• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.113-127
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• 2004

This study examined the trend of pattern which appeared throughout men's clothing fashion magazine from 1999 to 2002 and the influence which the demographic characteristic have on the sensibility dimension of pattern and the preference degree of kinds of pattern. The results of study were as follows. 1) The pattern which was used most frequently on recent men's clothing was a length stripe, and the representation technique which was used most frequently on recent men's clothing was the technique of a geometric expression. 2) The pattern which men and women preferred most out of ten kinds of patterns-length stripe, width stripe, oblique stripe, check, square, waterdrop, paisley, flower of style shape, flower of realistic shape, flower of shape-was a length stripe. 3) The sensibility dimension of pattern image was composed of fascination, dignity, daring, gentleness, and reality. 4) Because sensitivity dimension and kinds of pattern were significant according to the distinction of sex, vocation, academic career, income, this study can conclude the demographic characteristic have an influence on sensitivity dimension and kinds of pattern.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.52-67
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• 1999

A Study on the Drapery Presented in Costume The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider indesigning. Fabric falling in folds in the garment as seen on statues of ancient Greece ; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the vest esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -el-egance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human\`s lives and recurring humanity.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.14-32
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• 2016

This study examines the morphological expression type and formative characteristics of women's shoes designs that integrate 3D printing technology. The results of the study are as follows. First, the morphological expression types of contemporary shoes that integrate 3D printing technology express a structural form created by repetition. Second, it expresses a dynamic form, which combines organic curves that create an external volume. Third, it expresses a surrealistic form centered on an object with the creation of a unique shape that utilizes objects easily experienced in local surroundings. Fourth, it expresses a hybrid form on a partial derivation. Each of the other system's components are fused to create another beauty that develops a new value in a colorful variation on the shape of 3D printing shoes. The first formative characteristic of women's shoes designs that integrate 3D printing technology is continuity. This creates an invisible form of a new space through repetitive unidirectional layers with a gradual expansion of a unitary seamless curves. Second, it is an exaggeration. This exaggeration elicits an enormous aesthetic quality by structuring the outward space in the difference of the volume formed based on the maximization of a specific part and the volume of a line's atypical movement. Third, it is a decoration. It displays the beauty of a decoration that evokes a unique artistic inspiration by partial unification or a practical representation of a specific form. This can also be seen as superimposing a 3D printing figure that has an outstanding shape onto part of the fashion shoes. Fourth, it concerns a geometrical characteristic that formulates a new structure with rationality in combining basic shapes such as circles, triangles and squares with lines, hexagons and interconnected geometrical forms to create a multi-dimensional space for shoes in a systematic and unidirectional pattern.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.141-144
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• 1999

After the Twentieth century, various movements appear by the sudden change of society. The minimalistic characters are represent in visual art, music literature and fashion. Actually Minimalism is started from the Visual Art in America at the 1960's. Minimalism seek the essence of object from the restorational character and it is characterized by simplicity, moderate design and color. Mies's "Less is More" is guiding the Architectual essence and based on the contemporary minimalistic Architecture. The purpose of this study is analyzing the characteristic tendency of Minimalism and considering the characteristic of contemporary minimalistic Architecture by studing Architects and works.and works.

• Journal of the Korean housing association
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• v.5 no.1
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• pp.17-27
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• 1994

The Purpose of this study is to classify the life styles of urban residents in apartments and to find out possible correlation with their preferences on interior ambience.The selected samples were 3,000 residents from Seoul, Pusan, Kwaungju and Cheonan, and 2,750 of them were analyzed.'The results can be summarized as follows.1.The life style patterns were classified into S types, namely organized type, decoration-oriented type, self expression type, practicality-oriented type and fashion-oriented type. 2. Interior image were classified into 4 types, namely characteristic image, contemporary image, classic image and rich image.3. The interior preference was correlated with the life style patterns, such as organizd type preferred to contemporary image, decoration-oriented type preferred to rich image, self expression type preferred to classic image and practicality-oriented type preferred to characteristic type.4. The patterns of life style and the interior preference differed significantly according to the size of apartment and the age of owner.

• Journal of Fashion Business
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• v.12 no.3
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• pp.99-115
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• 2008

International exchange gets active in nations with the increase of Internet use and heading toward digital age. Thus the communication conveying image of nations effectively plays an important role in an international society. Sports events are regarded as important international exchange events and good opportunities for public relations of one's own country and taken as tools of planting good images in other nations. This study surveyed the concept and history of uniform through the documents and previous studies in order to find the aesthetic characteristics of sportswear uniform applying the image of national ensign and investigates the origin and start time in Korea of selected 6 sports items. As a result of finding the expression way of ensign image and drawing the aesthetic characteristics by analyzing the use and variation of ensign colors, the use of colors other than ensign and reflection of ensign form in collected 60 sports uniforms, this study could draw the symbolical beauty, beauty of variation and beauty of brevity. First, symbolical beauty is the aesthetic characteristics expressing uniforms by using the pattern ensign symbolizes and ensign colors themselves or enlarging a part of ensign. Second, beauty of variation is the aesthetic characteristics creating geometrical new patterns in uniform through the distortion and exaggeration of ensign shape, or transforming the colors themselves of ensign. Third, beauty of brevity is the aesthetic characteristics using other colors only as decorative factor while applying the main colors of ensign to the most part of uniform, or unifying the uniforms with only one color of ensign. As a result of survey, the proportion of the symbolical beauty was highest in summer season and beauty of brevity and beauty of variation followed and the proportion of beauty of variation was highest and the symbolical beauty and beauty of brevity followed after that in winter season. This study found the way of expressing image of one's own country in sports uniform through this article, expecting the exact recognition on sports uniform and the diversity of sports uniform design in which the images of the nation are expressed more variously.

• Journal of Fashion Business
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• v.23 no.2
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• pp.110-123
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• 2019

This study aims to investigate the color characteristics of female fitnesswear by analyzing the status of color usage and color arrangement method of each item of female fitnesswear of sports brands. This study targeted eight global total sportswear brands. A total of 2956 colors of female sportswear were collected and analyzed from the homepage of each brand. As a result of analyzing the color of fitnesswear, first, the overall color of the fitnesswear showed high distribution centered on PB, Bk and R of low color tone, such as p and dkg. Moreover, bright tone colors were added for vitality and functional image of sports. Second, as a result of analyzing the color of each item, commonly, the PB, Bk and R had large proportions. Third, as a result of analyzing 2-color arrangements of fitnesswear, color arrangements including achromatic color had overwhelmingly higher frequency than color arrangements that had only chromatic colors. This shows that the color arrangement using achromatic color is important and has a higher preference. Fourth, as a result of extracting the representative color arrangement as color chip and comparing, the 2-color arrangement of female fitnesswear had the characteristics of the color arrangement of large area main color and small amounts of emphasized color centered on achromatic colors of Bk and W. This study is meaningful that it can be utilized as basic data for color planning of fitnesswear brands by subdividing female fitnesswear into 4 items and analyzing the color-tone and arrangement.

• Journal of the Korean Home Economics Association
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• v.11 no.3
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.