• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1912-1922
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• 2010

This paper examines the types and characteristics of cartoon and animation characters in contemporary fashion in order to provide the basic data necessary for the development and use of fashion character designs that develop creative designs and culturally high values. This study examined the relevant literature, reviewed local publications, foreign fashion magazines, and Internet data from 2000 to 2009. In this way, it analyzed various visual images that reflect cartoon and animation characters in case studies. This paper found some expression types, which are the direct expression of characters through print or collage, the borrowing of character images, the use of cartoon expression techniques, and the use of characters for the composition of clothing forms. Those expression types had some similar characteristics. The first is the expression of a kidult-like entertainment that reflected the inner psychology of adults trying to escape from a complicated modem society and returning to their childhood. The second is the expression of satire. Cartoon and animation characters were used as a medium for pointing out social irregularities and evil deeds that taught the lesson of good triumphing over the evil in fashion; they expressed the satire of the modem society and delivered a message of purity and hope. The third is the use of a decorative factor. Each character was printed in primary colors or expressed in colorful beads, and serial cartoon scenes were printed on clothes and used to make a decorative effect of fashion designs.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.83-97
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• 2006

This Study is a thesis presenting handicrafty and decorative textile design as well as sensual fashion design through the works of Gustav Klimt. The result is as below; The formative qualities in the works of Klimt could be featured as decorativeness, sensuality and symbolism. First, the decorative inclination is prominent in the portrait and the effect is maximized with the golden mosaic shape expressed on the dress and the background influenced by the Byzantine. Second, the sensuality could be recognized directly from the women's pose or facial expression in the works of Klimt, otherwise appeared on the refined expression showed on the portraits of noble lady Third, to surpass the reality, Klimt preferred the symbolic expression, which can be shown on the patterns in the works addressing the themes such as the legends and myths, or figures of men and women expressed with the image of an abstract features of membrum. The development of the textile design is as fellowed. First, it analyzes and reconstitutes the formativeness and the element of design in the works of Klimt by the flow of the form factor. Second. it makes a pattern of a single nature through perception, analysis, description and drawing and expresses with realization of the characteristics of Klimt. Focusing on the handicrafts and decorativeness out of the latest trends and making the most use of the sensuality, the designed textiles were completed by the handicrafty techniques, used in the fashion design and completed as the design of sensual images. The textile development aims at minimizing the limit of design that can be caused by the absence of silhouette and detail, expanding the range of its creativity of fashion designs and creating fashion design high value-added.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.111-120
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• 2012

Indonesia has a wealth of traditional textiles that are spread in every corner of its region, each of them has its own characteristics and uniquennes. Among the diversity of decorative and techniques used, there are also peculiarities arising from the coloring techniques, that is staining with natural dyes. The existence and the authenticity of the coloring techniques are still retained in some places in Indonesia until today. Generally, these societies make the fabric-making process as part of the ritual beliefs. One of which are the societies in Tenganan, Bali, an area in Bali which always use fabric as an important part in every traditional ceremony. The fabrics is known by the name Geringsing. The typically color which shown and also the sacred values that accompany make Geringsing a very special woven fabric and cannot be found in other areas. This is one of the local geniuses that need to be preserved. In addition to its unique techniques and special materials, Geringsing woven also keeps its myth and its philosophy. The emersion of Geringsing woven closely related to the community trust in God Indra as the main protector deity. The necessary initial process of making Geringsing is holding special ceremony attended by various circles of Tenganan village society. People in Tenganan believe that Geringsing is a precious heritage avoiding all diseases and disorders of evil spirits.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.49-59
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• 2013

This research study investigates the cultural significance and meaning of Thai Mudmee, their historical content, and the variety of the Thai Mudmee techniques, including patterns, symbol and colours. The aim has been to develop the traditional pattern and designs of the Thai Mudmee and produce contemporary textile pieces more appropriate for modern lifestyle tastes both in Thailand and Internationally. By reviving the Thai weaving tradition it is also hoped to encourage and maintain the continuous survival of tradition Mudmee, providing new sales opportunities and markets both in Thailand and abroad. Studying various attempts to redevelop traditional crafts in different countries brought to me the idea of how to develop folk crafts, the problems that occur in this area have encouraged me to express how folk crafts could be benefit from the design process. In this thesis I also express my recommendations for other researchers and the Thai government, as well as other people who interested in Mudmee design. The thesis concludes with the possibilities of how to improve the design of the Mudmee fabric and further areas of research.

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Transactions of the Korean Society of Mechanical Engineers
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• v.13 no.3
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• pp.397-403
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• 1989

A slight asymmetry exists in Korean beslls due to decorative sculptures, carved figures and casting irregularities. In this study, the influence of the asymmetry on the bell's best frequencies and mode shapes is studied by using finite element method and modal testing. Also measurement techniques of nodal lines and damping ratios of bells with very small beat frequencies are discussed.

• 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.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.927-934
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• 2014

Today Hanbok, the symbol of our nation's culture, has been preserved as cultural heritage despite natural and social environmental changes over years. This study is analyzing Hanbok which were taken in the National Skills Competition from 2000 to 2013; it presents our traditional stitching methods and clarifies the pride the Hanbok artisans have as inheriting the traditional heritage. Therefore this paper contributes to continuous and proper development of the culture of Hanbok and being loved by many people. The assignments about Hanbok featured in the National Skills Competition were categorized by national and local competition, time required to produce assignments, required amount of fabric, type of stitching, unlined and lined clothes depending on the type of assignment; according to the classification, methods for sewing were analyzed in detail. First, the national tournament presented 12 kinds of sewing techniques; especially hand-sewn stitching method appeared in common. Second, the unlined and lined clothes depending on the type of assignments had applied different sewing methods; double-stitching, flat fell seam, french seam, roll over sewing, blind stitch, right angle blind stitch, decorative saddle stitching, darning, etc. were used. Sewing methods in the 21st century has not changed over the years; the shape of clothes was changed upon trends. Sewing became easier than before by the invention of sewing machine, we should carry on our traditional sewing techniques. Through this analysis on sewing methods of the National Skills Competition, I hope to support competition participants for studying Hanbok and indicate proper sewing techniques.