• Journal of Fashion Business
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• v.18 no.2
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• pp.14-28
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• 2014

This study analyzed the group of experts who were related to cubism, selected among the works of 2010~2013 Paris Collection based on F.G.R.(Focus Group Research). According to the results of this study, there were appeared first, 'a one-piece dress' second, 'H silhouette' third, 'cotton', in case of item distribution and frequency. The analysis was done by using the manner of expression, cubical expression, exaggeration, distortion, dismantlement, geometrical division of face, mix-match look, wraparound repetition, asymmetric structure, etc. Based on the outcomes of the analysis on figurative design elements, this study adjusted three manners appearing on cubism fashion style. First, it was 'avant garde manner' of constitution or 'dismantlement' which was compiled into multi-view representations of overlaps and viewpoints by repetitive use of color tone trimming detail. Second, it was 'geomagnetic block placement' which expresses cubism with geometric partitioning of surface and separation of panel by cutting disintegration. Finally, it was 'distortion and simplification of silhouette' which is a distortion created by constitution-line pressed thin with silhouette. It maximizes the beauty of human body outline, which was distorted by three-dimensional-manipulation, and simplified by ellipsis for another shape for the extension or expansion of detail trimming.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of Korea Multimedia Society
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• v.11 no.12
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• pp.1658-1667
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• 2008

Reconstruction of 3D objects from a single view image is generally an ill-posed problem because of the projection distortion. A monocular vision based 3D object localization method is proposed in this paper, which approximates an object on the ground to a simple bounding solid and works automatically without any prior information about the object. A spherical or cylindrical object determined based on a circularity measure is approximated to a bounding cylinder, while the other general free-shaped objects to a bounding box or a bounding cylinder appropriately. For a general object, its silhouette on the ground is first computed by back-projecting its projected image in image plane onto the ground plane and then a base rectangle on the ground is determined by using the intuition that touched parts of the object on the ground should appear at lower part of the silhouette. The base rectangle is adjusted and extended until a derived bounding box from it can enclose the general object sufficiently. Height of the bounding box is also determined enough to enclose the general object. When the general object looks like a round-shaped object, a bounding cylinder that encloses the bounding box minimally is selected instead of the bounding box. A bounding solid can be utilized to localize a 3D object on the ground and to roughly estimate its volume. Usefulness of our approach is presented with experimental results on real image objects and limitations of our approach are discussed.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.41-49
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• 2009

Contemporary design environment is formed with image-centered trend based on pluralism. In this point of view, enterprises' building lobbies are public places containing the equivocal meaning, actively utilizing light as a design element to express the image of enterprises' identifications. Light is an immaterial entity having unlimited possibilities and potentials on space. It also acts as media to activate spaces and create new images in connection with formative elements of space. This study is to figure out how lightings are expressed and affected the formative characteristics of office lobby spaces and activate the specific characteristics of spaces. As a result, we drew conclusions as follows. First, as state-of-the-art technology and media are introduced, light is expressed on spaces as floating, direction, rhythm, silhouette, metaphor and allusion, sense of depth and volume. Second, expressive aspects of light in lobby space are embodiment of light, substantiation of immateriality, standing of materiality from the perspective of spatial aesthetics, and distortion/transformation of shape, pluralism phenomena of space from the perspective of spatial structure. In this way, light on building lobbies which are greatly required design differentiation strategy, specializes space and also integrates all the designs as not only a functional element but also a mental, psychological, formative element. Consequently, light on lobby spaces induces communication between spaces and users, makes formative value of existence in itself, and presents the characteristics of differentiated enterprises' identities.

• Journal of Fashion Business
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• v.26 no.4
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• pp.1-17
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• 2022

In the fashion industry, the demand for new perspectives to express creativity has always been high. Expression of new perspectives allows creative ideas to emerge, thereby breaking away from habitual and familiar perceptions. The purpose of this study is to identify and analyze how the theory of defamiliarization is being applied in fashion design by the brand Münn, which claims defamiliarization as a design philosophy. The study examined the concepts and the characteristics of Viktor Shklovsky by literature review and derived the main characteristics of the defamiliarization theory for fashion design analysis based on studies that used defamiliarization in other fields. Furthermore, after analyzing Münn's collection, we found how the main characteristics of defamiliarization derived from reviews were expressed in Münn's designs. The defamiliarization in Münn's collection was first, 'breakaway from stereotype' appeared through re-recognition of perception and unexpected use of heterogeneous materials. Second, 'distortion and analogy through image' was revealed through the East and West clothing-making methods, which broke away from the stereotype of image and the juxtaposition and cultural reconstruction of details. Third, 'transition of viewpoint' was shown as an avant-garde sense through the conversion of usage purpose of design, material, or items in which subjects and objects were converted with conceptual design and material or silhouette.

