• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.4
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• pp.460-472
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• 1994

The Purpose of this study was to find in the art the basis of originality appeared on the fashion design and investigating the erotic expression appeared on the ornaments how art surrealism, pop art, post moderninism-formularize in the modern fashion. This study about the expression of eroticism and modren costume, through the source of pictures contained in art books and mode magazine and documents investingation has resulted as follows: First, the formality and contents that related art and fashion shows us a various aspect. That based on modeled characteristic and various technique of the art. Second, the expression of eroticism in fashion expressed differently in style, material and expression method that is more strongly, sometimes metaphorically with spirit of the time's. Third, the expression of eroticism in fashion whether direct way or symbolic way has appeared as partial exposure of the body. It is appearing to the course that can display individuality of each person over the taboo of the part and the previous limitation of fashion.

• Journal of Fashion Business
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• v.11 no.3
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• pp.133-151
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• 2007

The role of fabric now directly related with the expression of the beauty of clothing and it provides new and creative ideas. This study was aimed at reviewing basic data that can be used in systematic design development through fabric expression for today's fashion designers who must study unique, original fashion design development. For systematic development of design technique through fabric expression, fabric expression methods and characteristics, aesthetic characteristics and fabric design of 'art to wear' were reviewed and the results are as follows. First, the highly wrought fabric expression of art to wear was confirmed to be comprehending a message within itself. Second, aesthetic characteristics of fabric expression used in art to wear can be classified as decorativeness, extensity, 2-D pictorialness, handicraft, compounding and rearrangement, and 3-D characteristics. Third, the 6 aesthetic characteristics have unique design features and aesthetic categories. The understanding the fabric expression techniques through study on the classification of the fabric expression in 'art to wear' is expected to be extended to proposition of creative direction and inspiration of modern fashion.

• The Journal of Industrial Distribution & Business
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• v.14 no.8
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• pp.9-17
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• 2023

Purpose: This study is to examine how modern art museums might develop into resilient, proactive, and adaptive enterprises. That implies that this study seeks to spur meaningful change by analyzing and comprehending the numerous facets of this issue, paving the path for a long-term future for contemporary art institutions worldwide. Research design, data and methodology: To achieve the purpose of this study, the current author has reviewed numerous relevant prior studies systemically. The technique used in this study was meticulously designed to guarantee accurate data collection and analysis, providing a thorough comprehension of the subject. An organized strategy was used, including finding, reviewing, and synthesizing earlier studies. Results: Based on the investigation of the current literature analysis, this study figured out four workable business models that might increase the prosperity of modern art museums. They result from a thorough examination of previous studies and these initiatives center on improving digital presence, enhancing community participation, diversifying revenue streams, and forming powerful alliances and partnerships. Conclusions: In sum, this study concludes that the use and integration of digital technology enable museums to reach a larger audience and open up opportunities for developing cutting-edge, interactive exhibitions that reflect modern patterns of participation and communication.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.334-335
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• 2005

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.

• Korean Journal of Human Ecology
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• v.8 no.3
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• pp.525-534
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• 1999

The purpose of this study is to analize in the focus on junk art the relation between hairstyle and dress, and fine art which is one of the driving force of fashion change. The method of this study is to take into theoretically consideration junk art in the trend of art and to take into documental concideration the trend of junk art reflected on hairsyyle and dress. The results are as following. First, there's a trait of poverty. This means using something deserted in our life and expands a new expression world which introduces a new, poor beauty, refusing a existent, rich and arranged one. Second, there's a trait of machinery. In Junk Art, according to the appearance of the beauty of machines, it creates and introduces a mechanic aesthetics as a new- formative art by using industrial by-product. Third, there's a trait of nature. By Junk Art, there appears a trial to restore nature which has been neglected under the name of developing science technology. This expresses natural junk factor by emphasizing the nature itself using natural by-products. The Junk Art has influence on hairstyle and clothing and expands the expression world by some new ways and recognition about the benefaction and the damage of modern civilization.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.123-136
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• 1992

The art which has been beginning and existing with the origin of human civilization had originated from human's play impulse, so called instincts incidentally and inevitably. The highly developed material civilization resulted in human alienations, and by turn to the primitive in order to overcome human alienationsalso they obtained creative inspiration from this activity and, in the result, created various animated arts. In this respect, the purpose of the study is to identify the primitivism in Lacroix fashion and the relationship between the modern art and in his design regarding the external plasticity and internal symbolism. For this purpose, 1 analyze the factors of primitivism in Lacroix fashion, and demonstrates the affinity between the primitivism, which is represented in his dress and the modern painting through the comparision and analysis of works, and dresses of Lacroix. Finally, Ican find out the guie close analogy of primitivism between the modern painting and the Lacroix's dress. That is, even the Lacroix fashion and modern painting are in different genre, they pursued the same way in the same category of art, we have a reperception of that fashion can be positioned in line with the art, as its one genre.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.453-464
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• 2003

This study is to analyze that the pluralism is the main aspect of the modem fashion which examines the definition and the character of the pluralism. This will also consider the pluralism that appeared on the modern fashion which is based on them. The main point of pluralism is that the world is necessarily aware of plural and difference. Also many values which is focused on the previous generation, for instance disorganize of westernism, androcentrictrism, christianism and powerful nationalism, what is called unfamiliar, heterogeneous, the others and the circumference things. As these were rehabilitated, morality, ethics, religion or politics were all became possible to choose for one's taste. The pluralism expressed in modern fashion can be divided as collapse of genre, grafting the lower and higher orders cultivation, variety way of approaching in time, internationalism. The result for the consideration is that the pluralism has candid attitude for everything so that in the modern fashion is importing variety range of artistic definition. Namely, it is not only containing previous pure art, elegance art and element of artistic sublime beauty, but also has aesthetics of ugliness, deconstructive art and anti-fashion so that the definition of the art is getting vagueness and diverse.