• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.96-113
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• 2020

A new form of media is changing the expression and content of fashion. In this paper, fashion films that have appeared since 2010 - when digital fashion communication was increasing - will be discussed and explored to consider how technological transitions in fashion media are changing the appearance and role of fashion. A literature review was conducted to derive characteristics, types, and expressive elements of new media fashion films, which were defined for this study as fashion films produced and distributed since 2010 using digital media. Films were categorized into three types: promotional, editorial, and independent fashion films. Furthermore, elements of the films were identified as fashion mise-en-scene, auditory structure, and content structure. Types and expressions of digital fashion images in 40 fashion films were analyzed according to these elements. The results showed that promotional fashion films maximize various narrative and sensory effects on fashion products, whilst editorial fashion films strengthen the role of entertainment. Independent fashion films expand the area of fashion and promote the diversification of fashion systems. Moreover, the results show that fashion films are not a secondary form of media that just expresses fashion; they provide a tool for the creation of new fashion content. New media fashion films promote the expansion of expressive spectra and boundaries, offering various multisensory experiences of fashion, and enhancing creativity and the aesthetic values of fashion.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.55-67
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• 2012

Based on the fact that a parody is widely used as one of main methods of creating art, this study focuses on the parodic techniques used by one of the most famous contemporary artists, Cindy Sherman. Her unique techniques, which are shown through parody, provide different aesthetical values to contemporary fashion designs. The purpose of this study is to find out whether or not contemporary fashion designs that use parodies can be presented as creative fashion designs. The study was carried out by analyzing data retrieved from various literatures, dissertations, magazines and the Internet. The period between the late 1990s and 2010 is the time when parodies were widely introduced, this study presents tables, pictures and photographs based on data collected from that period. The result of this study suggests that there are mainly four expressive techniques used to create Cindy Sherman's parodies: female viewed from a male's perspective, pornography and sexual satire, narrative and realistic reproductions, and foreignness and harmony in conflict. This study discovered that based on these four expressive techniques, contemporary fashion can produce the following four results according to their production styles, silhouettes, materials, and colors: the beauty of the retro pinup girl style, the beauty of eroticism and sexual satire, the beauty of history through reinterpretation of the past, and the beauty of compromise through conflict. As described above, this study attempts to seek how techniques of parodies give different aesthetical values whether or not they can become creative fashion design techniques by listing Cindy Sherman's unique expressive techniques in her parodies in relation to contemporary fashion designs.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.110-124
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• 2015

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.161-175
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• 2016

Sensitivity has become more important in relation to design in a changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China the discussion had begun. In Korea where the first scholarly discussion on aesthetics had begun around 1929, more and more rigorous and theoretical discussions emerge nowadays. Korean beauty consists of unplanned Beauty and unplanned planned Beauty. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes the nature as it is and Japan values the artful decorative elements. In modern Korean fashion, the characteristic Korean aesthetics of unplanned Beauty appears in the various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and simplified silhouette. Also, there are plays on balance and proportion using straight and curves lines and variegated colors and creative printing, intentional asymmetry, and destrution.

• Journal of the Korea Furniture Society
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• v.27 no.2
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• pp.145-153
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• 2016

Today, furniture design, which is changing and diversified, a movement to search a new formative world while reviving our traditionality is continuously proceeded, that implies a new possibility in our culture. In respect of such diversified materials, Korean traditional paper, Hanji (韓紙), has already been acknowledged with its excellence. Also, Hanji is a material that fully contains aesthetic consciousness of Korean people, accordingly, this research investigated and analyzed mainly with Sarangbang furniture among Joseon antique furniture, in order to study the possibility of Hanji decorated furniture as the objet in our interior space. This research utilized Paper cut technique (剪紙技法) among Hanji Crafts technique of expressive elements of Sarangbang furniture using Hanji, which is to make patterns and attach them by cutting out or engraving colored papers using scissors or graver to the wooden frame (白骨). Through this, this research could investigate production process utilizing Paper cut technique, also, Sarangbang furniture utilizing such Paper cut could be settled down as the objet with functional aspect and aesthetic completion in our interior space. Also, the researcher presents value of our original furniture by suggesting final output and considers that systematic researches should be conducted continuously on furniture henceforth utilizing Paper cut technique.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.145-160
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• 2015

