• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.155-172
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• 2002

The research has the aim of defining the special characteristics of the functionalist fashion design in the 1900s by understanding the essence of functionalism in the sociocultural contexts. Giving careful consideration to functionalist fashion design in the 1990s makes it possible to foresee the way of fashion design to meet the needs of the modems and men of the future world. To obtain the purposes, documentary study and demonstrative study with fashion photographs have been executed. Main results are as follows. Functionalism in the 1990s has been developed in different ways from the analogies in the beginning of the 20th century. It doesn't belong to an analogy but has the fused characteristics. It can be classified into techno functionalism influenced by new technology Pure functionalism related to minimalism. casual functionalism for those who are crazy about the speed and sports and enjoy the freedom and comfort and symbolic functionalism. Mechanical analogy has been developed into techno functionalism. Pure functionalism has come from the blend of mechanical and moral analogy, casual functionalism from mechanical. organic and moral analogy. and symbolic functionalism from organic and moral analogy. Since fashion design has much closer relation to human body and movements. it has been expressed considering a division of men and women and the places and times for the designs more than other designs. More casual manners of formal wear are distinct elements in functionalist fashion design in the 1990s. The 20th century general cultural phenomena including post modernism can be explained by eclectic functionalism. Functionalism considering Practical and conceptional functions ill continue and techno functionalism and casual functionalism in future fashion design will be expressed more strongly with new technology and casual trends of life style.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1241-1252
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• 2009

This study is on the internal and external characteristics along with the phenomena of dress and ornaments expressed in them by analyzing Re-orienting Fashion (which is a system of signs and symbols) based on the theories of semiology in the search for the Korean identity by examining a Re-orienting Fashion that is being reinterpreted. Re-orienting Fashion performs the role of signs that act in the spread of Oriental culture through the globalization of traditional dress and ornaments in the Orient. It also has a meaning that converts the world of fashion to a new direction. When analyzing the system of signs and symbols in Re-orienting Fashion (based on the theories of semiology) the conclusions are that an eclectic symbol system has been formed by the combination of the pursuit of modernization in traditional dress and ornaments with post-modernism. A nature-friendly symbol system has been shaped as a natural silhouette in terms of the combination with Eastern philosophy that searches for a harmony with nature according to ecological trends. The ideal of a symbol system means the introduction of design elements in traditional dress and ornaments of the East as a rejection of Western civilization and as an alternative to the fixed pattern of the West.

• Journal of the Korean Society of Costume
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• v.26
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• pp.233-250
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• 1995

The purpose of this research is to open new horizon in the plastic art centering the clothings, to examine the characteristics of the clothing style of Surrealism closely which is being lighted up again newly in the recent culture that is in a state of flux, and futher to contribute to the cre-ation of future clothes by analyzing Surrealism once again which is considered to have affected most in the aspects of idea and technique from the era of modernism to the era of post modern-ism, to understand and develop the relation of modern style of paintings and clothing which consist of many complicated and diverse elements. As for the method of research, after analyzing the formation and characteristics of painting style of Surrealism, painting style of Surrealism, painting style of Surrealism were classified largely into D paysement and Automatism, which were then reviewed. And the characteristics of fashion style of Surrealism were compared and analyzed with painting style of Surrealism, for this, fashion of Surrealism dur-ing recent five years from 1990 to 1994, among the fashion from Pr t- -Porter concentrated re-view was made for the ones made public at Paris-London Collections. By the result observed through this research, the trompe-l'oeil double image technique of many clothes created by E. Schiaparelli who was strongly influenced by Surrealism in 1930s were succeeded with its inspiration of Surrealism by the radical fashion designers recently and we were able to know that it is being created again by fresh senses. Followings are the discussions on homogenity of the characteristics of fashion style of Surreal-ism with the painting style of Surrealism Therefore if we analyze the characteristics of fashion style of Surrealism, Automatism ex-pression style which takes out only image borrowing the power of unconsciousness, instead of factual transposition, is forming the main cur-rent after 1990s. We can find the fashion style of this Surrealism appear persistently, entirely irrel-evant to the silhouettes of 20th century.

• Journal of the Korea Furniture Society
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• v.19 no.6
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• pp.439-446
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• 2008

High Tech Design manner is a design concept that had been constantly discussed in constitution process of the West art history and modem ideology and had been experimented in industry, having started from futurism and structuralism in the early 20th century through Kinetic Art & Technology Art and up to now. High Tech Design had a great influence also on Post Modernism and more important is that this manner of design will be existing continually in the future too. From the modem times when machine civilization started, the artist and designers expressed a utopia will showing the future world with help of High Tech Design and modem people are realizing technology images as a utopia, in the space and material presented by this high tech design. And this utopia imply the images of dynamic power, speed making a voyage in universe, dream of future, hope, mass production, earth's environment, wealth etc. High Tech furniture was lightly designed by using thin steel wire, structure stressing the metallic characteristic and tempered glass, and it was used for presenting a convenient interior space visually, and with that it can make a unified sense in High Tech interior space, and a contrary effect compared with minimal space. High Tech Design equipped with glass and metal materials looking inappropriate for our interior space due to their sharp and cold image has been regularly used as living furniture, not only decoration function, and then there must be reasons for that. This study intends to research how High Tech Design has been changed and developed in the design history & West art history from the early 20th century, and to present it's value of development as data orienting, namely a direction for the industry of the next-generation and furniture design.

