• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.18-29
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• 2007

Since its birth, "Little black dress" that has been prospering and reviving continually for 80 years, is always favored as classical fashion item. This study focuses on how the "Little black dress", regarded as the beginning of the modern fashion, could become an eternal item over a century by analyzing the aesthetical characteristics of it. Thus, we can better understand the modern women and aesthetic value of modern fashion. The precedented studies and literatures are reviewed for recognizing the development of "Little black dress," and the scope of this study is limited only after the year 2000. Also, fashion work collections and various domestic and international fashion magazines are analyzed demonstratively. After the Little Black Dress was born with the bullish black color in the year 2000, the aesthetic characteristics of the newly spotlighted Little Black Dress in the modern fashion are as the following. First is modernism. Modern style of black dress is appeared through simple and moderate expressions such as pursuit of simple line, minimization of decoration and exclusion of accessories. Second is sensuality that emphasizes flashiness of black by gloss or see-through fabric and exposing one's body parts or dress that exposes body's curves not only express women's physical attraction but also show off woman's social status or roles. Third is feminism. Ruffle, ribbon, flowing-like fabric, and rhythmical details express charms of sophisticated and trendy women as well as romantic image of girlish sensibility. Fourth is hybridism. Experimental and creative thinking like designers' unique re-interpretation of "little black dress," fresh view to sexuality, breaking up of the existing principle of clothing compositions give wholly new aesthetic value.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.1-15
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• 2007

The purpose of this study is to mate a basic foundation for the discourse of Koreanness of contemporary Korean landscape architecture by way of searching the conceptual definitions of Koreanness through analysis of Koreanness discourses. The results are that discourses of Koreanness are to be classified in aesthetics type, spatial-temporal type, and cultural type. Aesthetics type is understood as style in terms of formal and design representation planning principles of spatial composition and immanence in terms of philosophy. Spatial-temporal type is understood as contemporaneity. This is classified as the concept of connoting of tradition, and separating and keeping a distance from tradition. Cultural type is prescribed as cultural identity. This is classified as unity, generality and individuality. The intension of Koreanness of these types is represented as an aspect changing and shifting from one regulation to another regulation. First, in the concerns of substantial archetypes like Korean original form, decorative element, spatial composition aesthetic perception and philosophy, Koreanness shifts to the point of view of contemporaniety which is created and defined in history. Second, Koreanness as contemporaniety shows a trend of shifting the point of view which is to be found through the reconsideration on modem history and modernism. Third, Koreanness defined as cultural identity shows a trend to emphasize the differences in other cultures and includes all the modem cultural agents. The number of views understood as individuality and denial are small but provide important points. Programmatic definition of Koreanness is not suitable. This basic study uses a stipulative or operational definition of Koreanness in many ways such as spatial and regional identity. Koreanness study for Korean contemporary landscape architecture requires a systematic understanding of modernity and colonization relating to identity. Also, it is needed to elaborate on the discourse to divide the meaning of a concept of identity.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.157-165
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• 2005

The purpose of this research is to investigate the actual conditions of the manufacturer's design processes. Questionnaires were sent out, and 57 interviews were used as research methods including designers, programmers, and merchandisers working for a knit manufacturer in Seoul, followed by a frequency analysis using SPSS 12.0. The results are as follows: knitted fabric goods were the top choices in casual wear. Brand image depended on 'elegance', 'modernity', and 'romanticism', among other lifestyle pursuits. The distribution ratio of the 'basic' and the 'trendy' knit was at 3:7 or 7:3, while the ratio of 6:4 or 4:6 was more common. Knit structure was proven to be the most important factor in the changes in designs. Style and yam ranked second and third, respectively. In addition, details (embroidery and beading), color, pattern, and processing were among the other factors, in order of importance. Based on the difficulty in designing and manufacturing knitted fabric goods, 'manufacturing cost:' 'lack of a manufacturing facility for small production,' and 'limited delivery time' were among the reasons cited in the questionnaire. These results appeared to have been caused by small-scale manufacturers or small-scale manufacturing facilities that made small volume production difficult. The results of the interviews on knitted fabrics that were most frequently used and with the highest sales volumes showed that plain, lace, links & links, miss, and 1:1 rib were ranked accordingly for S/S use, while jacquard, cable, 1:1 rib, links & links, milano, plain, and half cardigan were ranked accordingly for F/W use.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.158-170
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• 2016

