• Journal of Fashion Business
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• v.1 no.3
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• pp.1-18
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• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.727-740
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• 2012

This study is for the enhancement and utilization of future graphic design for T-shirts and deals with the expression styles and features of T-shirt graphic designs that appear in modern fashion. A literature examination about graphic design and T-shirts was performed for the research method and the analysis followed 378 pieces of graphic design featured in four major international collections for females from 2001S/S to 2011S/S. The research results from the expression type of T-shirt graphic design in the modern fashion are as follows. Expression in graphic figure accounts for the largest portion of 40.8% that includes illustration or cartoon characters, personal figure or part of the physical body, object in daily life or landscape pictures, animals and plants, and others. Expression given in text with typography or logo accounted for 27.5%, expression combined with letter/text, graphics and geometric figures accounted for 24.3%, geometrical expression accounted for 7.4%; most of which are given in print. Characteristics found in modern fashion graphic design are as follows. First, role of sort of public relations marketing was accompanied with utilization of brand logo or symbol. Second, visual play was shown in a sense of humor with diverse graphic figures and playful texts, witty layout with graphic motives, and a free design formation. Third, it denoted a front burner issue delivering the message for various current events or arguments via the way of texts, slogans, and symbolic pictures. Fourth, it depicted artistry through the self-expressive creation of the designer.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.80-91
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• 2009

The purpose of this study is to examine how he successfully connected his ideas of fashion design for art with the commerciality without a conflict about for 40 years. It is expected that this study will be a precedent in the aspect of the symmetry between artistry and commercialization in Issey Miyake's works. We will examine Issey Miyake's idea of fashion design and its development for the commercialization since 1970s that he started to give shape to his ideas in the fashion works to exactly commercialize in the market. 1. Re-creation of tradition(a piece of cloth): throughout the 1970s, Miyake continued to experiment with a variety of Eastern design elements. The elements of Japanese or oriental tradition made him to be at the very center of supreme of the world of fashion. He took advantages of his identity, and developed the tradition for mass produce. 2. Design for mass(Pleats Please): Miyake decided to make clothes for the people, not only for the top class of the society. This thought developed the designs for the mass, which were functional, universal for the modem buyer, and accessible to a wide market. He realized his ideal by the medium of pleats, which were made through industrial processes, while he tried variously the aspect of formative of the pleats in the collections. His designs concept is summarized by the industrial product design and anonymous design. 3. Innovation of manufacturing system(A-POC): Miyake in 1999 developed A-POC. A-POC is used modern computers in conjunction with traditional technology. A-POC does not make only a new cloth but also makes a new manufacturing system of clothes.

• Journal of Digital Convergence
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• v.12 no.11
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• pp.505-513
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• 2014

Modern metal craft is losing our tradition and personality with simple expressive methods and limited techniques without artistry with the purpose of mass production. In order for development of modern metal craft and to succeed our unique culture, there is a need to consider traditional craft techniques that have been delivered since the ancient. Inlay craft requires high concentration and technology, and it is typical traditional metal craft techniques that show contemporary culture and ideas well. the period of the Three States was the time when inlay technique was introduced the first, and it can be seen in Baekje, Gaya and Silla. Furthermore, when inlay craft is applied for modern metal craft, a possibility was found to grant artistic expression and historical value of our unique artistic expression and historical value. For this purpose, it is expected to establish development of modern metal craft and our unique individuality firmly when continuously seeking practical measures that can accept contemporary crafts and expanding opportunities of education to learn traditional techniques.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.381-394
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• 2018

The purpose of this study is to develop the elementary 'after school' smart music education program using smart devices in connection with elementary school curriculum of 2015 music and education. The research method was based on the data related to the after school education program and the music-related contents of the current elementary school curriculum. And a smart music education program was developed by applying the contents of elementary school music curriculum to practical music using smart devices. The study result suggests three programs with 16 times. Through this program, we can expect diverse, systematic and continuous music education rather than one-sided or one-off music education which are provided by the existing public education courses. Through the field experience, students will be able to directly experience arts and cultures as well as to awaken their potential artistry and creativity. In addition, it is expected that it will help to reduce the economic burden by reducing the burden of private education expenses through the after school program and to realize the qualitative growth of music education in schools.

• Korean journal of food and cookery science
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• v.32 no.2
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• pp.233-243
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• 2016

Purpose: This study aims to investigate and explain the influence of personal characteristics on female immigrants' perception and attitude towards the Korean food culture. Methods: Exploratory research was performed by conducting a self-administered survey. A purposive sampling method was used to recruit 289 participants to determine their level of information awareness, perception and familiarity with Korean food culture. Results: Female immigrants' mean FNS score was 3.70. FNS score decreased in women from Northeast Asia, women who received higher education, and in urban women. The level of information awareness of Korean Food culture was 3.47, which was above average. Women from Southeast Asia had a higher level of awareness about cooking methods and table setting. Females living in the countryside and those who had lived for more than 7 years in Korea had higher levels of information awareness than other groups. Women from Southeast Asia perceived that Korean food is spicy; on the other hand, women from Northeast Asia discerned that Korean food is pungent and is prepared scientifically. The neophilic group more positively recognized Korean foods based on taste and nutritional value than did the neophobic group. Subjects living in the countryside were more likely to evaluate nutritional value, scientific aspects and artistry higher. The research also found that the neophilic group and immigrants who had lived for more than 7 years in Korea were significantly correlated with the familiarity with Korean food culture. Conclusion: The findings provide an initial step towards developing a customized education program for female marriage immigrants to adapt and to become familiar with Korean food culture with a comprehensive understanding of personal traits for accepting a new food culture.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.503-511
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• 2010

While various artistic trends coexisting in the 20th century, media arts that formed with the medium of a material attempts in various ways to induce the establishment of the artwork through the public communication. The visual arts that use the media satisfy both the artistry and the popularity in the area of popular culture as the form of variable. Moreover, visual arts stimulate a playful sense of human to maximize the public satisfaction that works here. This paper aims to discuss the potentials and the trends in the contemporary art by understanding the conceptual and principle background of the contemporary media art which shows the active employment the playful sense of human nature in the work in order to establish the effective communication with the public. Consequently, as the digital environment and advanced network technology which were thought to be the key elements of the popularization of media art were reached its limit, media artist, Tony oursler's artwork which was created based on human playful nature and interactive artwork that supports the audience to interact with artwork and its space are proven to be the useful devises for the public communication.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• The Journal of the Korea Contents Association
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• v.19 no.2
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• pp.581-590
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• 2019

As the film industry develops in China, movie posters come in various types. Among them, 'concept poster' has been recognized as an important means to form the first impression of a movie at the early stage of promoting the movie. In China, however, there are not many movie posters that have been recognized for their creativity. Accordingly, it calls for research on creative methods of implicitly expressing the content of the movie. This study analyzed visual expressions in the concept posters of HuangHai, who has been recognized not only for commerciality but also for artistry. The results showed that he did not use images of famous scenes and actors in the movie. Instead, he created the implicit image that reflects the main theme of the movie by using Minimalism, color, typography, and pictorial images. This study has a significance in terms of providing fundamental resources for improving movie poster designs in China.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.994-1014
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• 2018

The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.