• Journal of Fashion Business
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• v.8 no.3
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• pp.20-33
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• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.152-168
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• 2007

The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.

• Journal of the Korean Institute of Educational Facilities
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• v.14 no.1
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• pp.5-13
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• 2007

An architectural practice cannot help involving a social art as its own concept. Especially school buildings are subjected to the influence of not only the educational philosophy and the national curriculum, but also the sociocultural context with the change of the times. This study aims to explore the contemporary trends of school architecture and give new inspiration to the school design practice. After it establishes the 'contemporary' school architecture as school buildings built from the second half of the 1980's to the present time, this paper classifies them into 4 categories : popularist trend, traditional and regional tendency, revival of classicism and the pursuit of art for art's sake.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.99-113
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• 2007

The performing art represents joy, anger, sorrow and pleasure through acting and dance, and is told to be a composite art represented by make-up, setting, costume and props. Therefore, it can be said that make-up is an important medium of stage art. Make-up in stage art is a kind of communication with audiences through understanding personalities of characters as demanded by scenarios. Due to the creative stage make-up which meets the character in the play relevant to these contents of the play, the conceptual study on stage make-up design for visual expression coincide with the intended character is needed. In this study, I investigate theoretical, universal, and psychological personality types by analyzing basic appearance features based on the physiognomy(face-reading) related from the psychological theories. And visualized through illustration according to personality types to apply for the characters in the play.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.25-39
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• 2000

Raoul Dufy devoted and was involved in textile design between 1910 and 1928. It was a transitional period in fashion. especially Poiret took an important role as a fashion designer at that time. After meeting Poiret, he won the fame as a textile designer rather than a painter, in his early stages, He had been deeply involved in fashion design. For instance Dufy and Poiret shared their world of art, collaborated to mount exhibitions, the Print textile fabrics by Dufy was used for dresses by Poiret and so on. The textile design which showed Dufy's artistic abilities was used as a method of expression of an exchange and a communication between art and fashion in the same period, through collaborations with Poiret. For instance, Dufy as a fauvist created and produced textile designs using his magnificent and cheerful colors and lines. He brought about a revolution in the textile design due to his participation in fashion design, as well as encouraging fashion designers. Textile design by Dufy, which grafted onto his world of art impressed Poiret greatly. It proposed the new direction of the fashion and influenced modern costume. The positive collaborate between Dufy and Poiret provided a momentum to a costume for being a part of art. Textile design as one of the important area in modern fashion needs a design originality for creating a high value-added products.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.110-122
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• 2010

The purpose of this study is to analyze the expressional traits and internal meanings of fake design in the 2000s' fashion, based on study of art and design area. For achieving the purpose, this study performed related research works and a demonstrative analysis of fashion collection photographs. The scope of this study is from 2000 to 2009. The results are as follows. Fake design uses trompe-l'oeil which is an art technique related to the meanings of 'deceive or fool the eye'. This eye-deceiving technique has been used for a long time in the art, and particularly noticed as one of techniques of Surrealism. Art works using trompe-l'oeil express familiar and unreasonable world at the same time, and also the fusion of reality and fabrication. Fake design in design area of the 2000s makes people take daily life in unfamiliar way by unusualness and breaking the boundary between real and fake. By fake design, people can enjoy fun and a sense of freedom with amusement rather than unpleasant of being deceived. Fake design in the fashion of the 2000s uses eye-deceiving technique and also focuses on the concept of 'fake'. The expressional traits were categorized as realistic expression, surrealistic expression and fake value expression. The internal meanings were analyzed as breaking boundary between real and fake, rediscover dailiness, new attitude to traditional thinking. In conclusion, fake design in the fashion of the 2000s gives playfulness, fun, feeling of release and will be pursued continually.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.89-101
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• 1993

