• 복식
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• 제59권3호
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• pp.14-26
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• 2009

This study is to investigate makeup shown in fashion collections of Christian Dior based on semiotical theory of Morris. Morris's theory developed from semiotics of Peirce composed of syntactics, semantics and pragmatics. Therefore, in the case of analysis of fashion makeup, syntactics investigates signs of forms, colors, textures and materials of makeup, semantics finds out meanings of the signs of syntactics and pragmatics analyzes aesthetic characteristics which the signs of syntactics and the meanings of semantics symbolize. Fashion makeup in Christian Dior Collections were expressed experimentalism sign, multi-culture sign and popularity sign. Experimentalism signs were expressed with graphic makeup and cyber techno makeup and multi-culture signs were done with ethnic make up and retro makeup. In addition, goth make up and hitch makeup showed popularity signs. This study found that the three types of signs were considered to reflect aesthetics of the contemporary fashion. Also, this study could conclude that fashion makeup was able to be interpreted by Morris' semiotics.

• 한국의류학회지
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• 제29권6호
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• pp.793-804
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• 2005

The new paradigm of the 21st century demand an openly different world of formative ideologies in respect to art and design. The purpose of this study is focused on trying to comprehend aesthetic essence of clothing as an, with the investigation of artistic theories manifested by art philosophers. Art to Wear was categorized into style to understand its artistic meaning as well as to analyze its character. Upon the foundation of semiotics theory, the feature of Art to Wear and its analysis category were argued in the context of Charles Morris three dimension of semiotics analysis. The conclusion to the research is like so. The feature and analysis category of Art to Wear upon a semiotics perspective was divided into syntactic dimension, semantic dimension and pragmatic dimension. The analytical categorization upon the perspective of syntactic dimension fell into the category of topology, shape and color. The semantic dimension of Art to Wear was divided into categories of denotation and connotation. In addition, the pragmatic dimension of Art to Wear analytical categorization was divided into a delivering function and common function.

• 복식
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• 제54권7호
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• pp.41-54
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• 2004

This study purposed to apply function form content, the three concepts that have been discussed by many philosophers since ancient times, to fashion design. Specific research goals are : first, to define fashion design based on the three concepts : and second, to examine how each of the three concepts function-oriented, form-oriented and content-oriented design have been expressed in women's fashion in the $20^{th} century. For these purposes. the author considered Morris' semiotics, which is the theoretical background of the three concepts, reviewed previous researches in design area, and applied the findings to fashion design. According to the result of applying the threefold structure of semiotics. which is the theoretical background of the three concepts, the pragmatic dimension of fashion design comprehends all functional rules related to the use of dress such as body motion and protection, health and safety. air flow and durability, and its syntactic dimension comprehend all the formal elements of visual design such as the structure, shape, line, color and material of dress. The semantic dimension of fashion design includes the symbolic meanings of dress expressed by emotion, sentiment and images. The three dimensions exist interdependently with one another. According to the result of considering the characteristics of the three concepts in the scope of women's fashion in the $20^{th} century. function-oriented design is characterized by practicality and simplicity, and has been expressed as the fashion of functionalism in the 1920s, that of minimalism in the 1960s, and the basic style from 1970s to 1980s, 1990s and the present. Form-oriented design has pursued aestheticism, putting stress upon form, and has been expressed with organic shapes imitating patterns found in nature in the 1950s and with optical art fashion in the 1960s. Content-oriented design attaches importance to transmission of delicate meanings related to the mental world of human beings, and is represented with symbolic forms. Such a characteristic has been expressed in fashion in the early 20th century influenced by surrealism and, with various types of design breaking established forms as well as metaphors and humors that characterize design in the late 20th century.

• 복식
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• 제63권6호
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• 한국콘텐츠학회논문지
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• 제12권6호
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• pp.170-181
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• 2012

다양한 미디어를 통한 문화콘텐츠가 국가의 주요 성장동력산업이 되는 현대에 시각문화콘텐츠의 효과적인 생산을 위한 논리적이고 실용적인 분석 및 생산방법론을 모색하는 것은 의미가 있다. 이에 시각문화를 배경으로 문화콘텐츠 개념을 정리하고, 시각문화콘텐츠의 창작 모티브로서의 재미의 요소를 분석하였다. 그리하여 향후 경제적 가치를 창출하고 재미를 제공할 수 있는 시각문화콘텐츠 생산을 가능하게 하는 분석방법론을 고찰하여 제시하였다. 이것은 주로 기호학적 접근방법을 통한 분석방법론인데. 찰스 모리스 기호학 이론에 근거한 분석 매트릭스, 롤랑 바르트의 의미작용 이론 그리고 로만 야콥슨의 커뮤니케이션 기능 이론에 근거한 분석 매트릭스이다. 이러한 분석 매트릭스는 '재미'의 매커니즘을 다양한 층위로 연구하는데 참고자료가 되며, 시각문화콘텐츠에 재미의 요소를 논리적으로 활용할 수 있게 하는 근거가 될 수 있다.