• 한국실내디자인학회논문집
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• 제24권1호
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• pp.72-81
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• 2015

The change towards meeting diverse customer needs has started to affect the hotel industry as well. Design hotels emerged as customers demanded differentiated lodging experiences they could not fulfill at franchise hotels which were uniform in style everywhere in the world. Design hotels are meant to provide a new concept of space through unique design sensibility and work of designers, which highlighted the role of interior design. This research analyzes the characteristics of indoor space expressed in design hotel common spaces by the French designer Andree Putman, also known as the founder of boutique hotels and the concept of design hotels. As the original founder of the concept of design hotels, Putman's scope of work stretches wide, from interior design to product design. She is also one of the few French designers with a modernist inclination. The research runs a review on previous literature, characteristics of design hotels according to design tendency, and the association with characteristics of indoor space designed by Andree Putman, followed by case analyses extracted by analyses on design characteristics of common spaces she has designed. The analysis reveals that she creates comfortable yet elegant space, using contrast and fusion arising from negotiation of design styles to interpret space, the sense of spatial balance and understated expression of order through symmetrical structures, diverse creation of space through geometric structuring, highlighting indoor space by utilizing lights as objects, and the heterogeneous harmony achieved by contrasting juxtaposition, and understated formativeness. It is expected that study results would be utilized as methods of new designs of interior space in design hotels.

• 패션비즈니스
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• 제14권5호
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• 한국의류산업학회지
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• 제9권6호
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• pp.663-670
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'aphne' pictures the second of changing into a laurel tree avoiding the love. Secondly 'Muse Erato' was exhibited the peaceful figure that have enough the fine melodies. 'Leda' brings out the feature of Leda resembling a swan and the fourth piece, 'Eos' conveys the brilliant and mystery of dawn. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.

• 한국의상디자인학회지
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• 제20권2호
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.11-21
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• 2010

The purpose of this study is to examine the design characteristic of the facade of the main adminstration building in university. The main administration building which is a basic of educational facilities has various administration setups, such as the register's office, the student affairs section, the planing department, the general affair's office and so on. This building performs academic, administration, facilities management, and admissions service. Also, the building has an ideological, historical, and symbolic image, having an organic relationships with the other educational facilities. This study choose one hundred seven universities, except universities that does not provide information easily and the second campus which does not have the main administration building, as the subjects of the study. The analysis is derived from the design elements applied to facade design of the main administration building and this is divided into design principles(balance symmetry, contrast, rhythm), the formal composition(geometrical, linear), and the style of architecture(classical architecture and modern architecture). The results of the research are summarized as follows: The design characteristic of the facade of the main adminstration building in university has chronologically changed. First of all, in the 1940's, symmetry emphasized on the center of building, superimposition, division, pediment, and arch were marked. Then, superimposition was prominent in the 1950's and symmetry emphasized on the center of building was shown in the 1960s again. Flat roof was in the 1970's, 1990s and 2000's. Finally, pediment was dominant in the 1980's. The design elements of the main administration building can be samples of chronological styles of architecture. Facade design, with proper design of the past and recent times, includes the meaning that achieve the great purpose of the university by emphasizing visual images.

• 복식문화연구
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• 제14권4호
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• pp.657-669
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• 2006

This study is to investigate the previous cases of plural eclecticism through the works of Vivienne Westwood, who contributed to the spread of innovative and eclectic English fashion out to the world as well as to review plurality and its phenomena since the 20th century more systematically. In terms of research methodology, the phenomena of plural eclecticism were examined from social and cultural perspectives, whereas bibliographic research and case study were performed for the phenomena of eclecticism in fashion. From the perspective of plural eclecticism, the results from analyzing the works of Vivienne Westwood by the divisions of temporal eclecticism, spatial eclecticism, and contingent eclecticism are described in the following. First, Vivienne Westwood emphasized historicism tendency of temporal eclecticism. Her efforts to try to modernize history went beyond ages and social classes including men's clothing, prostitutes' costumes, craft items, and dresses for royal family. Second, her spatial eclecticism was reflected on the first collection themes inspired by the American Indians or borrowed from the names of Voodoo in the Tropics. Finally, infra-fashion as an expression of contingent eclecticism of Vivienne Westwood's works can be interpreted as plural eclecticism which shows contingent eclecticism and historic eclecticism at the same time. This study aimed at proving preceding implications concerning recent plural eclecticism through the analysis of the works of Vivienne Westwood who tried a radical design of plural eclecticism in an effort to modernize the tradition of England in the circumstances where a number of trends and styles exist together, with their own uniqueness and values.

• 한국의류학회지
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• 제31권1호
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• pp.21-32
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• 2007

The purpose of this study is to establish the idea of sustainable slow design by analyzing literatures and preceding cases, based on the external elements of a design including forms, the methods of expression, materials and colors. This study reviewed the previous literature of books and pictures related to the research for case studies and content analysis. fashion books, magazines, and web-sites published from 2000 to 2005 were analyzed for this research. The sustainable slow design trends in fashion can be summarized as follow. The first is a timeless style which has sustain ability in design independently of the versatile fads and relies on functionality, serving the purpose of design. One of the examples is both clothes designed by Burberry and suits by Chanel. The second is a hand-touch style which the more time for outputs can be positively tolerated, in favor on eco-friendly design through the techniques of manual arts. The third is a renewable design which the combined values of design with reuse and renewal result in recreation of past ecology as shown in the technique of designs by mix & match. The forth is a transformable design which features the multi-purpose and multi-forms, eventually extending the lift cycle of products. As a result of analysis of the four designs above, it can be inferred that the representation of past styles, the mixture of old design with new design, the appropriate combination of conventional fabrics with advanced ones, the ecological trends of sports look was emerging.

• 복식
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• 제64권7호
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• pp.97-113
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• 2014

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

• 패션비즈니스
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• 제11권5호
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• pp.90-99
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth(the background and develop)and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'Aphrodite' is the sculpture showing the win of love which animated. I formed it very active and vigorous. Next 'Birth of Venus', No.2, involves fineness and freshness. 'Fear of Medusa', the third piece, displays the very second when medusa was executed as a beautiful and active scene not a scary one. And lastly in 'Lovely Medusa' Medusa finally find the stability and it was expressed her beautiful and shining hair. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.

• 복식
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• 제53권1호
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.