• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.970-980
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• 2011

As a type of intimate architecture, fashion has always mediated the dialogue between clothes and the body, or fashion and figure. This study seeks to inquire the current aesthetic consciousness of the body and dress in Japanese avant-garde fashion and intends to research the features and meanings in the pastiche of Western sartorial convention in Japanese avant-garde fashion in order to examine the changing aesthetic attitude in postmodern fashion. The study investigates subjects of the fashion collections of the turn of the twenty-first century, when pastiche strategies frequently appeared in Japanese avant-garde fashion, through the methodology of literature research and case analysis. The results of the study are as follows: by developing the strategy of pastiche, Japanese avant-garde fashion exposes the defectiveness of the Western idea of the idealized and standardized body for mass productions, thus freeing design from its traditional confinement to the human body. Drawing on the re-conceptualization of the sartorial convention of Western tradition, Japanese avant-garde fashion designers tend to experiment with extreme exaggeration in form, refusing to subscribe to the traditional Western values built on the balance and symmetry of the body. Through the combination of the past and the present as well as the inner-wear as outerwear strategy, the historical pastiche challenges convention and symbolism, which results in the discord between signifiant and signifi$\acute{e}$ of clothing.

• Journal of the Korean Home Economics Association
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• v.45 no.5
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• pp.15-23
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• 2007

The purpose of this study was to understanding the intrinsic meanings and aesthetic characteristics expressed by current fashion trends in neckties and to develop a new and unique fashion design for neckties. This study used precedent studies and related literatures to review the changes in neckties and the types of knots used over time. The findings were then verified by photographs from fashion magazines and collections from the 1990s. The results of this study are as follows. First, neckties, generally regarded as a symbol of masculinity, are often mixed with other men's or women's clothing items rather than being worn by themselves, and they provide an androgynous characteristic in women's fashion. This transcendence of femininity or masculinity reflects the human desire to be a more perfect being by sharing each others characteristics, and it can be seen in contemporary beauty trends. Second, neckties have been transformed into scarves, waist belts, front-fly omaments, and so forth. They are used to express a new and sensational sense, the sense of deconstructionism, by breaking away from stereotypes and changing the shape of neckties atypically.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.58-64
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• 1996

People live in an environment which affects the human b by way of ‘Affordance’ .. And the interaction between h human and the surrounding environment arises ‘the sense of place' through adoptation. Considering the human emo¬t tional and psychological needs, besides the functionalones, for the design of environment gives ‘the place’ the h humanized atmosphere. Then the viewing-window, re¬f fleeting the dweller’s sensibility and aesthetic aspect, be¬c comes an important design element for the human interi¬o or atmosphere. G Generally, the view has the character of the Panorama a and sometimes of the Picture. And the viewing - window t transfigures the visual effects by ways of ‘Framing’, at t taching the ’Screen’ and ‘Successive development' of the views through openings on the wall. Hence this study w was developed from the aesthethic view-points of archi t tecture, cinema, picture and photography etc., and the c conclusions are as follows. T The ‘Frame’ limits the boundary of the view into a p particular area, while the ‘Screen’ changes the clear view t to an obscure one. And the wall-openings located with i intervals show the fragments of the outer view in a suc¬c cessive way. And these techniques applied to the viewing window make the viewer have the associated meanings d derived from the ‘Guided Projection'. So, the associative p psychology of the viewer complements the partiality, ob¬s scurity and brokenness of the view into a complete one, a and finally the view comes to be an aesthetic one to the v vIewer.

• (The) Research of the performance art and culture
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• no.41
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• pp.157-186
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• 2020

It illuminates the representation of Korean dance in the sense of color. The unique color and light of Korean dance reflects the essence of Korean art and the consciousness of Koreans. Therefore, analyzing Korean art, colors and meanings can provide the principle of aesthetic interpretation to re-examine Korean colors. This means that it is necessary to pay attention to the possibility of developing original contents as a humanistic basis, asking the origin of Korean art. The Korean thought and philosophy in which color and life become cultures remain the roots for another re-creating vision of Korean art. Therefore, it is time to establish a system of Korean identity as an art with the expansion of various interpretations of various aesthetic attitudes that recognize Korean dance.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.4 s.10
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• pp.7-15
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• 2006

Japan's modern fashion, which already became distinguished in the world fashion market, creates originality by identifying its own color as well as shape and details from its tradition. The purpose of this study was to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of Heian period in Japan and searching them in contemporary Japanese fashion. The scope of study was the perceived meaning of color in Heian period and Japanese contemporary fashion. In the methodologies, the literature and the empirical study focused on Heian's culture, including art history, ethnology, and the history of clothing and the contemporary fashion collection. Japan's original middle colors and intermediate colors began to be created in Heian period. The color aesthetic characteristics of Heian period appeared the beauty of compound color, layered color, overlapped color in Japanese contemporary fashion.

• Journal of Fashion Business
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• v.7 no.1
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• pp.84-100
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• 2003

The purpose of this study is to analyze the meanings of signs represented in contemporary fashion based on the Peirce's trisection theory in order to present various types of sign representation that satisfies aesthetic value and characteristics of the age of information and image. Types of signs represented in contemporary fashion can be summarized into letters, numbers, codes, pictures, logos, characters and emblems. The meanings of signs were analyzed based on the Peirce's trisection theory, resulting in representation of play, brandsymbol, eroticism and suggestion. The play was categorized into infantile and parodic. The former inspires unexpected interest and laughter from contemporary people in the age of disorder through humorous characters, cartoons and illustrations. The latter inspires laughter by parodying things and it's intention is to release the isolation of people and their relative poverty through pictures for which techniques of parody and surrealism were used. Most of the brandsymbols represented by logos, used for textile and clothing design as well as accessories are optimal signs that construct brand images. Eroticism means emotion, impulses, senses of value and sexual attraction. A desire to represent sexual attraction is an expression of eroticism and self-expression to adjust in a changing society. Suggestion tends to pursue the image of harmony with nature in a world which is pressed by material civilization. Humans represent illuminating messages through direct slogans by characters, natural objects and motives of social phenomenon in pursuit of the benefits of abundant material civilization in the structure of a highly advanced scientific civilization and industrial society.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.111-126
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• 2011

Cultural collage phenomena came to the fore where various differing elements combined to make a reality in the post-modern culture. Collage, a technique with which to express a unique sense of texture has been used since a long time ago by fashion illustrators, finds itself expressed in much more diverse forms and characteristics, and its meanings changed, too. The purpose of this study is to analyze the formative characteristics of collage as expressed in fashion illustrations since 2000s and look into its aesthetic meanings, and in doing so, examine effects of changes along the times that have sought plural diversity on fashion illustrations. This study selected and examined from various collage techniques three collage expression techniques including papier colle, photo montage and assemblage frequently used as techniques of fashion illustrations. Papier colle technique expressed in fashion illustration simplify forms, thereby stressing linear elements, and express lines and planes At the same time, such works provide depth to planar spaces by overlapping objects and putting together differing elements, In fashion illustrations utilizing photo montage more than one images taken from photos are cut up and reconstructed, where illusory and sometimes shocking images are conveyed through particular forms or unrealistic compositions created by casual combination of unrelated images. Unique and eccentric images are conveyed by means of assemblage through the combination of various kinds of heterogeneous materials in fashion illustrations. This not only conveys fashion images sensitively but presents each fragment as objets regardless of its original functions, and attempts at new concepts.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• Journal of Science of Art and Design
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• v.6
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• pp.119-139
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• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.