• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Archives of design research
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• v.18 no.3 s.61
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• pp.209-218
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• 2005

Consciously or not, producers have to make many aesthetic choices in creative process of video production. If there are general acceptable aesthetic principles to make right choice it would be guideline of aesthetic decision to somewhat reduce mistakes and errors in the process. This paper proposes a theoretical approach on establishing the media aesthetic principle of 3D animation camera working, which is the most suitable for animation production context. We describe the Herbert Zettl's applied media aesthetics related directly to the camera, which is about the two-Dimensional field focusing on aspect radio and forces within the screen, three-dimensional field focusing on depth, volume, and four-dimensional field focusing on time and motion. In order to have theoretical approach we made an analysis on comparing a camera working of movie with 3D computer animation's one, and reconstructed these basic principles to be suited for the 3D animation production. When applied media aesthetics of the traditional camera working are applied to the 3D animation production, it could be an efficient guideline for it. Futhermore, if we develop the research for the relationship with various visual languages with the basis of these principles, the theory of creative picture composition method for the 3D animation production will be logically and systematically established.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.79-96
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• 2012

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo's design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo's fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo's design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

• Journal of Fashion Business
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• v.13 no.2
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• pp.30-49
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• 2009

This study was intended to research how such Japonisme affected the western fashion and to consider that the unique Japanese fashion was implemented in the western mode as the traditional aesthetic sense got jointed with the western culture together and was expressed as the modern Japonisme beauty. The beauty of 'Date' was the aesthetic sense created focused on the noble culture of public family. On the contrary, 'Iki', 'Wabi', 'Sabi' and 'Shibusa' is the Japanese lower middle class's universal living aesthetics. 'Kawaii' is influence on an animation, cartoon and character industry as well as the whole world’s fashion style as one of the common aesthetic sense of the world people in the modern time. That is, Japanese fashion designers expressed the human body with such the aesthetic sense by the design of shape, space, fusion, amusement through clothes. It could be concluded that they created an autonomous amusement’s design world over the visual beauty of human body.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.1-16
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• 2015

This study aims to provide a new perspective on Disney's animations, by examining how Disney systematized and transformed his own ways of cognitive systems of producing meaning through the costumes of his characters. For this purpose, 10 Disney animations of which the main characters were costume-wearing humans were selected and analyzed. First, the characters' costumes of the passive female heroines were much different from those of the active female heroines while the costumes of male heroes did not have any common characteristics. Second, the characters' costumes according to the settings of the animations had different aspects: the Western-Europe-based animations exhibited the appropriate costumes of the set times, but the non-Western-Europe-based animations exhibited the imaginative costumes of Disney rather than the appropriate costumes of the actual countries. Third, the costumes played the role of expressing the situations of the animations, and had their own repetitive conventions in each animation. Changes in the situations or the upward mobility of the status could be found easily through the costumes, but such distinctiveness became less visible in the later animations. Disney displayed his own distinctive formula of visual aesthetics through the characters' costumes. But it is recommended that we should have the critical views on the cultural messages of Disney's to prevent fixed ideas or cultural prejudices.

• Solar Energy
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• v.17 no.4
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• pp.35-43
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• 1997

An increase in the design of commercial buildings with daylighting is beginning to receive more attention, claimed by some as a second revolution in architecture. The benefits of daylighting may vary significantly because a characteristic of daylight is the way in which it varies. Indirect sunlight, however, received in the interior of a building after reflection, can serve a useful purpose as the main source of illumination. In a cloudy climate it can serve as an occasional welcome addition to the available skylight. Also, site constraints or surrounding urban context may necessitate using reflected light sources, or such sources may be an integral part of the overall design objectives and aesthetics of the proposed projects. When reflected sunlight is introduced into a space, its role in general illumination is what is of interest in this study. Results show that reflected sunlight may help the general illumination in almost same level of significance as daylight from diffuse sky. It is also summarized that the contribution of reflected sunlight to general illumination through the year round may be even and uniform regardless of the season. Consequently, introduction of reflected sunlight should be regarded as one of the successful means to enhance the visual environment in quantitative and qualitative way.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.243-250
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• 2010

A study is presented that examines the effect of personality on preference and purchase intention of positive and negative novelty design products. Participants evaluated their preference and purchase intention on 18 design products including positive and negative novelty design products. A cute Scream character was created as a positive novelty design and a skeleton Mickey character was used as a negative one. We measured extroversion, neuroticism, and visual product aesthetics as individual traits. The results shows that people, of course, prefer(and want to buy) the positive novelty design product to the negative novelty design product. Only in the case of the negative novelty design product, the more neurotic people is, the more they prefer it. Also, among the people who like the negative novelty design product, introvert ones are likely to purchase it but extroverted ones are not. These findings imply that personality plays an important role in liking and purchasing negative novelty design product.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.105-119
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• 2009

