• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2003년도 가을학술발표대회
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• pp.20-21
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• 2003

• 복식문화연구
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• 제20권4호
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• pp.604-615
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• 2012

Despite the increasing recognition of the value of emotions and younger consumers in luxury market segments, little research has focused on the role consumer characteristics and emotions play in younger consumers' commitment to luxury brands. Drawing on the identity-motivation model and the idea of self-construal, this study identifies the contributing factors of younger consumers' commitment to luxury fashion brands. Specifically, this study examines the role of consumer characteristics (i.e., self-construal), the self-expressiveness of brands, and emotional factors (i.e., brand love and brand attachment) in developing consumer-brand relationships. The proposed model was tested with college students in the U.S., which supplied a representative group of younger consumers of luxury fashion brands. The data were collected using web-based surveys and analyzed using structural equation modeling method. The results showed that consumers who were characterized with interdependent self-construal had positive perceptions of self-expressive luxury fashion brands. Furthermore, the perception of self-expressive brands promotes the consumers' brand love of and brand attachmentto luxury fashion brands. Also, while both improved brand commitment, brand attachment had a greater impact on brand commitment than brand love. This study contributes to the literature by identifying driving forces of younger consumers' brand commitment. It also provides managerial implications for luxury fashion brands.

• 디자인학연구
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• 제13권
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• pp.123-137
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• 1996

직조는 예술과 기술과의 상호 관계에 관심을 가지고 있는 디자이너에게 이상적인 연구 대상이다. 특히, 이중적인 4종광 이상의 제제에서 만들 수 있는 두 겹 직물로서 여러 가지 목적 및 기능에 따라 광폭 직물, 양면 무늬 직물, 등 특수 직물을 생산하기 위해 산업에서 사용되고 있다. 그러나 가 지니고 있는 매력적인 특징은 미적 이 요구되는 섬유 작업에서 의견로서 다양하게 응용되어질 수 있다. 본 논문은 문헌 자료와 sample 제작을 통해 이중 직의 개념과 종류 및 특징을 설명하였으며 이중 직을 연구한 작가들의 대표적 작품들을 분석함으로써 기법이 가지고 있는 잠재적 특성을 강조하였다. 이중 직 기법은 구조 및 의견 에 따라 다양한 이미지를 나타낼 수 있으므로 직조가 들이 기술에 의한 독특한 표현을 하여 시킬 수 있는 창조 적을 제시하고 있다.

• 대한가정학회지
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• 제47권3호
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• pp.1-9
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• 2009

This study was conducted to examine how patchwork was expressed in fashion based on theoretical background on its brief history and expression styles and to show its possibility of creating ways for new expression in modern fashion. This study reviewed literatures on definition, history and styles of patchwork and investigated mainly works, which had been presented in collections home and abroad since 2000, to analyze its expressive characteristics shown in modern fashion. According to analysis on the expression of patchwork, it used various painting techniques such as patterns, colors and surface effect. It included patchwork having patterns provoking elusion of fairy tails; containing painting expression of reproducing works of artists; using colors boldly and contrasting strong primary colors directly to establish purity of painting and to pursuit characteristic expression; and using expression techniques of pure art such as gradation and cutting. Second, it used a compromise expression in materials, methods and substances. Patchwork which had used cloth without a pattern or printed fabric, utilized various materials like vinyl, paper, leather, metal and plastic and had a figurative value showing a solid expression as an objet itself with new techniques and changes of connecting methods. Thirdly, it used tradition patchwork techniques. Pieced patchwork, crazy patchwork and images of traditional odd ends of cloth covering a meal were applied to a whole area or a part of cloth to avoid monotony of design and to use it as a decoration.

• 산학경영연구
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• 제19권1호
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• pp.1-24
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• 2006

교육기회의 확대와 더불어 인적 자본을 축적한 여성들의 사회 진출이 빠른 속도로 증가하고 있으나 상위 직급으로 갈수록 여성이 줄어드는 조직 내 인구 통계학적 구조 때문에 여성관리자는 남성관리자에 비해 사회 네트워크를 구축하는데 있어 어려움을 겪고 있다. 본 연구는 국내 500인 이상 대기업의 중간관리자(과장, 차장, 부장) 402명을 대상으로 사회 네트워크의 구조적 특성을 성별에 따라 비교분석하였다. 연구결과 남성관리자는 여성관리자보다 업무 네트워크를 더 강하게 유지하고 있는 것으로 나타났으며, 여성관리자는 남성관리자에 비해 업무 외 네트워크 구축에 더 치중하고 있는 것으로 나타났다. 이는 조직 구조상 남성이 다수를 차지하여 유유상종 면에서 불리한 위치에 놓여있는 여성관리자가 남성관리자와의 업무 네트워크 구축보다는 같은 여성들과의 업무 외 네트워크 구축에 힘쓰고 있는 것으로 보인다.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.103-110
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• 2010

As ongoing construction of a new municipal government building leads to the destruction of the interior of the Kyungsung Municipal Government Building(currentlySeoul Metropolitan City Hall) despite its enormous historic value, this study aims to identify the unique features of spatial composition and interior design of the Kyungsung Municipal Government Building, which is widely known as a typical example of public architecture of the 1920s. The primary goal is to perform a systemic arrangement of its interior data and define the modern historic implications of its interior design, thereby laying the foundation for a compilation of the history of modern interior design. From a historical perspective, the Kyungsung Municipal Government Building-an explicit symbol of Japanese colonial supremacy-has served as the administrative hub of a hugecity for 19 years during the Japanese colonial rule and for 64 years following Korea's independence from Japan. From the perspective of architectural history, it also represents modern transitional buildingsin their shift from historicism into modernism, as manifested by its reasonable placement of interior space matching well with topographical form, easy access by citizens, open office space, and, excluding decoration, a simple and non-authoritarian exterior. Its interior design style follows Western historicist architecture, whereasits simple interior decoration embodies expressive characteristics of pragmatic simplicity. Such elements are notably found in the Grand Central Hall, the Municipal Head's Reception Room, and the Grand Conference Room.

• 패션비즈니스
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• 제12권2호
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.

• 한국실내디자인학회논문집
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• 제21권6호
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.

• 한국의류학회지
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• 제45권2호
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.

• International Journal of Advanced Culture Technology
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• 제11권1호
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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.