람회를 중심으로 -)

  • Sheen, Dong-Kwan;Han, Young-Ho
    • Korean Institute of Interior Design Journal
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    • v.19 no.1
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    • pp.112-120
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    • 2010
  • Generally, Interior design understood as shapes, lines, spaces, tones, quality, and principal. And people research these with a study of formative approach. The six elements of above categories are basis of expansion for the various designs. In this study, the represented design language is extracted by the basic 6 stages and re-divided into classes. This study presented by the Kobayashi-scale image of the current trends in the assignment to examine the cultural, functional, sensory vocabulary, three elements were classified by the assignment about 2008~2009 international fair by trend and design direction for the image. If we look into the categorized format of the design, it reflects mixed culture with emotional approach and shows direction of design constantly. Especially, compared to the year 2008, the design of year 2009 has tendency as an emotional translator regarding the verbal expression. In other words, it becomes more concrete to express the design of emotions for human beings. In addition, design shows detail of its flow with outcomes of past leading trend which was re-created shape. On the other hand, undeveloped cultures such as folk, historical, and unique cultures attract design leaders as it is. This research would make good relationship between designers and customers regarding the newly started international trend of design. Hereby I research with the method to reclassify the image of vocabulary from the image scale extract. It remains as a task to resolve ambiguous, complex and neutral expression for better understanding and definite analysis method to the public.