The purpose of this study is to review the concept and thinking structure of deconstruction theoretically and thereupon, analyze the visual beauty and wearable comfort of the clothing and further, discuss the aesthetic characteristics and values of the decentering phenomenon in the 21st century fashion. Deconstruction provides for an cognitive framework whereby we could comprehensively review the difficult-to-understand and imprudent creativity unravelling in the name of the post-modernism as well as the ambiguous visual beauty and wearable comfort of our contemporary fashion. In particular, deconstruction refuses such concepts involving the relationship between the conventional clothing and its components as order, symmetry, balance, harmony, perfection and simplicity and instead, attaches some sense of value to such relatively inferior concepts as disorder, asymmetry, unbalance, disharmony, imperfection and complexity, and thus, reflects them in the modes of aesthetic representations to create new aesthetics and expand the expressive potential.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.114-130
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• 2005

In postmodernism, the sublime that reaches ecstasy overcoming terror or pain is described as the most expressive phenomenon. The purpose of this study is to understand the sublime expressed in contemporary fashion. for this purpose, 1 investigated the theories of the sublime, categorized the definition and modes, then applied those categories for contemporary fashion. Documentary studies were conducted through aesthetic, design and fashion books and the demonstrative studies were processed by analyzing photos from fashion magazines. In the history of aesthetics, the sublime is explained as the ambivalent feeling mixed with pain and pleasure, terror and delight or negation and affirmation. In this study, the sublime could be defined as the aesthetic pleasure through the transcendence of the pain and terror and classified into 3 categories, the tragic, the initiative, and the deconstructive. The tragic sublime that includes the terrific, the disgusting and the religious character is expressed through the image of death or the physical torture, the satanic image or disgusting object and the ascetic image and religious sign or icons. The limitless sublime that includes the giant and the dynamic character is accomplished by consist of the elongation or the enlargement and the powerful authority. The deconsturctive sublime that includes the negative, the indeterminate and the complex character is associated with the deconstruction in style, the reversal of image and the destruction of the space of the body. Analysis on the sublime expressed in contemporary fashion may provide an excellent way for understanding human aesthetic consciousness in dress.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.10
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• pp.1100-1116
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• 2012

Due to the growth of the preschooler clothing industry, significant research has been conducted on the pursued benefits, purchase behavior, and purchase intension related to preschooler clothing; however, reports on the consumption value of preschooler clothing remain limited. This study provides a consumption value for preschooler clothing through qualitative research. A total of 15 mothers of preschoolers aged 1-6 years old were interviewed on the consumption value of preschooler clothing. The subsequent consumption value of preschooler clothing consisted of 9 major factors (vicarious satisfaction value, social display/image value, safety value, convenient value, economic value, distinguishable value, expressive-aesthetic value, fashionable value and conditional value). In addition, the vicarious satisfaction value, social display/image value, safety value, and convenient value were new-expressed values that differed from previous reports on the consumption value of adult clothing.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.95-96
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• 2007

Language is the method for communication. Semantician, G. Leech categorized the function of language as informational, expressive, directive, aesthetic and phatic one. Therefore, language can be defined as the social symbol system and the media for communication. Space, also, performs the role of symbol, information and communication. Space can be the media for the communication and the design can be logical construction process by it's arbitrary interpretation. The researcher considered the common points between verbal language and visual language as the tools for the mutual communication, tried to transit them into the 'space' as object language after analyzing 'image of poetry' as meta language, so that the old perspective of space design as function can be renewed as information system of the significant meaning delivery in the context of language's multiplicity, expandibility and changeability.