• Journal of the Korean Society of Costume
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• v.39
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.

• Journal of Fashion Business
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• v.6 no.2
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• pp.53-66
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• 2002

The spiral form, which comes from the organic form of natural phenomenon such as growth of creatures, has been used as a factor of formative shape in various fields of art until now. In conjunction herewith, this study intends to discover and express the life force and the formative beauty of natural substances with the organic spiral forms into clothing design, using various creating methods and materials such as Korean traditional paper. The natural substances with the spiral structure, such as seashells, land snails, passion flower, curled flower, growing chart of plants, Impatiens textori was used as subjects of the designs. The seven pieces of work were completed with attempts to develop aesthetic forms through the presentation techniques and methods via restructuring process of simplification, partial transformation and consolidation. Through such process the conclusion of this study is as follows: First, the nature, with unlimited possibilities, could be subject of human formative activities, leading to the creative world of formative art for designers. Second, adaptation of the spiral organic forms of nature into the contemporary clothing designs proved the motif as a source of inspiration of diverse subject, in recognition with its innate formative beauty as well as external shape. Third, design expressions via restructuring process of simplification, partial transformation and consolidation with designer's subjective point of view were adequate for the creations of contemporary fashion designs. Fourth, the Korean traditional paper, as a fine material for various shape according to the handling method, could be used appropriately in the contemporary clothing designs, expressing our aesthetic senses. Fifth and finally, expansion of the realm of formative expression of clothing through the development of possibilities of expression in contemporary clothing would enhance the creative possibilities of clothing design as formative art. In conclusion, the expression of clothing design as formative art was developed on the emphasis of re-creation of natural objects of the organic spiral form. For the future study, the applications of spiral form into everyday clothing designs, consolidating artistic senses and practical senses, are expected as opportunity of proposing developmental possibilities of the contemporary clothing designs.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.71-83
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• 2006

This study is about how Art Nouveau and Art Deco clothing are represented in the costume design of film created after those periods and examines the recreation process of visual media. The costume design of The Wings of the Dove tried to reflect the mixture of fashion trends that could be seen during the times. Milly???s clothes seem to focus on recreating the special features of the 1900???s fashion trends more visually while Kate???s clothes are represented in a strong and simple way to emphasize her personality. The costumes in The Great Gatsby, tried to reinvent the 1920???s clothes in a romantic way. Daisy???s and Gatsby???s costumes were based on the aesthetics of the 1920???s clothing. but emphasized the symbolic nature of the characters to give a greater dramatic effect. By analyzing and comparing, it can be seen that, while costume design usually begin with painstaking research into the historical period in which the film is set it is often altered to highlight aspects of the story. such as the theme and the characters, in an effort to create a stronger dramatic effect. Costume design remains one of the most effective means for a director to visually express the personality and desires of a film???s characters. The ideal aim of costume design is to create something new but at the same time, remain true to the period by being grounded in accurate research.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.127-137
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• 2019

Nail art, which has been popularized recently, has increased convenience in the direction of nail art design harmonized with clothing and the increased interest and usage of nail art decoration. This study set out to propose practical planar and three-dimensional nail art designs in harmony with modern clothes by applying trimmings common in 18th century women's clothing, which used a variety of attachable decorations. As for the methodology, the investigator examined theories in previous studies, literature, and analyzed the types of trimming in female portraits from the 18th century at the museum at the Palace of Versailles in France. Planar and three-dimensional nail art designs were created for each of the top three trimming types- braids, laces, and ribbons, which were identified through analysis. The study applied the trimmings of the 18th century women's clothes to nail art design and had the following results: First, the top three trimming types were identified based on the analysis of the 18th century portraits. They were then used as motifs in the production of planar and three-dimensional nail art designs. The results show that the motifs of the clothes trimmings were fit for and had practical possibilities for expression in nail art designs. Secondly, diversity and the expansion of ideas in the study of nail art design were promoted. In addition, elements were increased to have mutually complementary effects with clothes. Finally, the study made various attempts at nail design methods by adopting a range of nail art expression techniques including hand painting, 2D & 3D art techniques, and using planar and three-dimensional nail decorations, thus proposing a positive direction for the organization of a curriculum to make use of 18th century women's clothing motifs in nail art education.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.15-23
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• 2002

The purpose of this study was to pave the way to improve the quality of historical clothing and textiles and to search for the advisable direction of future studies by examining and analyzing the interdisciplinary approach of historical clothing and textiles related articles published in The Korean Society of Costume. For this analysis, the data were included 124 historical clothing and textiles research articles published in The Korean Society of Costume from 1980 to 2001 March. The followings show the results of this study. 1. The five dominant interdisciplinary fields of historical clothing and textiles were Identified : anthropology, art history, pop music, archaeology, sociology 2. The interdisciplinary research has been actively approached in historical clothing and textiles. 3. The most frequently approached field of the interdisciplinary researches of historical clothing and textiles was art history 4. The period that has most variety interdisciplinary fields was the present age. The studies of future historical clothing and textiles should be approached in more diverse areas of interdisciplinary way and time periods.

• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.14-25
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• 2005

The objective of this study is to understand bodily extension and identity in contemporary fashion art through the analysis of 'the fashion acting on the body' among the fashion theory excluding body and the conspicuous works on the opening and covering images as a fashion art as a body-space'. This study also investigated identity problems where there are poles apart in opening and closure their bodies and body-space in which its clothing types were distorted by being de-bodilization out of the traditional and ideological expression method in contemporary fashion art from a opening and closure point of view. Image of opening and closure among body-space in fashion art can be classified into opposing structure of opening and closure. Destroying the boundary between bodily opening and closure for a primary function of clothing and dismantling the role and boundary between body and clothing, opening body-space in appearance as a reemergence of body image or the border between inner and outer are being ambiguous because of transparent material. Being representative work of this study opening body-space was expressed as an opening space image using transparency. On the contrary, closure body-space was isolated from external environment and confined in the certain space, which could limit or restraint body- action. Excluding boundary of body and clothing on the whole or in part, boundary of work becomes body-space. However, these were appeared to be a work inducing unlimited curiosity and meaning from the audience. The interpretation of artistic and body-space in fashion art are indicating the role and function of the fashion art exceeding the suggestible dimensions in the every day life of fashion. The body-space of fashion art showing similar aspect of body art today could be understood that it is substituted into an metaphorical, critical space by seeing it as a symbol system connected with social space. Therefore, contemporary fashion art should be interpreted as an equivocal space looking at the body-space with open mind.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• The International Journal of Costume Culture
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• v.5 no.2
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• pp.1-14
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• 2002

The first purpose of this research is to investigate the functionalistic concept through the general consideration of Functionalism, and to study the art's aesthetic value of functionalistic expressionist artists implication and form in terms of architecture and product design. Secondly, it analyzes the implication and shape of Functionalism towards 'Art to Wear', which can be explained as a mixture of fashion and art. The results are as follows; First, functionalistic 'Art to Wear' of Mechanical Analogy appears to have futuristic inclination stressing the significance of geometric shapes and machine aesthetics. It uses new materials, and reduce an unnecessary work of art to convey more accurate, concrete and effective character of form. Secondly, functionalistic 'Art to Wear' of Organic Analogy regards natural elements as important to pursue the warm human nature. Also, it appears to be free and comforting forms of Functionalism through an organic silhouette. Thirdly, functionalistic 'Art to Wear' of Moral Analogy excludes excessive ornaments, and includes the implication of appropriate and purposive purity which serves for practical function.

• Journal of Fashion Business
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• v.14 no.1
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• pp.143-162
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• 2010

The purpose of this study is to suggest more specific method to express art connected to the factor of fashion design by classifying fashion case combined with contemporary art, which is expressed through visual factor of fashion, analyzing exchange phenomenon, trend and change aspect of art and fashion and researching its expression type under the background of art preference phenomenon of contemporary art. From the result of measuring the frequency of contemporary art type, it was found that various types and artists' works were applied to fashion industry. Therefore, the scope of contemporary art, which is used for fashion, is being enlarged and new type is appearing every year continuously. Especially, its frequency was highest in 2008 S/S. In addition, it was found that it was more frequent in S/S season rather than in F/W season. From the result of analyzing expression method of contemporary art inspiration shown in fashion by classifying it into structure aspect, print aspect and 3D decoration aspect, in most cases, the contemporary art was used as a print or pattern for dress or accessory. The print aspect could be divided into geometric abstraction pattern, expressional abstract pattern, trompe-l'oeil pattern, graffiti pattern, picture image pattern and cartoon pattern in detail.

• Journal of Fashion Business
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• v.16 no.5
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• pp.146-163
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• 2012

This thesis aims to present how to make secure the identity of the brand with enhancing the esthetic expression of the brand and making the ways of emotional communication in variety, through investigating closely the case of Prada representative of the typical brands that have established the unique identity by cooperating the fashion with culture and art through their ingenious and consistent efforts. In the conclusion, the culture and art was found to be applied in two fields i.e. one of design and the other of marketing. In terms of the design, the method of inserting the image into the surface of the clothing and accessories was used. In the context, the illustration techniques, photographic patterns and applying the image of the art piece could be summarized to be used. In terms of marketing, the sponsorship of the art and exhibitions, look books, animations and fashion films, epicenter, the collaboration with the other kinds of enterprise, could be regarded as four ways of the approaches. The innovation and creativity, futuristic hybrid, nonprofit support of the art, the integration and consistency of the image of the arts could be concluded to be four major points defining the characteristics of the Prada renowned for the use of the culture and arts to its property.