• Journal of the Korean association of regional geographers
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• v.8 no.2
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• pp.131-149
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• 2002

Geography has been defined traditionally as a discipline on regions, that is, as chorography, which means regional geography. Regional geography, which once withered up with the development of positivist geography, has gained recently its vitality. In particular, as social theories have been introduced actively into geography since the 1980s, new methodologies for regional geography have been suggested through a series of debates, for example, on spatiality, locality, restructuring, and post-modernism, though there remain still some important conceptual issues which have not yet settled down. On the other hand. new regional geography has made its development and significance for regional development in the age of the so-called globalization in the reality. That is, new regional geography has been required for a systematic conceptualization of region and for a theoretical consideration on the dynamic change of regions in the process of globalization. Furthermore, an emphasis can be given to geography education for new regional geography in order to understand new strategies for regional development.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.121-124
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• 2004

The Contemporary animation style based on technology become various within some categories and genres as recreating the importance and meaning of many formalities. According to the variation of the contemporary animation style, The computer animation that has affected on continuous development of science and its following broad-band culture takes charge of the important position in producing the contemporary visual art. On this thesis, I will research < Ani-matrix > which has 9 episode each for the different Matrix world focused on its animation style. I will analyze their forms of expression into the both aspects of esthetics viewpoint technologically and film making style traditionally regarding to the matter of reality and reemergence on a viewpoint of a realistically esthetics. Also I will analyze mutual connection among the reinterpretation for the reality, philosophical message, and animation style within < Ani-Matrix> suggested by influence of Post-modernism. Thus, I intend to prospect the formation of animation style followed by its esthetics construction and effect on computer animation of the film genre.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.69-84
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• 2008

Considering that star reflects the image of current society, analyzing fashion of celebrity is to read ideal type and demands of beauty of the era. Especially the rock music-represents youth culture that last on present day-born in 1960's, and it is considered to a significant decade in pop music history. Thus this research will analysis rock star's fashions in iconological view of E. Panofsky. The aim of this document is Clarifying how the fashion of pop stars appeared and what formed its worth. As a result of analyzing fashions of rock star in 1960's, it is available to find these sameness and difference. The Mods borrowed images of the past, and introduce the elite modernism and shows very urban style. The Folky and the Psychedelic showed post-structuralism propensity against industrial society, in the case of the Folky it induced styles that symbolize labor class to realize social worth. And as an aftereffect of war and repulsion of commercial worth, they embody nature-returning peasant look so that it shows pastoral mood in total. The Psychedelic express somewhat struggling escapism and it generated illusionary images with quests to superego and glorification to psychedelic status. The Folky and the Psychedelic are same in the side of introducing existentialism, this occurred by using ethnic factor. But the Folky showed plain outlook by pop propensity, on the other hand, the Psychedelic showed magnificent outlook such as optical art, pop art, and futurism ought to express merrymaking culture. And common feature of these is introduction of unisex mod which is came after the change of gender role. Thus each star or group has professed special ideology into their culture and it is reflected to acts which is including music and dress style. This affair is analyzed like these two things. The mass of people schemes their identity with inducing special ideology to their culture at the first. And the purpose to archive cultural hegemony in inter-social class at the next.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.575-583
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• 2020

This research approach is different from the existing definition of Tropical House. It was derived from an electronic music genre (deep house, chill out, dance hall). However, this study explains that Tropical House contains elements of other art forms as well as electronic music. These are the elements of Ireland's traditional music (Celtic music). This study explains why the fusion of Tropical House and Celtic music was easy. And it shows that elements of Celtic music are included in Tropical House through eight popular songs. It can be confirmed that the melody, harmony, rhythm, singing method, instrumentation, and structure of Tropical House are intertwined with the elements of Celtic music. The key point of this research is to suggest that Celtic musical elements are found in the Tropical House genre. In addition, creators need to pay attention to various types of music, including traditional music from around the world. It is suggested that creators need to think about how to combine today's music with various other genres to create original music.

• Archives of design research
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• v.9
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• pp.1201-1208
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• 1994

During the 1970s, as Los Angeles-based designer April Greiman made her professional way, her work was popularly labeled "New Wave: The term no longer seems to fit. Today, Greiman refers to her brand of design as "hybrid imagery." For combining photography, drawing, video, computer-generated images and typography in her designs, she creates a crossbreed that blends but is unlike any of its parts. To her credit, Greiman was one of the first designers who saw potential in the "textures" of video and computer-based imagery, and was brave enough to integrate this new visual language into the mainstream design work she was creating. She was also one of the designers to use the Macintosh computer as her primary design tool. Despite her pioneering work, she refuses the label of "experimental" designer. She prefers to say she, is interested in process, in layering images to evoke both a thoughtful and emotional response. thoughtful and emotional response.