• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.49-58
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• 2006

In the 21st century, fashion design trend is focused on 'retro'. 'Retro' is the one of the important trends in this century. In the rapidly changing present, the more people want to find a clue to the hope and happiness from the past nostalgia. Reflecting such people's desire, retro fashion has boomed again from 2000 as one of powerful trends. This research conforms the meaning of retro fashion and characteristic of retro fashion design. And through this processing, it was find that retro fashion design had lost century retro romantic fahion image. Therefore, in this research, the processing about development of retro dress design of retro romantic fashion image was showed by using CAD. The results of this study are as followings. First, Retro fashion is worth the high value of good producr of new and creative for consumers who pursuit tranquil mood in the midist of dailly change Second, Nostalgia and revival of style for each 10 years after 1920's is well brought out in Retro trend of modernt fashion. Also decorative and elegant style are marked by retro romantic fashion mood. Third, fashion design using the computer graphics was presented by application retro romatic image. It is mixed with elegance and modernity based on retro feeling, It is suggested that computer graphics was effectively used in fashion design development to the newly romantic and modern style through 1950'-1960'intimate retro fashion image.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.369-378
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• 2004

The objectives of this study were to measure the preference and purchase intention on Korean traditional motifs and to investigate the relationship among preference, purchase intention, and sensibility. The subjects consisted of 217 male and 351 female US undergraduate students. The experimental materials used in this study were 48 stimuli and a questionnaire, composed of 7-point semantic differential scales of 17 bi-polar adjectives. The data were analyzed by ANOVA, Duncan's multiple range test, Regression, and t-test. The major findings were as follows; First, interpretation type and application object had significant effects on the preference, while category and interpretation type had significant effects on the purchase intension. The application of Korean traditional motifs for pattern design was preferred to their application for clothing design. Decorative type was found to be more related to the preference and purchase intention than the other interpretation types of realistic, stylized and abstract types. The purchase intention on crain motif was lower than the other categories of lotus and cloud motifs. Second, in overall, the preference on Korean traditional motifs was higher than purchase intention. Third, the preference and purchase intention were affected mainly by 'Quality' image, a component of sensibility, followed by 'Cheerfulness' image, but not affected by 'Simplicity' and 'Modernity' image.

• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.220-233
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• 2006

The purpose of this study is to reviews the Chinesm expressed in the modern fashion world after the year 2000, and underlines the characteristics of Chinesm, as the Chinese fashion market is getting bigger and becomes the cynosure of the world. The method of this study is by research on precedence as well as related researches in Korean and foreign books. The results were as follows. First, the Chinesm recreates the historic motive which is the traditional costume, ornaments, or make-up etc. to maintain the harmony between the modernity and the past, preventing from following or mimicking. Second, the Chinesm expresses the combinational and harmonious manner with the combined image on the Chinese original symbolic factors mixing with the foreign spatial-temporal elements, the various styles of wear and decoration, and the different images to have the natural or equivocal relationship with one another. Third, The Chinesm magnifies the feminine atmosphere to express the sensual image by using effectively the traditional design factors, which is tight silhouette, coverture, and exposure. Fourth, the Chinesm professes the pro-naturalism embracing the human without conflicting with the human nature. It seems possible on the new value mixed with colors, materials, or patterns, etc.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.89-106
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• 1998

This essay addresses the role of environmental aesthetics in landscape architecture : how can environmental aesthetics enrich landscape architectural theory and practice\ulcorner It begins by criticizing the predominant notions toward theory : theory as an instrumental design method, theoretical vacuum in modernism of landscape architecture, and the intimate relation of theory and practice in 18th-century England. It suggests that the expulsion of theory in landscape architectural academics and profession is nothing but an inappropriate bias. In the second place, the essay explores a remaining question : why environmental aesthetics is a part of landscape architectural theory\ulcorner I would argue that environmental aesthetics can transcend the man-nature(subject-object) dichotomy, one of heritages of Western modernity project. Here, landscape architecture meets environmental aesthetics, and both can intermediate between theory and practice. For landscape architecture is (and ought to be) a device of embodied communication, creating symbolic settings wherein an interconnection of man and nature can occur. Finally, this essay examines the aesthetics of engagement that Arnold Berleant claimed recently. This theory of aesthetic experience has a possibility of making corrections some improper conventions in landscape architectural creation and appreciation : disinterested contemplation, visual-orientedness, decoration-denteredness, and so forth. I would conclude that environmental aesthetics can be a significant theory which can correct misconceptions in landscape design and appreciation and, further, can lead contemporary practice. As the great mediator between man and nature, between theory and practice, environmental aesthetics has a profound role to play in the realm of landscape architecture, and vice versa.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.85-96
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• 2013