The purpose of this study is to grasp the aesthetic characteristics of the retro romantic fashion. As a result of study, three artistic characteristics of the retro romantic fashion were presented. First, retro romantic fashion has an exaggerated formativeness. Retro romantic fashion has overcome the confinement of the present to imitate the splendor and decorative style of the past which results in exaggeration. Exaggerated costume tends to be spaciously bigger and emphasizes one particular part which offers implicated significance for the space between the body and the costume. A new visual fashion is created through this space. Second, retro romantic fashion encompasses gorgeous decorativeness. From an artistic point of view, decorations are part of impulsively formulated art. Artistic effects of such decorations are uniformly confirmed in various artistic states. Therefore, through gorgeous decorations, retro romantic fashion rejects artificiality and lack of sensitivity for new effects of aesthetics through expression of stronger artistic and spiritual desires. Third, retro romantic fashion expresses pluralistic retro. The current society has left the formalities of the modernism for a pluralistic society where openness, diversity, and uniqueness are respected. Such components of the pluralistic society are repetitively used in fashion. Time reflective retro romantic fashion is being recreated by borrowing images rather than replaying the historical contents, with the style, silhouette, and specific items that swayed in the past, being combined with modern materials, techniques, and designs. Literature review were conducted for this study. Literature review on retro romanticism encompassed resources on aesthetics, literature and art, including national and international fashion related literatures.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.157-175
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• 2006

The purposes of this study are to establish a theoretical concept of nudism from sociocultural context, to examine its formative characteristics, to analyze the cultural meaning of nudism style showing in the 2000's fashion world, and to analyze and examine its aesthetic qualities. The way of a study was based on analysis and review on philosophy, aesthetics, sociology, popular culture and various documents at home and abroad and previous study and research materials about art and clothes for theoretical study. Also, we carried out a case study by analyzing photo data from fashion books, magazines and internet websites, considering the body and dress as visual objects. The summary and conclusions of this study are as follows: 1. Nudism of the sociocultural context was divided into change of understanding of the body and liberation of the body; naturalism; resistant culture; psychoanalysis context. 2. The formative characteristics of nudism style in fashion are classified in Exposure, Transparency and Body Conscious. 3. The cultural meaning of nudism style expressed in the 2000's fashion are sexual opening, surfeit of mass media, pursuit of naturalism, lookism, and individualism. 4. Nudism style expressed in 2000's fashion is drawn as three aesthetic qualities: Eroticism, Primitivism and Futurism. First, Eroticism of nudism style fashion which seeks for sexual stimulus is classified in Sensualism, Provocation and Innocence. Second, Primitivism of nudism style fashion which tends towards naturalism objecting to mechanic and digital civilization and hoping for return to the origin is classified in Primitivism, Naturalism and Sensualism as per aesthetics qualities. Futurism which is the nudism style presenting futuristic expression through using a new material is analyzed as High Technology, Cyber Sexism and functional Future.

• Journal of Fashion Business
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• v.15 no.6
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• pp.163-175
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• 2011

This study tried to improve the design of the symbol mark for the fashion industry and effectively publicize the brand image of a small fashion accessory company through a powerful visual communication strategy. For this purpose, this study performed research and an analysis of the features of existing fashion accessory companies as well as the current status and features of their utilization of symbol marks for the enhancement of the brand's image. Total 48 fashion accessory brands focued on jewerly were selected from the Dictionary of Fashion Brand and the types of symbol analyzed the concepts and formative aesthetics of the symbol mark design in each brand. Based on the data, this study designed the fashion accessory company's logo and a new symbol mark design. It makes full use of the characteristics of the logos and the symbol mark that reflect the most critical issues of fashion accessory design so as to promote the consumers' level of product recognition as well as the product symbol characteristics. In the case of combining characters with concrete objects, they were found generally to use objects that give elegance, cute and feminine images, such as rings, hearts and small pets. Moreover, colors in the series of black/grey seemed to be used to convey the concept of accessory brands that pursue modern, sophisticate, and practical images. As these design plans, enhancement of the consumers' level of recognition of the brand is attempted as well as the execution of an effective publicity of the feature of the product through the use of the logo and symbol marks reflecting the features of the fashion accessory, instead of simply introducing the brand or product. The result of this study indicates that methods to design brand symbol marks for clothing should be incessantly sought in a way to build brand power as an important component to represent concepts and reinforce brand image.