• 복식
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• 제57권1호
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• pp.1-16
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• 2007

This study is to design costumes of each characters, seen in the film of 'TITANIC' directed by James Cameron in 1997, by analyzing various costumes for each roles in the film. The 'TITANIC' has got the 'Oscar Award' in 1998 in 11 sectors for its' high box office record and the finest of the work, based on successful visualization of the costumes for the contemporary characters by historical research. The social background of 'TITANIC' would be presumed in the year of 1912, of which era was also called by 'La Belle Epoque', to say, 'good period'. This study, therefore, traced the representative art trend for the 1910's, together with political, economical and social backgrounds as 1st step. The 2nd step is the consideration of fashion trends of costume affected by the contemporary trends such as Art Nouveau and Art Deco in the period. The 3rd step is the analysis of costumes in the film of 'TITANIC'. Finally, this work has designed the virtual costumes of the characters, in imaginary scenes, which could denote the nature of the personality. Hopefully, this study could help designers show sustainable development in creating cinema costumes and other related projects, based on the understandings of this work.

• 디자인학연구
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• 제12권3호
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• pp.83-91
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• 1999

19세기 말, 새로운 예술에 대한 열정은 유럽 여러 나라에서 다양한 형태로 발전 되었으며, 이들의 활동은 단지 예술 행위와 활동에 국한 되지 않은, 영국의 미술, 공예 운동과 같은 사회개혁의 실천적 성격을 강하게 띄기도 하였다. 이러한 분위기 속에서 비엔나는 유럽제국의 중심지로 성장하면서, 새로움에 대한 끊임없는 도전을 시도하는 은 예술가들의 중심 무대로 성장 할 수 있었다. 비엔나 아르누보 운동은 "모든 예술은 평등하다"라는 예술의 민주화 사상을 실천하려고 노력한 비엔나 분리파 등과 같은 선각자들과 이들이 활발히 활동 할 수 있었던 토양이 되어 준 비엔나의 정치, 경제, 문화적 배경으로 꽃 피울 수 있었다. 이들은 기계 기술문명을 거부하고 과거의 수공예적인 전통적 방법으로 희귀로 현실을 극복하고자 했던 미술, 공예운동 주의자 들과는 달리 기계 문명을 적극적으로 수용 함으로써 대량생산 시스템 속에서 새로운 형태 미학의 방향을 제시 하였다고 볼 수 있을 것이다. 본 연구의 목적은 세기 말 전 유럽을 풍미했던 아프누보의 물결 가운데 하나의 신양식 운동으로 그친 대부분의 나라들과 달리 근대 기계 미학의 기초가 되었던 비엔나 아르누보 운동을 당시 시대적 배경과 기엔나 아르누보 운동을 전개한 분리파 들의 활동등을 통하여 고찰해 봄으로써 그 의의를 찾아내는데 있다고 하겠다.다고 하겠다.

• 한국가구학회지
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• 제25권3호
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• pp.188-197
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• 2014

This study aimed to develop organic design and propose references on an origin and developing factors of the organic design as looking into previous researches on furniture design. Expressive features with curves observed in the furniture design have been interpreted as organic meanings, and the study also approached grounds for the organic design elements while talking about developments of new materials and digital technology. In addition, the study presented a possibility explaining that these organic design elements might have been derived and developed from Art Nouveau. State-of-the art technology of the digital era in the 21st century has been built upon more creative concepts, and as this technology gets combined with the digital technology, it is, now, changing but also improving both morphological aspects and design methodologies. In the midst of this change, when it comes to factors to develop the organic design, creation of various new materials and state-of-the art digital technology are considered to be immediate factors to changes in the design. As morphological thinking using digital media develops, geometric thinking and such form are realized which eventually would lead us to furniture design of a new concept.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 International Costume Conference:Exploring Global Costume Culture
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• pp.101-101
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• 2001

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• 패션비즈니스
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• 제23권4호
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• 한국실내디자인학회논문집
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• 제29호
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• pp.67-76
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• 2001

This Study is about the tradition of Organic Medievalism expressed in Modern Architecture. The concept of Medievalism is an attitude to revive the social and physical settings on the Middle Ages. The Organic Medievalism in Modern Architecture was to be explained as the two tendencies; one was toward the rational structural logic of the medieval architecture being re-interpreted into the Modern Architecture and the other was toward the organic and fantastic shape of the Modern Architecture, closely connected with nature-friendly and organic shape of medieval city and buildings. The structural logic of the medieval architecture became systematized by the French architects, Viollet-le-Duc and Auguste Choisy. The principle has been applied to the design of the Art Nouveau, Louis Kahn and so-called the High-Tech Architecture creating the aesthetics of its own by exposing the building structure. The other was used as the elements to represent the characteristics of the Art Nouveau architects, and then served as the background of the creation of the avant-garde architecture of Germany. The ideal has been serving as the great idealistic fundamentals by the so-called Archigram and Deconstruction at the late half of the 20th century.

• 미술이론과 현장
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• 제8호
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• 농업생명과학연구
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• 제43권6호
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• pp.53-57
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• 2009

동양꽃꽂이는 고대에 신에게 헌화한 공화양식으로 좌우대칭의 삼존형식의 엄격한 삼각형의 조형미를 갖추고 있었으며 침봉을 사용하여 꽃을 고정하므로 쉽게 꽂을 수 있었다. 서양꽃꽂이는 이집트시대에 꽃을 연속반복으로 쌓아 올려 원추형의 형태를 이루어 현재 vertical form의 근원으로 보고 있다. 그리이스 시대에는 부드러운 S라인 형식을 주로 사용하였고, 로마시대에는 꽃들의 중심을 풍성하고 화려하게, 갈수록 낮고 가늘며 긴 수평형으로 연결하였다. 페르시아 시대에는 동양의 삼존형식과 비슷한 triangular 조형을 나타내고 있다. 그리고 르네상스 시대에 꽃꽂이도 고전의 바탕위에 기본형이 창조되었으며, 19세기말 동양미술의 온화한 색과 단순미, 사실적 묘사 등에 영향을 받아 20세기 미국을 중심으로 양적 mass에서 공간미학까지 꽃꽂이의 영역이 광범위하게 표현되는 art nouveau 시대로 이어졌다. 서양꽃꽂이는 조형성에 기초를 두는 것은 동양꽃꽂이와 같으나 자연성이 거의 무시되고 실용성에 근거를 삼는 것이 특징이다.

• 한국의류학회지
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• 제15권4호
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• pp.381-392
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• 1991

The purpose of this is to investigate the color of Art Deco Fashion in Paris. (1920-1930) Through the age of Art Deco style, the enormous modern cities were built up and numerous life-constructions were designed conspiciously in Paris. Under this situation, the usage of the 'color' became very important element of design area and also it bestowed new form upon the modern design. The black beauty of Art Deco style was the outcomes of cubism, black-arts, and pragmatism. And the black beauty was regarded as the proper color to represent simplicity. Simplicity was the best way to express Art Deco style. The color and light of metal were used adequately to express a geometrical and streamline form; it was raised as a new beauty in this period. The primary colors were used to recognize the simplified forms effectively. New pastel colors, which signified differently with Art Nouveau were born centering around the Youth Culture like a summer resort and a sun bath. Also they expressed neon signs and atmosphere of beach by means of the tropical colors. At last the color of Art Deco style opened the new age. And it was started to use the various colors in design field from at this time.