This study analyzes historical drama costumes as a domain of popular culture through an examination of the changing process, factors, and design characteristics of historical drama costumes according to trend changes in historical dramas after the 2000s. Public interest in Korean traditional clothing has grown due to the historical drama fever. Research results are as follows. First, historical dramas are divided into: authentic historical dramas, popular dramas, and fusion dramas. Historical drama costumes show characters' status and roles to help viewers become absorbed in dramas and increase understanding the historical periods and knowledge. Second, the characteristics of TV historical drama costumes (according to changes of the historical dramas according to 2000) brought diversification as they are diversified by period, genre, and character and costumes which are suitable for them additionally resurfaced. Third, as for the design characteristics by type in TV historical costume after 2000s, authentic historical dramas' design was done by comparatively in-depth historical research based on historical materials to help public understand the past. Popular historical drama costumes are based on history, but the forms of costumes were emphasized (or exaggerated); in addition, colors, subjects, and patterns were modified to emphasize image beauty, dramas' atmosphere, and characters by reflecting intention. The fusion of historical dramas' costumes attracted the attention of the public about Korean designs that harmonized tradition with modernity to actively reflect current trends in past periods and show new types of creative design.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.185-203
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• 2021

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia's Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.17-31
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• 2024

The purpose of this study is to propose a modern use of traditional culture by developing creative fashion designs that combine modern and traditional styles based on an analysis of traditional costumes of women in the Tang Dynasty of China. The characteristics of the Tang Dynasty women's costume are as follows. The Tang Dynasty women's costume consists of a short coat (衫, Shan), skirt (裙, Qun), half-arm shawl (半臂, Banbi), and short embroidered cape (帔, Pei). The colors are succinct and elegant, commonly red, yellow, green and navy blue in its entirety. It may be classified by pattern that blend plant patterns, animal patterns, geometric patterns, and two or more mixed patterns. On the basis of the characteristics for traditional women's costume during the Tang Dynasty, the CLO 3D program is employed to develop digital fashion design for four pairs of 3D digital clothing and the production of two pairs of work product. The results are as follows. First, the development of fashion design reflecting the design characteristics of traditional women's clothing in the Tang Dynasty of China could be expressed as fashion design reflecting unique values while connecting tradition and modernity. Second, the 3D virtual clothing program displays an extremely important effect in design deployment and pattern arrangement by having efficiency and convenience in clothing production. The CLO 3D program is closely combined with the 2D design and 3D effect and heightened efficiency while being appropriate to realize sustainability while saving processing time and energy for the sample products. Third, the production of an actual product by facilitating the 3D virtual clothing design may lead to time savings and an effective economy and may allow for the comparison of digital fashion design and actual products as well as confirming the effects of digital fashion design.

• Journal of dental hygiene science
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• v.7 no.3
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• pp.113-119
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• 2007

This study attempts to find factors contributing to the use pattern of prosthetics by investigating the current condition of prosthetics for the aged of over 65 years old by place of practice. Among those of over 65 years old who live in Gangnam-gu, Seocho-gu, Seongbuk-gu, and Gwanak-gu of Seoul and use the apartment senior's center, those having prosthetics were selected as subjects of this study, and this study was conducted in forms of interview and record. Findings of this study are summarized as follows: First, in regard of the state of prosthetics and relevant symptoms in the mouth according to the place of prosthetics practice, there was significant difference in the questions except the medical benefit of prosthetics between unlicensed facilities and dental clinics and hospitals. Second, regarding difference in satisfaction according to the place of prosthetics practice, dental clinics and hospitals showed a higher level of aesthetic satisfaction than unlicensed facilities. For difference in satisfaction at pronunciation, chewing, pain, a sense of foreign body, and holding power, dental clinics and hospitals showed a higher level than unlicensed facilities, Third, after factor analysis on the perception factors of unlicensed treatment and dental treatment, unlicensed facilities showed the highest level of reliability, and then convenience, word of mouth, and modernity in order. Dental clinics and hospitals also showed the highest level of reliability, however, and then convenience, modernity, and word of mouth in order. Fourth, as a consequence of analyzing the factors to influence the use pattern of prosthetics, regarding residential pattern, there were higher possibilities to use dental clinics and hospitals when the subjects lived together with their children and in Gangnam, and the more were the number of pyeong for the residence, pocket money, medical expense, and property in their name, compared to unlicensed facilities. In conclusion, economic factors appear to be the most important factors in selecting facilities for denture prosthodontics. Therefore, it is important to ensure the denture prosthodontics for the elderly are reimbursable so that they can enjoy a healthier life.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.