• Fashion & Textile Research Journal
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• v.4 no.2
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• pp.117-127
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• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.458-475
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• 2017

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.43-55
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• 2021

Unlike nail care, nail art is a field with strong decorative elements that decorate the surface of the nail. In line with the trend of the times, which freely expresses one's personality, nail art is establishing itself as a definite and a key area in the beauty industry. Currently, design creation and technology developments are important, with the release of various nail materials and new trends that spread through mass media. Despite the great developments in the nail beauty industry, there is a lack for nail artists. Due to this fact, it is considered a necessary to combine nail art with the contemporary art styles, which have various motifs of design, and to study nail art design using them. In response, this study selected art from the Rococo era, where delicate and colorful decorative elements were at their peak, to consider the artistic styles of the time and present them in various nail designs. This study would like to expand the scope of new nail designs by suggesting colorful and feminine designs to women, who are the main customers of nail salon. In addition, the purpose of this study is to provide nail artists with basic materials that can be used in creative ideas and expressions, such as 2D and 3D nail designs, and composite nail design art, which are the art areas for nail art.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.6
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• pp.1016-1026
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• 1996

The purpose of this study was to extract protypes from features and concrete images of Lotus and Crane patterns. A qualitative and a quantitative methods were used. Qualitative informations were obtained from depth Interviews for pattern selection and feature extraction, and quantitative informations from a quail-experiment for pattern caregorization. The subjects were 20 female design students and non-design, students in Teajon. The results were summerized into a similarity metrix which was interpreted by the cluster analysis and the multi-dimensional scling(MDS). The patterns for the study were grouped into 8 clusters. Four dimensions were chosen for the MDS. The location of each pattern was visualized in a 2-dimesional spaces and the location of each cluster in a 3-dimensional spaces. The first dimension, "Lotus" vs "Crane" refired to pattern types, and the second dimension, "realistic" vs "transformable", the transformability. The third dimension, "simple" vs "complex", refired to the degree of simplification, and the forth dimension, "continuous" vs "discontinuous", continuity. The results of the Quantitative analysis could be summerized into 3-level prototype hiararchy In the first level, the patterns were devided clearly into two groups. Lotus and Crane by pattern types. In the second levelk, each group was devided into twosubgroups by continuity. In the third, each subgroup was divided into four subgroups by transformability and the degree of simplification. Four protypes, the final targets of the present study, were extracted from the third level. The are Stylized, Realistic, Decorative, Abstract types.d from the third level. The are Stylized, Realistic, Decorative, Abstract types.

• Korean Journal of Human Ecology
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• v.11 no.2
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• pp.189-196
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• 2002

The purpose of this study were to elicit the attitudes toward underwear, to compare the difference according to the demographic variables, and to find the relationship between the attitudes toward underwear and social-psychological characteristics of university female students in Cheongju city. The questionnaires were to measure the attitudes toward underwear, the demographic information, and social-psychological characteristics. As statistical analysis, frequencies, mean, t-test, F-test, factor analysis, and correlation were used. The results were as follows: 1) The female students regarded tactile sensation of underwear fabrics as the important element in their attitude toward underwear, while they showed a little interest about gorgeous underwear style. 2) The freshman students have strongly. fixed ideas about the under wear, the other(sophomore, junior, senior) students showed more interest in decorative and fashionable aspects of underwear. 3) The attitudes toward underwear were classifies into six factors; intension about high quality, decorative design, stereotype, immodesty, style and comfort. 4) There were partially significant differences according to demographic variables in the attitudes toward underwear. 5) Also, there were significant correlations between the social-psychological characteristics and the attitudes toward underwear.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.131-145
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• 2009

Literature in beauty art is insufficient regarding beauty spot, though it has played an important role in beauty art history. This study aims at analyzing various patterns and decorative functions of beauty spots and examining their remarkable differences by place and time. It attempts to find the symbolistic characteristics of beauty patch which influenced European countries socially and culturally in the 17th and 18th centuries, findings are as follows: first, beauty spots are extremely various by patch patterns and by forms, e.g. Wha-Jeon(花鈿), Bindi and artificial points. In the view of cosmetic purpose, they have been used to beautify appearances, reveal social positions and express the desires like blessing or protection from evil. In the times of Baroque and Rococo, though temporarily, people with beauty spots and their belonged societies used them as communicative tools: obviously, they functioned symbolistically. This study surveyed 156 persons to find what cosmetic messages and images beauty spots present in the contemporary world. Using SPSS 13.0, the study analyzed the responses and found that beauty spots are still functioning and welcomed to let women look more beautiful and more attractive, though their cosmetic messages and sizes have been simplified and scaled down.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.179-187
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• 2013

The purpose of this study was to explain the uniqueness of tropical space style by identifying it in Southeast Asia. For this purpose, literature review was examined from 26 specialized tropical space style books and categorized. Its results are expected to be used as reference materials in designing spaces related to Southeast Asia and for constructors planning to run their business in Southeast Asia or Korea. The results of categorization are as follows; 'Tropical Traditional', 'Tropical Colonial' and 'Tropical Modern'. First, in case of Tropical Traditional Style, the traditional styles are adopted in roof and some of traditional styles are adopted in walls, windows and doors. Second, in case of Tropical Colonial Style, Renaissance or neo-classical styles are adopted in most of columns, archs, windows and doors. The traditional styles are also blended. Third, in case of Tropical Modern Style, straight line designs are adopted dominantly. However, decorative objects of traditional style are used to catch eyes. In summary, traditional style are imbedded more or less in all of tropical style and particularly, decorative objects of traditional style are key elements representing tropical space.

• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.176-192
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• 2015

This work aims at analyzing the comparative feature about female flight attendant uniform designs of Korean and Asian region low cost carriers and providing some basic materials for development of these airline companies. As a research method, examinations were carried out on attendant's uniform both theoretically and empirically. Comparison of uniforms was made among the five Korean carriers and ten typical Asian carriers for empirical research. Results showed the followings. First, all Korean low cost carriers were characterized as formal style except Jin Air. Unlike this, Asian low cost carriers appeared as diverse including formal, semi formal, and casual styles with a uniquely differentiated image. Second, all carriers applied their own symbolic color to their uniform. Third, logo or symbol was adopted as a pattern on scarf in the two Korean companies but it didn't take effect practically. For those Asian carriers, embroidery was used on jacket, jumper and collar. They utilized even a merchandising character to put emphasis on airline image. Fourth, diverse petty items with a decorative effect were used in the case of Korean low cost carriers. In the changing period of uniform, nothing much was changed and remained almost the same as before. Those in the Asian region were characterized with the smallest number of items and the preclusion of decorative add-ons on uniform.