• 한국의상디자인학회지
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• 제18권2호
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• pp.191-206
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• 2016

A designer representing an avant guard fashion, Martin Margiela introduces experimental collections that seek ideational and ideal values, breaking away from limits of popular universality or usefulness of fashion. This study seeks to interpret Martin Margiela's design characteristics from the perspective of ambiguity, and thereby examine theoretical basis of meaning interpretation of his ambiguous and innovative design. In poetic meaning ambiguity is verbal nuance which gives room for alternative reaction the same piece of language. By way of study methods, concepts and characteristics of ambiguity were examined based on William Empson's seven types of ambiguity, and characteristics of Martin Margiela's fashion design were analyzed from the perspective of ambiguity. In the study, expression of ambiguity in Martin Margiela's fashion design was categorized into ambiguity of forms, that of meanings, and that of existence. Ambiguity of forms could be found indeterminate form of clothes and flat clothes. Ambiguity of meaning refers to ambiguity arising from the possibility of the meaning that fashion design is going to convey diverse interpretation. Ambiguity of meaning could be found up-cycling vintage clothes, semi-couture, signs of time, unfitting size, and symbolic letter. Ambiguity of existence could be found inanimate dummy, face shrouded with a veil and expression of multiple identity. In Martin Margiela's fashion design ambiguity gives rise to joy of something fresh, amusement felt about what deviates from normality and the possibility of fashion design's endless creations.

• 한국콘텐츠학회논문지
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• 제16권8호
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• pp.601-610
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• 2016

21세기는 문화의 시대로 문화상품은 한 민족의 정신문화가 깃들어 있어 세계화속에서 그 민족의 전통과 문화 및 기술의 척도가 되고 있다. 십이지신은 통일신라시대 이후 오늘날까지 이어온 우리 민족의 고유한 신앙과 사상의 산물이다. 따라서 문화상품의 범주에는 많은 것들이 속할 것이나 본 연구에서는 십이지신 캐릭터에 한정해 문화상품으로서 디자인을 하기 위한 가이드라인을 구축하고자 하였다. 십이지신 캐릭터 문화상품 가이드라인을 제시하기 위해 문화상품의 개념 및 분류, 한국 전통의 조형적 특성, 캐릭터의 개념 및 구성요소, 십이지신의 상징적 의미 및 특성, 십이지신 캐릭터의 의인화, 십이지신 캐릭터의 유형별 이미지들을 연구하였다. 연구를 통해 문화상품화 대상의 기준, 문화상품의 이미지, 십이지신 캐릭터의 적용대상 분류, 적용할 한국 전통의 조형적 특성, 캐릭터의 선호도, 십이지신 캐릭터의 의인화 및 십이지신 캐릭터 문화상품 개발에 대한 디자인 가이드라인을 제시하였다.

• 복식
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• 제65권1호
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• pp.30-45
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• 2015

This study summarizes the dissemination aspects of liturgical vestments in Korea, and organizes the value and meanings of these disseminations as it appeared in the history of costumes by carrying out an empirical analysis on the relics of liturgical vestments since the modern times. It also examines its design characteristics as well. Liturgical vestments have symbolic meaning for the purpose and solar term of ceremonial occasions and it also functions as a way to differentiate the position and duty of the clergy. Liturgical vestments developed on the basis of ancient Greek-Roman costumes and transformed each situation and social trend of the age. Korean liturgical vestments started with their traditional costumes, in 1887, it were changed into French(western) style with freedom of religious. After the secondary Vatican Council held in 1962, various regulations were changed to spread the Catholic doctrines and ideology. This study conducted an empirical analysis and design consideration on the 28 relics of modern liturgical vestments on the basis of the foregoing standard and concept. As a result of analysis, relics were investigated as research materials worn by Bishops after 1960s. And design elements are that the relics used materials and ornament of Hanbok with flower patterns and decoration such as letter patterns including 壽(life) 福(luck) 喜(pleasure) as well as Chrysanthemum and Mancaowen design. These transition reflected by amend regulation of Vatican Council II. Accordingly, this data has been confirmed to be important for the history of costumes as it informs what process of changes liturgical vestments spread in Korea went through before they are worn as current appearance.

