• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.38-46
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• 2013

The change in radically changing era requires various interpretation of interior space and application according to it Minimalism shows simple and pure geometric structure and has been influencing to every aspect encompassing space till present. The features of minimalism in space is geometric structure and composition of simple and repetitive line, restrained simple space, pure and structural simplicity. When minimalism construction is discussed, the vocabulary of simplicity has been followed incidentally and has been discussed as concept of simplicity in new viewpoint through historical flow. The purpose of this study is analyzing basic features of John Pawson's ways of working and trying to define the semantics of the new simplicity concept in modern interior space. The new simplicity in John Pawson shows interactive relationship of eastern and western through basic consideration of fundamental elements such as space, light and materials. The relational simple in intermediation of the new simplicity expressed by amalgamation of eastern and western further from disparate interpretation for simplicity expressed in eastern and western is to review back the basic meaning of simplicity in minimalism. And I hope this study can offer various directions for new interior space accepting theory of the new simplicity and I think that new constructional alternative is required as physical space which can be matched with era of social, environmental chaos caused by this theory of the new simplicity.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.18-25
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• 2003

New simplicity means essential concept that is continuous rather than being concept that do not overcome formal, material functional boundary. Consuming masses, decorative reactionism is possible in infinite resource and continuous plenty. Nowaday situation can not forecast the affirmative future bases on economic performance and practicality, so simplicity esthetics which consisted of minimum things is justified. The purpose of this study is to discuss not the formal and functional simplicity but new simplicity to express the essential thoughts and emotional contents of human life.

• Journal of the Korean Society of Costume
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• v.29
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• pp.23-38
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• 1996

The purpose of this study was to analyze the characteristics of the Minimal Art represented in the second half 20th century fashion. All the mode of dress worn this century have developed from the stimulus of a chang-ing society fired by new discoveries and a zest for the new and different. It would appear that even more dramatic changes will soon occur in our clothing styles the effects of which will be farreaching. Many of today's styles intended to dress our psyche rather than our bodies and this if fully understood by the new designers whose influ-ence will become increasingly more potent as we approach the new century. The highly developed material civilization resulted in human alienations environmental distruption, l By this fact human being of the 20th century was to overcome social com-plexity. Accordingly their search for simplicity was interested in the 60's style. Especially the formativeness of the 60s style was repre-sented in the second half 20th century fashion. In this paper it was focused that how the characteristics of the Minimal Art was expressed in the second half 20th century fashion. minimalism was a quest for basic elements repesenting the fundamental esthetic values of art. without regard to issues of content. At its most extreme it reduced art not ot an eter-nal essence but to an arid simplicity. "Primary Structure" the most suitable name suggested for this type conveys its two salient characteristics : extreme simplicity of shapes and a kinship with architecture. minimalist works are charcterized by huge dimensions coldness and absolute aesthetic neutrality. minimalist artists ambition is to de-fine through the most rudimentary materials such as plywood galvanized iron aluminum plastic and wood a new order of the space. The environment is just as important as the object itself. Similary the use of new tough materials. such as vinyl metal and plastic at late half of the 20th century fashion related to the formativeness of the Minimal Art. And the style of 20th fashion was holded the internal meanings in common the formativeness of the Minimal Aet thorough the various texture pat-tern silhouette etc.uette etc.

• Journal of the Korean Statistical Society
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• v.31 no.4
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• pp.469-482
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• 2002

This paper suggests a new method of compensating for wave nonresponse in panel survey, which combines weighting adjustment and imputation. By deleting less frequent nonresponse patterns, we can get simplicity. A new mean estimator under the new combining method is provided and a limited simulation study employing a real data is conducted.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.155-166
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• 2004

OP-Art was not appreciated by painters and art critics. and according1y has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally. it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity. anonymity and mobility in the Op-Art fashion. The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity. which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted In diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man. can be the backgrounds of the Op-Art fashion. Second, Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators. which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques. the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society, Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modern society.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.121-129
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• 1998

It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.4 s.40
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• pp.381-392
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• 1991

The purpose of this is to investigate the color of Art Deco Fashion in Paris. (1920-1930) Through the age of Art Deco style, the enormous modern cities were built up and numerous life-constructions were designed conspiciously in Paris. Under this situation, the usage of the 'color' became very important element of design area and also it bestowed new form upon the modern design. The black beauty of Art Deco style was the outcomes of cubism, black-arts, and pragmatism. And the black beauty was regarded as the proper color to represent simplicity. Simplicity was the best way to express Art Deco style. The color and light of metal were used adequately to express a geometrical and streamline form; it was raised as a new beauty in this period. The primary colors were used to recognize the simplified forms effectively. New pastel colors, which signified differently with Art Nouveau were born centering around the Youth Culture like a summer resort and a sun bath. Also they expressed neon signs and atmosphere of beach by means of the tropical colors. At last the color of Art Deco style opened the new age. And it was started to use the various colors in design field from at this time.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.1-11
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• 2015

Fashion and architecture essentially have structure to build space for a form of three dimensions. This study defines the form in which structure in itself becomes design as structural simplicity and investigates design paying attention to only structure. It is one of efforts in order to display new design required in the age of a flood of design and it is considered that before developing design through the fusion of architecture and fashion, understanding structure which is the most fundamental element to constitute the form of the two genres will be a groundwork to develop proper fusion design. This study elucidates similarities between architecture and fashion through literature review and investigates structure meant in architecture and fashion, and after that, collects corresponding examples through related literature and fashion information site. For structural simplicity in architecture, structure of a building in itself is a form and decoration at the same time, and it appears as a form of minimizing other elements and stressing the structure only. Structure in fashion means composition line which essentially exists to embody two dimensional materials onto three dimensional human body. As elements of geometric lines are creatively expressed by a designer in order to constitute three dimensional form from structural simplicity, they connote a variety of functions and exert decorative effects as well. And the shape of structure expressed like this is employed as a tool to show off the designer's techniques.