• Journal of Digital Convergence
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• v.10 no.10
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• pp.431-437
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• 2012

In today's modern society, since the Industrial Revolution took place, still lots of goods have been produced in quantity. However, human's instinct has been growing bigger and bigger that he or she wants to possess the works or products of scarcity and aesthetic value of a sculpture handmade by craftsmen, not mass-produced with the same design patterns. Accordingly, it is required that an artist be concerned about the value of figuring out and pursuing an individual's lifestyle, his/her needs and inherent desires. Moreover, by means of visualization technique, an artist should provide the public with several scenarios about the future, letting them choose the one they want democratically. Therefore, with the help of Mokumegane technique, one of the traditional metal crafts techniques, which shows certain organic patterns joining different metals, this research aims for the inheritance of traditional techniques and the objective preparation for high-quality crafts market, studying the patterns expressed on the surface of metals, which are hard to find through machines.

• Fashion & Textile Research Journal
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• v.18 no.4
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• pp.412-423
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• 2016

This paper explores the possibility, and suggests an experimental procedure, of industrial application of traditional textile design techniques, such as hand silkprinting and natural dyeing. Theoretical and traditional background of this study is William Morris and his followers' Arts and Crafts Movement from the late 19th century to the early 20th century, which laid the philosophical as well as technical foundations of modern textile design tradition. Based on the basic understanding of the design philosophy, and starting from the design techniques of Morris and his successors, I made some experimental and systematic color plans reflecting and exploiting the physical traits and structure of jacquard woven silk material fabrics. And I applied hand silkscreen printing techniques on the jacquard silk fabrics of my own making, while testing various color combinations of natural dyes. After finishing final processing of design samples, I could get textile design products which met the criteria of my original expectation, i.e., eco-friendly and aesthetic design samples that can also be produced in automatized mass production system of contemporary textile industry. The conclusion of this experimental study is that I can expect the natural dyeing techniques, jacquard silk fabrics design techniques, silkprinting techniques, and the basic processes used in this study to be safely applied for contemporary commercial textile industry utilizing automatized silkscreen printing system and digital printing devices.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.483-484
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• 2010

Accessories originated from men's ornamental instinct in the beginning as a body ornament. Women's accessories in the Joseon Dynasty have splendid structure and rich symbolism, so they are enough to be a target of the study for being contents of Korea's cultural archetype. Traditional accessories are the foundation of excellent formative and functional characteristics due to the extreme beauty of crafts. This study aims to develop archetype of excellent formative factors by making traditional accessories digitalized for perpetuation in order to apply them to the culture industry. In addition, it is to prepare the educational foundation by reinterpreting traditional accessories in a modern way. Therefore, this researcher intends to develop constituents of traditional accessories by means of digital images and suggest digital contents methods of accessory techniques by dividing constituents, techniques, materials, symbolic meaning, and attire and wear.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.

• Journal of the Korea Furniture Society
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• v.27 no.1
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• pp.26-34
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• 2016

Lacquer has a high value as a coating of typical arts and crafts in East Asia including Korea, Japan, and China and traditional representative of the gorgeous satin that is fit to the cultural conditions of each region. Lacquer is harmless to the human body and its robustness, preservatives, moth proofness, and strong heat resistance can maintain a long life. It seems that it will be able to make a significant contribution to create a variety of products if we continually study and raise the productivity and quality of the goodness of these lacquer. In this context, we reviewed the Pitae lacquer wares, which is one of the lacquer of traditional techniques that can be applied to the development of daily necessities and cultural product. Joining the goodness of harmless and environment-friendly lacquer and the characteristics of the leather that can produce a variety of physical beauty can develop household goods of tradition and modernity in harmony. It is worthwhile re-interpreting the tradition in the aspect that we can develop our culture from a modern, plastic, and artistic point of view.