• 복식
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• 제61권1호
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.51-55
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• 2007

These days, hair design is recognized as a kind of molding arts which peform expression skill to create personal self as well as practical skill. Recently, the efforts to express hair design sublimating it to art works have continued. For these reasons, this study had purposes as follows; First, it developed creative and original design producing works to shape the flower image that was an important material of hair design. Second, it presented the possibility to express the field of hair design with art. In the flow of age, nature has provided design with unlimited creative motive. Flowers, among various materials, show the nature's change, combination and order and impose diverse symbolic meanings. Therefore, flowers are good materials to express the works. Through the process of decolorizing and dyeing with hair, five works of nature's fragrance, hope, reed flowers, windflower, magnolia blossom had been produced. The results of the process were as follows; First, the transformation of shape through the simple process taking the image of shaping flower as subject matter could be a motive of new hair design art. Second, if the various images of flowers were expressed as hair art with three-dimensional shape, it could be works with value of beauty. Through the process of this study, it was proved that nature could be endless subject matter for art. Therefore, with continuous studies, it can be motive of developing designs in producing work activities of many hair designers. In addition, academic development will be achieved through wide and diverse studies.

• 디자인학연구
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• 18호
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• pp.153-162
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• 1996

지하공간은 방위감각의 상실에서 오는 위치적 제한으로 인공적 표지환경에 의해 위치 및 행동방향을 결정해야 하는 부정적 환경요소가 많다. 따라서 시각언어로서의 환경그래픽이 대중적 표지기능을 갖기 위해서는 상징적 의미의 기호이론에서 연구되어야 하나 안목의 활용형태가 반복되고 지하철 관리체계의 다원화로 체계적 관리가 소홀하여 시각언어로서의 의미를 잃어가고 있다. 연구의 결과, 형태의 원인으로서 제공되는 시각적 지하 환경요소는 시각언어의 Communication 측면을 충분히 고려한 연구의 기초 위에서 도입, 관리되어야 한다고 보며, 따라서 지하 환경그래픽을 행태 유도 적 표지기능의 기호현상으로 볼 때 통사론적 기호현상과 은유적 표현으로서 화용 론, 활용형태로서의 의미론의 관점에서 연구되어야한다. 특히 색채언어, 형채 언어 등 시각적 환경요소가 내포적 의미의 보편적 표지기능이 되기 위해서는 뚜렷이 구분되는 시각언어가 활용되어야 한다.

• 한국조경학회지
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• 제28권2호
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• pp.71-84
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• 2000

In this study, design characteristics of Village Parks in Seoul are investigated through an analysis of structuring themes expressed in spatial design. The goals and objectives of this study are: to emphasize the significance of design themes; and to demonstrate an approach to the design of landscapes through an analysis of structuring themes. For conducting this study, geometric forms and naturalistic forms were examined first. That is, the following 15 structuring themes were examined, as guiding themes: the 90$^{\circ}$rectangular theme; the 45$^{\circ}$/90$^{\circ}$angular theme; the 30$^{\circ}$/60$^{\circ}$ angular theme; circles on circle; concentric circles and radii; arcs and tangents; circle segments; the ellipse; the spiral; the meander; the free ellipse and scallops; the free spiral; the irregular polygon; the organic edge; and clustering and fragmentation. Forty five Village Parks in Seoul, built between 1996 and 1997, were analyzed through these 15 structuring themes. An analysis of Village Parks was conducted by the following two categories: land shape and structuring themes; and design directions and structuring themes. The research results are as follows; 1) Geometric forms are more frequently applied than naturalistic forms. 2) Regardless of land shape, geometric forms derived from simple primary shapes, the square and the circle, are frequently used. And the meander and the irregular polygon among naturalistic forms are frequently used. 3) Regarding design directions and structuring themes, design concepts, symbolic meanings and spatial forms are, to some degree, integrated. 4) The spiral is not applied among geometric forms. And the meander and the irregular polygon, as naturalistic forms, are frequently utilized. Research findings obtained from this study could be used in the designing of future Village Parks. For a profound study, future, research is needed in two-dimensional plans and three-dimensional elements of Village Parks.

