• The Journal of Art Theory & Practice
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• no.8
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2008.10a
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• pp.42-45
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• 2008

Derivation of modern products from the by gone age has contributed much for the new modern living. It has been generally recognized that the various ethnicities in Borneo with different backgrounds had made Borneo a place of cultural diversity. However as time passed, most indigenous products are no longer in used or are stored in poor condition. Most products nearly aged over a century are still in a good condition with invaluable sentiments. Indigenous product is an artifact that had been designed and used by certain community of people such as tools, clothing, crafts and goods. Each design may have its own identity to the community. Some of the indigenous products which are no longer in use at present are kept by the community as their collections. The research reveals similarities in the interests of indigenous products, concerns and realities of indigenous communities from the different regions. The study suggests that learning about indigenous materials, such as hand-made products and machine-made products is necessary for the local industry to develop a product identity that is distinctly local. Most indigenous products show evidence of connections to old traditions, yet are new to the design market.

• The Research Journal of the Costume Culture
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• v.24 no.4
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• pp.471-482
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• 2016

This study investigated the characteristics of cotton production of Damyang-gun & Hwasun-gun, Yeongsan River compared with that of Gurye-gun, Seomjingang River in modern times. To do this, research method was both literature and fieldwork research, results were as follows. First, as for cotton fiber cultivation in Damyang-gun & Hwasun-gun, Chinese cotton (在來綿) has been cultivated during Japanese Colonial era unlike Gurye-gun. Especially, Yellow cotton (黃綿) has been cultivated in Hwasungun. Second, as for spinning in Damyang-gun, Hwasun-gun and Gurye-gun, some of cotton spinning process have been gradually changed to mechanization by market shop equipped with mechanized cotton gin and cotton whipping tool since Japanese colonial era. Third, the loom types also, like spinning tools, have been changed from the traditional Korean back-strap loom to the treadle loom in Damyang-gun, Hwasungun and Gurye-gun. Chemical dyeing with chemical dyestuff also has been done since Japanese Colonial era. Fourth, since the 1970s, the outputs of cotton production have been reduced in both Damyang-gun & Hwasun-gun. For Damyang-gun, this has been connected with bamboo craft since the Joseon Dynasty period. So, Damyang-gun has more concentrated on bamboo craft than cotton production. For Hwasun-gun, since Japanese Colonial era, sericulture has been very important. So, Hwasun-gun also has more concentrated on sericulture than cotton production. The main reason to discontinue cotton production in Damyang-gun, Hwasun-gun and Gurye-gun was related to the local choice like economic added value.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.79-94
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• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• Journal of Fashion Business
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• v.26 no.5
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• pp.76-90
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• 2022

The rapid growth and influence of digital technologies have had a profound effect on modern society. Companies and businesses can connect through SNS(social network service accounts). The importance of mass media empowers the creation of virtual images that are more realistic than time and space. Unlike traditional reproduction or imitation, the virtual images created in this way are reproduced in a form that lacks the original inspiration's essence. Jean Baudrillard described this phenomenon as the theory of simulation. Baudrillard argued that imitated simulated images replace reality. He stated that reality is lost under excessive images in modern society. In response, based on an understanding of the theory of hyper-reality that emerged through the late stages of the order of simulacre, this study aimed to analyze modern fashion's method of reproducing hyper-real images and investigate the method's characteristics. This study examined the characteristics of hyper-reality described by Baudrillard and analyzed the method of artistic expression of hyper-reality. Based on this method of expression, reproducibility, following the stages of image simulation, was derived. A specific case applied to fashion was analyzed, and based on the image reproduction method, specific characteristics of hyper-reality characteristics in fashion were obtained. Sixty-four collections were selected, out of which 155 images and 43 brands demonstrated the principles of image transformation.

• Journal of Fashion Business
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• v.8 no.4
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• pp.68-79
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• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.52-67
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• 2017

This is the precedent study on the modern fashion design using Korean emotions, and its aim is to study the expressions in the modern fashion based on 'Jeong-Jung-Dong' idea from Korean dancing, which implicates the Korean emotion deeply among the artworks and give essence similar to the clothing. 'Jeong-Jung-Dong', a unique idea, in the Korean traditional dancing is the philosophy that involve the paradox expression, 'Movement in Silence,' which represented the emotion of Korean dancing for a long time. The main characteristics deducted in 'Jeong-Jung-Dong' were 1) the incomplete and complete by atypical, 2) the beauty of temperance by symbolism, and 3) amusing mutual relationship. Upon the analysis results of previous studies on the expressions in the modern fashion with 'Jeong-Jung-Dong', they demonstrated the atypical expressed by metaphor, symbolic expression through margin, and mutual relational table by harmony. The analysis of modern fashion expression by 'Jeong-Jung-Dong', which is a philosophical idea in the Korean dancing, could highlight the new way of looking at the clothing and systemize the theory on the Korean emotion to seek the effective expression of artistic features for the culture together with introduction of our unique emotion in the creative design process by understanding of humanitarian and philosophical ideologies to be utilized in the future Fashion Design.

• Journal of the Korean housing association
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• v.21 no.6
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• Journal of Conservation Science
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• v.35 no.2
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• pp.169-176
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• 2019

The material composition of 19 ornaments used for women's hats in the late $19^{th}$ century to $20^{th}$ century, which are kept at National Folk Museum of Korea, was analyzed using SEM-EDS. Sixteen ornaments were composed of $Na_2O$ and PbO, which form adifferent lead glass from those that have been excavated or handed down since ancient times in Korea. The chemical composition analysis has confirmed that two ornaments belong to the mixed alkali glass, while one belongs to the potash glass IIItype. This lead glass is similar in composition to the Japanese craft lead glass that was imported to Joseon during the Japanese colonial era. It is estimated that the lead glass ornaments used in women's hats in the late $19^{th}$ century to $20^{th}$ century were made from raw materials imported from Japan or made from lead glass used for crafts in Japan. This shows that jewelry such as jade and amber, which have been traditionally used in the modern and present ages, have been replaced by craft lead glass imported from Japan.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.