The Russian revolution and the successive "art into production" atmosphere provided a unique model of a strict inter-relation between social process and innovative process in the taste. Influenced by CUBISM, RAYONISM and SUPREMATISM emerged in Russia around the time of Russian revolution and gave way to CONSTRUCTIVISM, based on Tatlin's theory, which played a vital role to combine art with social committment. One of the first question to be established after the revolution was the function of art within the new society. First, it should be propagandistic and empahsise the benefit of the new state. Secondly, art could take on an affirmatory role putting foward ideal views of the society as example to be disscussed and followed. Thirdly, the Constructivists' view, "Death to Art" was their slogan. Their view was that the artists' work in the new society was to be based on the material value and beauty in fuction as this alone could be consistent with the aesthetics of Marx and Lenin. It sould be pointed out that among the various applied arts, textiles and clothing design were considered one of the most important role in propaganda and in support of the new socialst ideas. Traditionl handicrafts provided a repository of popular images and folk art continued to assert an influence on the textiles and clothing design after the revolution. Constructivists, such as Stepanova and Popova, went to the factory as direct answer to the invitation for the art-industry rapport. Thematic or propagandistic designs were directly connected to the daily life and national transformation.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.47-57
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• 2013

In terms of expression, beauty illustration has become more diverse and innovative. Because of continued unique creative activities, more novelty has been pursued. In this study, beauty illustration in new artistic and decorative images was used to investigate the basic concepts of art activities, illustration and beauty illustration and make up for beauty illustration which adheres to traditional and classical expressions. In this study, the following results were obtained: First, in terms of expression of beauty illustration, the work with art expressions are still poor compared to other fields such as fashion illustration. Therefore, it is necessary to attempt beauty illustration of a new image which expresses artistic emotions. Second, by using an artistic technique called 'paper sculpture', a semi-solid shape has been completed, and a decorative beauty illustration was created. People get new inspiration through beautiful and innocent art pieces, which in turn motivate to create new expression. New art activities which take a human body as an art support beauty activities through picture and more sensitive inspiration. It was attempted to express other emotion and beauty by observing a single piece of work. A new possibility in beauty illustration which is differentiated from other art activities is proposed and its domain is developed.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.77-85
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• 2001

The change of society causes the change of art necessarily. The experiments of plastic art which as been done by avant-garde movements at early 20th century have pursued ″Object drama″ consistently as trials of more or less abstract drama. As these plastic arts have used genre or media like circuses, sports, variate, films, screen play, newspapers and a quick method which had not been considered suitable for conventional aesthetic plastic arts, these arts looked provocative and, these provocative plastic arts have ignored universality shown in conventional arts and have caused extreme ″sensation″ accordingly. As a result, abstract art based on style which is against aestheticism and naturalism has been generalized. This style does not deny customary laws of art wholly but it requires new concept. Having ignored traditional styles, a new compositive and responsive way of composition which does not deviate from tradition has been pursued. A new and general understanding of arts which do not deny all conventionally-effective standards extremely has been developed. In this regard, this study analyzes characteristics of Bauhaus Theater which has tried to apply new technology engineering to plastic art as an integrated concept of art and technology amongst the directions of development of provocation, innovation and revolution in case of the plastic art of stage painting, and analyzes how this influences on modern painting in terms of avant-garde arts reviewing the meaning of this theory.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.4 s.40
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• pp.381-392
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• 1991

The purpose of this is to investigate the color of Art Deco Fashion in Paris. (1920-1930) Through the age of Art Deco style, the enormous modern cities were built up and numerous life-constructions were designed conspiciously in Paris. Under this situation, the usage of the 'color' became very important element of design area and also it bestowed new form upon the modern design. The black beauty of Art Deco style was the outcomes of cubism, black-arts, and pragmatism. And the black beauty was regarded as the proper color to represent simplicity. Simplicity was the best way to express Art Deco style. The color and light of metal were used adequately to express a geometrical and streamline form; it was raised as a new beauty in this period. The primary colors were used to recognize the simplified forms effectively. New pastel colors, which signified differently with Art Nouveau were born centering around the Youth Culture like a summer resort and a sun bath. Also they expressed neon signs and atmosphere of beach by means of the tropical colors. At last the color of Art Deco style opened the new age. And it was started to use the various colors in design field from at this time.