• 한국의류산업학회지
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• 제11권6호
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• pp.867-877
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• 2009

These days, the fantastic in opposition to classic beauty becomes a genre of creative body expression. The purpose of this study was to analyze the expressive characteristics of body types and meanings in recent fantastic fashion illustration. The method of this study was to analyze recent documentaries, fashion books, internet web site and so forth. The results were as follows: In literatures, pictures and movies, the category of the fantastic body's expressive types were classified as dominant mutant based on SF, multi body or fragment body by disruption, heterogeneous compound based on myth, personified humanoid and non substance in supernatural boundary. The dominant mutant based on SF was expressed image morphing, composition of machine image with body and modern metamorphosis of classic SF body. It means propensity to post-feminism and reservation of meaning analysis based on human unconsciousness. The multi body or fragment body by disruption in fashion illustration was expressed distorted composition of same body pictures, replacement of different bodies, deconstruction and partial omission of body and composition of meaning or non meaning images. It means permanence of self and basic narcissism. The heterogeneous compound based on myth was expressed general composition or optical illusion of various and aggressive animal motive. It means reinterpretation of original myth, metaphor of basic femme fatale, pursuit of permanence and sign of primitive mind in unconsciousness. The personified humanoid was expressed real human body description of mannequin or ball joint doll and anthropomorphism of robot image. It means representative satisfaction and nostalgia of childhood. The non substance in supernatural boundary was expressed grotesque description of ghost, zombie, vampire, angel, fairy, using of symbolic red, black color and non body. It means human's basic desire about immortality and taboo. Through the result of these study, the expression of fantastic body in fashion illustration will expend expressive method and we will understand human and cultural codes of today.

• 디자인학연구
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• 제14권4호
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• pp.99-108
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• 2001

부적에는 고대의 다양한 기호나 그림, 원형문자가 사용되어 왔으며 현재도 쓰여지고 있다. 이는 체계화된 문자와 조합되어 다양한 표현으로 메시지를 전달하고 있으며, 현재도 전통적인 방법이 고수되는 반면 지속적인 변화를 통해 인간의 감정과 욕망을 표현하고 있다. 부적은 일반적 견해로 생각하는 실험 타이포그래피 만큼이나 논리적이며 실험적인 성격이 강하다. 또한 문자가 가지고 있는 의미로 다른 기호나, 상형문자, 그림 및 유사단어로 표현하고 있다. 각각의 요소들은 상징적 심볼 및 연상성, 글의 해체성 등 다양성을 갖추고 있었다. 이러한 타이포그래피의 실험적 성격을 더욱 실험적으로 표현가능성을 보여 주고 있는 부적에서 배워야할 해체와 구성작업을 회화적 타이포그래피 관점으로도 눈여겨볼 점이 많았음이 관찰되었다. 본 연구는 부적이 가지고 있는 조형적 특징을 실험 타이포그래피와 비교, 분류, 분석하여 부적이 가지고 있는 조형적 특징이 시각적 언어와 타이포그래피 표현으로 응용될 수 있는 가능성을 살펴보고자 한다. 또한, 한국적 조형 문화로서 부적이 형태적 물성이 가지는 시각 이미지에 대한 재인식과 그 가능성에 대한 모색은 타이포그래피의 서구적인 고정된 틀을 벗어나 우리의 문화와 정서에 맞는 타이포그래피의 표현 영역을 화장하는 것이 앞으로의 과제라 할 수 있다.

• 복식문화연구
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• 제28권1호
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• pp.30-44
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• 2020

Bootleg fashion emerged from the fashion industry after 2010, and has been used across a range of different genres. However, it has yet to be theoretically established; therefore, this study will explain bootleg fashion as a new genre, which will help in the planning and designing of products within domestic fashion brands. The purpose of this study was to examine the characteristics and internal meaning of bootleg fashion as a recently emerged fashion phenomenon that borrows from other brands without permission. The research methodology included a theoretical literature review of fashion sites and related materials and empirical research using case analysis. Results of the analysis of both characteristics and internal meaning of bootleg fashion suggest the following characteristics: "unauthorized use of symbolic elements," "disorganization of boundaries between fashion," "multiplicity through globalization," and "newness through deconstruction and recombination." Internal meanings derived from the analysis were "parody through symbol," which is seen as "a parody and homage resulting from the unauthorized use of a brand," while "decomposition through disorganization" is seen as a break-up of the boundaries between different fashions from a mainstream-oriented perspective. A juxtaposition of elements was demonstrated by "playfulness through transformation," which showed that such fashion cannot coexist with positional transposition. Finally, "spread as a cultural phenomenon" was derived through the diffusion through digital media with DIY culture. As such, bootleg fashion has been reborn as an innovative fashion genre, breaking the taboo of the illegitimate from the past and demonstrating new endeavors.