• 복식문화연구
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• 제15권1호
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• pp.127-136
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• 2007

Modern society shares new culture derived from the fusion of various cultures unlike the past culture regulating one phenomenon of certain field as the representative icon of the era. Especially, the phenomenon of globalization acts as the catalytic agent to receive coexistence of variousness easily. Especially, in fashion industry, these flows and the view of naturalism are harmonized and new fashion trend called 'Ethnic' was embossed. As it reflects internal spirit of human being that wants to return to the memory due to expansion of material civilization, the interest in the designer pursuing it is increasing. This study tries to consider the Ethnic style displayed by Chinese American designer, Anna Sui, who pursues the eastern style with full wit and individuality. Anna Sui, who was praised by New York Times for 'the superb harmony of houte couture style and up-to-date style', created another fashion trend, romanticism in New York and she is the worldwide designer representing Ethnic. Like it, the consideration on her Ethnic style reanalyzing as eastern style provides guidance to check how designer's fashion philosophy appears in one category of America and China and new study material that enables us to understand the third world culture code as well as Anna Sui. This confirmation has the meaning as the basic material for the endless challenge to the new style that fashion will go on in the future. Anna Sui was confirmed to have been recognized as a designer who represented the ethnic collection in the United States, exerting the influence with her unique oriental background. Moreover, her design could identify the pivotal point of ethnic image by developing her unique style which is distinct from other designers in terms of silhouette, color, fabric, detail, and so on. This kind of study can provide the basic data required to understand the fashion world of designer in the future.

• 복식
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• 제52권7호
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• pp.103-121
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• 2002

This study intended to analyze the transition of design of Korean soccer player's uniform according to development of the society and changes in formative elements, and examine features inside them by considering designs of soccer player's uniform by ages ranging from the introduction of soccer up to now. Results of the study are summed up below. First, as a result of analyzing designs of soccer player's uniforms from 1920 to 2002 Korea-Japan WorldCup based on formative elements of the style of dress. \circled1 it is shown that basic shape has been kept but changes in only color. cutting, trimming, logo and symbol have existed. \circled2 Colors of the uniforms have been different according to ages but red, blue and white colors have been used most and sometimes black was employed. so it is known that colors in the Korean national emblem have been all used. \circled3 In the beginning of the uniform there was a limitation in its design due to absence of functional materials but now highly-sensitive textile products and highly-functional textile materials guaranteeing optimal condition and highest activity of a soccer player have been utilized in various ways. \circled4 It is known that symbols modelling the image of Korea have been used in diverse ways but effected much by directions toward images pursued by designers of sponsors. Second, the meanings represented by designs of the uniforms are classified into a degree of symbolizing Korea, tradition, superiority and dynamics. That is to say, \circled1as colors and symbols coming from the emblem have been used in the uniforms. they have symbolized one nation and possessed the meaning representing even Korean national spirit. \circled2As traditional colouring and symbols have been used in the uniforms, they have shown the Korean sense of a beauty. \circled3 Colors, tones and designs overwhelming the mood of play have been used in the uniforms, so that they have played a role in making players of other team flinch mentally and making Korean players gain an advantage over them. \circled4 Thanks to strong symbols or comparative effects of colors. they have shown the dynamics representing power and energy.

• 복식
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• 제32권
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• pp.101-116
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• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• 복식
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• 제65권4호
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• 복식
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• 제58권6호
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• 패션비즈니스
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• 제19권4호
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• 한국정보과학회논문지:소프트웨어및응용
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• 제34권1호
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• pp.18-29
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• 2007

본 논문에서는 뇌 자기공명영상을 분류하기 위하여 결정트리 알고리즘을 2 단계로 적용하는 영상 분류 시스템을 제안한다. 영상으로부터 얻을 수 있는 정보에는 두 종류가 있다. 하나는 크기, 색상, 질감, 윤곽선 등 영상으로부터 직접 얻을 수 있는 하위레벨 특징들이고, 다른 하나는 특정 객체의 존재 유무, 여러 부위 사이의 공간적 관계 등 분할된 영상들에 대한 해석을 통해서 얻을 수 있는 상위레벨 특징들이다. 의미에 따라 영상을 분류하기 위해서는 상위레벨 특징들을 기반으로 학습 및 분류가 수행되어야 한다. 제안하는 시스템에서는 결정트리 학습을 각각의 레벨에 개별적으로 적용하며, 하위레벨 분류 결과를 이용하여 상위레벨의 특징을 추출한다. 종양이 있는 뇌 자기공명영상 집합에 대하여 분류 실험을 수행하였으며, 몇 가지 실험 결과를 통해 제안된 시스템의 효과를 확인하였다.