• Journal of the Korea Furniture Society
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• v.22 no.4
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• pp.299-307
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• 2011

This article aimed to provide objective and practical information on wood terms of making furniture focusing on the wood species that furniture designers and firms in Korea have used to create furniture from the traditional up to the modern times. Through the content analysis method with wood information from literature related to furniture at home and abroad, studios of making the traditional Korean furniture, domestic furniture firms, and the catalogues of Korean crafts council and Korea furniture society, the wood species of making furniture was studied in the terms showing the number of the species classified in needle leaf tree and broad leaf tree. As a result, the furniture wood terms were analyzed about 230 species including 200 broad leaf tree and 30 needle leaf tree. 74 out of 100 domestic species studied have been used from the traditional up to the modern time for creating the traditional Korean wood furniture. The 230 species were classified by such detailed uses as furniture mainly and the related small objects, interiors, architecture, exteriors, materials like plywood, toys, musical instrument, exercise equipment, household items, and so on. In addition, some of the terms were clarified such as Madika to Jelutong, Karin to Paudauk and Narra, Red sandalwood to Indian rose wood, and Cherry blossoms from home, the same family as Cherry from abroad but the different species, and so on.

• Journal of Fashion Business
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• v.23 no.5
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• pp.19-30
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• 2019

The aim of this study is to analyze the stage of image change in Korean fashion design in regards to the simulacre of Jean Baudrillard. The changing phases of Korean fashion design are as follows: First, the initial stage involved simple imitation, which replicated the original as much as possible, it expressed the basic composition of Hanbok, flat cut and rich silhouette, the color scheme of traditional colors, traditional patterns, materials, and traditional ornaments. In the second stage, the subject matter intervened to distort and transform from the original, the basic composition and structure of the Hanbok were barely maintained, they were either removed or part of the structure modified or expressed using modern materials and patterns. The third stage, were based on reality but differed from reality through subject and imagination, and only left a part of the basic composition of Hanbok, and were expressed through the partial modification of the elements of the Hanbok, for instance the silhouette, skirt waist, collar and breast-tie. The fourth stage of pure simulacre, which refers to a new image with complete independence regardless of the reality. This stage differed from the basic structure and composition of Hanbok, and showcased traditional Korean image of Korea's unique cultural elements, such as hanbok or crafts and artworks, in a modern fashion with a modern sense and practicality.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• Archives of design research
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• v.2 no.1
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• pp.13-41
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• 1989

The raw materials for plant-stalk-folkcrafts are cultivated in the whole country. Most Korean farmers, to increase their income, have produced mats and containers with various plants as a side line from very long ago. At first, they began from the instruments of life and then made folkart and at last get to manu\ulcornerfacturing of industrial folk craft. The folkcrafts, made of plant-stalk, which could nor conform to changing society, are partly declined and partly handed down as the traditions. The social change today, however, makes living conditions more speedy and multisided, accordingly the characteristics of demand also become in\ulcornerdividual and various. While the demend is various like this, suppliers cannot answer demendants' requirements, and consequently, the demand and profit cannot be increased. According to this, the purpose of this study is set up to give an answer to the situation that is at the traditional standstill, through an examination of the motives. I. The crafts of plant-stalk are made only in an organized relationship between agriculture, industry and art as it is compounded art of gathering raw material, manufacturing, producing, improv\ulcornering design and production conditions. It may be possible that a farmer gathers material and weaves it manually but in others, it is im\ulcornerpossible to refine, bleach and dye because the process requires a professional industrial treatment. It is impossible to make art works to a farmer as every farner does not always have aesthetic sense. Though a farmer or producer has these all abilities, it is not desirable to him from economical view. 2. The development or improvement is essential in many sides but the most important thing seems to he in design. According to reports, it is, howevt!r, fact that the crafts improved in design of existing works have more expanded the sales than newly developed works. Therefore, ir appears advisable to improve designs of existing things positively as they have merit of occupying a position already, but on the other hand, new crafts have to be also developed and the producer should grasp the proper time. 3. Building up an industrial complex to improve design with collecting the producing districts for this works scattered allover the country is very desirable for speedy communication, intensive educa\ulcorner tion or training, and effective guidance. 4. In producing for export abroad, before everything, must know the life environment, custom! and manners, main thought of the country, and then produce according to these. S. The crafts of plant-stalk are the fIrst industry in present but in the futher it should change intc second or third industry. 6. A synethetic organization for supporting side line should be established for effectiveness, and experts have to be secured and also the educational-industrial complex and activation of study should be preceded.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.