This study relates to meta-phenomena in architectural design. Among others, this study aims to interpret and demonstrate the cognitive thoughts and methodological systems in 'autonomy and instrumentality' presented in works of art by positivist architects focusing on diagrams after the second modernity in addition to earlier formal experiments by John Hejduk, Peter Eisenman, Bernard Tschumi, and Daniel Libeskind. In order to achieve these aims, this study approached the mimetic concepts developed by Walter Benjamin and Theodor Adorno. Especially, meta-phenomena in the methods of architectural design were connected to productivity in Adorno's mimetic concepts. Also, in terms of formation and creation of works of art, the mimetic backgrounds of Adorno's theories on aesthetics were identified from features of concepts on the part of formal experiments. The results were systemized methodologically based on meta-phenomena appearing in pure arts and overall architectural design. These were presented as a framework to interpret 'autonomy and instrumentality' that exist in the working of negativity and mimesis. In this way, logics and intuition in architectural design as well as methodological systemization of convergent creativity were proved valid. In conclusion, Adorno's mimetic concepts systemized based on negativity and critical awareness may lead to new concepts. It has been proved that it is valid for security of meta-phenomena of architectural design as a production of autonomous spaces for differences and creation.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.40-49
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• 2012

The purpose of this study is to look into an articulation between architecture and site of Le Corbusier's works. The first of his principals, "piloti" shown in "5 principals in new architecture" represents the articulated relationship between architecture and site. It certainly works as a driving force of new architecture Le Corbusier pursued. The study presumed that this is the constructive application of "Modernity" with new technology and materials during the turn of century. It also seems to be a tool for visual presentation of implied "Will of Form" for his paintings and architecture as well. In this perspective, this study suggests an assumption of a certain connection between the principal of spatial articulation on his purism paintings and the architectural spaces created by piloti. The study finds evidences that supports the above mentioned assumption; first, the inter-relationship between the interval spaces on his paintings and lifted box, second, the movement of space as overlapped spaces, and finally, overlapped volume which is represented by intersection.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.173-184
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• 2000

The purposes of this study is for consideration of the flapper image through the culture and novels in Jazz Age(1919∼1929) of America. The back ground of flapper fashion was Jazz. Jazz was one of the cultural languages which expressed liveness, noise, salacity, harmony of primitivity, modernity, innocence and freedom. In processing American had gotten economic power, the Jazz Age had new mood which was combined materialism and realitism. Environmental changes of life styles and development of mass culture of modern big cities could aid the birth of modern girls, flappers. They became the main group of new consumer and mass culture in new consciousness and freedom with independence. Their characteristics are confirmed from Fitzgerald's novels, This Side of Paradise and The Great Gatsby. As the results of above, the consciousness of flapper were rebellious attitude, liberalism and actualism. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. The flapper images are as follows: First, they expressed modern image as a rebellious attitude. Second, flapper had a sensual image of freedom through rhythmical and speedy expression. Third, premature image for pursuing youth could be found. Therefore the changes of culture and women's life styles are very important points for fashion studies and the connecting fashion and other fields like novels is needed also for it.

• Journal of Fashion Business
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• v.25 no.4
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• Human Ecology Research
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• v.59 no.2
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• pp.261-273
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• 2021

This study is not just a meaning of costume but a function of culture and includes addresses the associated emotions. As the interest of youths has increased recently, the importance of traditional costume education has been growing. Therefore, this study aims to analyze the contents of Hanbok in the 2015 revised high school technology and home textbooks using content analysis techniques and text mining techniques. As a result of the study, first, the symbolic meaning and characteristics of Hanbok and the beauty of Hanbok were practiced in daily life, and the value was found through the excellence of Hanbok and the modernization of Hanbok was dealt with Second, most of the illustrations related to traditional costumes were presented in various ways, but there were some regrets due to lack of quantity and quality. Third, the words used to explain traditional costumes were used in the form of culture, excellence, tradition, modernity, harmony, succession, etc. except for the types of clothing. Therefore, the results and discussions derived from this study are expected to help the textbooks to be efficiently selected and used in the field of the front line school along with the correct understanding of traditional culture in the process of selecting traditional culture contents and illustrations.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.