• 한국의류학회지
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• 제28권2호
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• pp.270-279
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• 2004

The purpose of this study is to make a basic resource in developing a design satisfying male consumers＇ fashion inclination by examining the features of the men＇s fashion style shown in the fashion collections. Collected were 1,291 photos relating to the suit style through the analysis on the men＇s fashion collections for 8 years(1995-2002). Representative men＇s fashion images are extracted from these photos, then figurative features were analyzed and typified according to image, and finally representative fashion styles were presented and its meaning was analyzed. Representative men＇s fashion images are Sophisticated, Casual, Elegant, Active, Natural, Classic, Romantic, Ethnic, Military, Marine, Colonial, and Avant-garde. With the subcategories such as detailed shape of jacket and trousers, the relationship of color between upper and lower clothes, type and organizing method of material quality, type and arranging method of pattern, and coordination, the extracted fashion images were analyzed the figurative features. After finding out the common and different features, four men＇s fashion styles were suggested. Formal style maintains the typical suit style and has the feature expressing the men＇s authority, tradition, and honor. It includes Sophisticated, Elegant. and Classic image. Casual St Sporty style has the feature that there is a change in the volume of suit by adding activity to the typical suit style. It includes Casual, Active, and Natural image. Uniformed style is that political and social environment such as war has an influence on the suit design. It includes Military, Marine, and Colonial image. Deformed style has the feature that it suggests new type instead of adhering to the typical suit design. It includes Ethnic, Romantic, and Avant-garde image.

• 디지털콘텐츠학회 논문지
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• 제19권1호
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• pp.123-131
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• 2018

힐링 공간의 디자인은 인간에게 기와 여유로움, 정신적 해방감을 제공한다. 지친 몸을 회복시키며 삶의 건장함을 제공해 준다. 힐링이란 의미와 외국의 사례 등을 통하여 힐링의 중요성과 가치를 확립하여 보았다. 인간이 자연에서 왔다가 자연으로 돌아가는 것은 지극히 필연적이라 생각되며, 살아가는 동안 목표를 세워서 조금씩 완성하고 극복해 나가는 과정을 끊임없이 계속하면서 큰 목표점에 도달하게 된다. 자연에서 온 만큼 자연의 분위기를 만들어 그 속에서 생활함으로써 치유의 효과를 누릴 수 있는 것이다. 건축의 내부에 목재를 사용하는 것이 가장 편안한 힐링의 조건이 되며, 일본의 사례에서도 알 수 있듯이 건축물의 외부 전체를 목재로 완성한 써니힐스의 건물은 마치 까치의 집을 연상케 하기도 한다. 실내의 책상이나 책장도 목재로 하여 보다 따뜻한 분위기를 연출하고 관엽식물을 심으면 힐링의 효과는 더욱 커진다. 천장에는 구름의 그림이나 나무, 해 등의 그림을 그리고 벽의 색은 기분을 차분하게 하는 파란색 계통이나 부드러운 핑크색을 적용하면 힐링의 효과는 배가된다. 본 연구를 통하여 힐링의 기본인 자연과 접하고 자연의 소재를 활용하여 생활공간을 형성하는 것이 힐링의 효과를 가져 올 수 있다는 것을 알 수 있었다.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2010년도 춘계학술대회
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• pp.347-350
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• 2010

뉴 미디어 시대의 도래로 우리는 움직이는 영상 이미지의 세계에 살고 있다고 해도 과언이 아니다. 매체의 발달과 함께 일상에서는 이미지와 함께 순간을 지나며 느끼며 그것을 일부처럼 공존하며 소통하고 있다. 이러한 시대에 논리적이고 현실적인 사고보다 감각적이고 형상적인 이미지가 더 많은 것을 전달하고 설명하기도 한다. 움직이는 이미지를 보는 행위는 언어적이고 개념적인 의미의 전달 이전에 색채와 화면을 구성하고 있는 조형적인 요소와 그것들이 만들어내는 변화가 먼저 인식된다. 특히 서사의 구조를 가지는 영화영상 애니메이션에서는 그 영역이 더욱 크게 작용하며 이러한 장면의 이미지를 연결시키는 트랜지션의 기법 역시 본연의 단순한 기능에서 의미소통의 기능으로 확대되고 있다. 이러한 트랜지션 효과는 단순한 장면전환의 전통적 기법에서 시각적 유희성을 제공하고 서사의 흐름에 도움을 주는 내러티브 기능으로 수행되는 관점에서 시각적 표현의 연구는 지속되어야 한다.