• The Research Journal of the Costume Culture
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• v.10 no.3
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• pp.270-282
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• 2002

This study was established to understand how Arte Povera has affected the contemporary fashion based on the analyses of its characteristics and may provide a prospective view to predict style of future fashions. The results were as follows : 1) “The poverty” shows such characteristics as patch work, intentional mismatch, and tendency to prefer slightly used style. This meaning can be explained as direct expression from a sense of alienation, against to consumer economy, and dual-expression between poverty and wealth. 2) “Anti-formativeness” can be described for misinterpretations of creation, arrangement, and informal silhouette due to distortion of the human body. This expression includes such meanings as against to traditionalism, ignorance of rationality, and disorganization of the concepts between the beauty and the ugly. 3) “Naturalism” indicates as characteristics of use of natural materials and primitive expression. This expression could be generated from adaptation to the nature and desire toward uncivilized society due to skepticism about modern society. 4) “Symbolism” shows such expressions as an isolated feeling from society, and metaphoric sense from specific situations because there are too many applications of imported materials. This tendency can be also explained with the creations of spaces for opened concepts through disorganizations of territory, obscurity, and irregularity.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.9_10 s.157
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• pp.1476-1484
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• 2006

This study is on the esthetic characteristics of Tuxedo-Look in the modern women fashion from 1990s to the present. It could contribute to understand the aspects and the sense of beauty of the modern fashion. This study is performed by reviewing the precedent studies, related literature and deploying fashion portfolios, domestic and international fashion magazines for the exploratory study. The results of the study are the following. First, Tuxedo-Look expresses the androgenous image which weakens the superficial message of masculinity or femininity and produces the unified image of men and women. Tuxedo-Look, a symbolic male dress item, is brought in the women clothes and it is recreated by design modification, new wearing style, and producing effects. Second, Tuxedo-Look emphasizes femininity by using a exposure and body line stressed design and matching the women dress items with various materials and colors or tuxedo. Third, Tuxedo-Look suggests a dismantling point of view such as exaggeration, distortion, secession, and breaking from the convention. Tuxedo-Look expresses uncertain value by breaking up the symbolic valueby coordinating with casual items and denies formal construct of tuxedo such as perfect balance, symmetrical silhouette, formality, totality.

• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.588-594
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• 2008

Lookism is spread largely because many people think beautiful people are treated better and receive more favors. This trend has been influenced by mass media and impacted by commercial marketing strategy. The expectation for the beauty have risen higher than ever. People expect beautiful body and beautiful face which are more difficult to meet the standard of beauty. People desire tall and skinny body. The purpuse of this study was to find out body image from college females in the age which they are very sensitive to appearance. This research focused to find out how they perceived their own body shape and their perception of the most ideal body shape. Measuring tool for the research was 9 pictures of body silhouette from very skinny to very fat. To analyse the respondents' objective body image, Body Mass Index were employed. The result of this research indicated that there were distinct differences between their subjective body images and ideal body images. This result indicated that they were not satisfied with their own body shape and hence they were not confident towards their body images. Even though their objective bodies were normal or under weight, they still felt they were over weight. This meant their body images were misrepresented. They preferred thinner bodies even though their bodies were perfectly normal and healthy. But these misrepresented body images could be unhealthy physically, psychologically, or socially. These results showed that college females were overly obsessive with superficial appearance rather than improving ones capability to be more competitive in the society. From this research, I tried to find out perception of body image and it's distortion which was debated a lot in our society. I also want to provide basic reference material for establishing the body image study.

• Archives of design research
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• v.18 no.4 s.62
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• pp.225-236
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• 2005

As a fresh trial using humorous items to escape from economic recession and uncertain state of mind regarding politics and society, fun is emerging as a keyword in design area. This study classified various use of fun reflected in modern fashion design according to the theme, and analyzed the mod of expression to identify formative characteristics. Through these processes, this study built conceptual structure of fun in fashion design. 412 fashion designs which represent fun were collected from 2001 $S/S{\sim}2005$ F/W collections. Data were analyzed and categorized. Results showed that the theme of fun in the modern fashion design could be classified into humor, kidult, irony, satire/parody, storytelling, and play. The design elements mainly used were color silhouette, letter, object, and drawing, while the design principles were distortion/exaggeration, incongruity, and repetition. In addition, these expressions were related to the traditional humor theory: incongruity-resolution, superior, and relief theories. The fun in modern fashion design has such value as affirmation, warmness, entertainment, youth, contradiction, surprise, deviate, allusion, attack, and description, Finally, in regard to the subject, the fun provides active experience like play as well as passive acceptance.