• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.687-702
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• 2010

The purpose of this study is to study the inner meaning and formative with distorted and atypical Informel image, body image expressed in modern fashion. Method of the study is as follow. The study method examined philosophy of art 19th century?in order to consider interconnections between social and cultural characteristics of expressionistic abstract art, a form of Informel and changed physical style. Based on this method, the Informel image that appeared in the plastic arts in terms of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Informel images were expressed in any formative characteristics were considered. The results of this study are as follows. Contingencies through the spontaneous act of art to transcend the image of atypical lines formed elements of coincidence, was developed. Liberation was expressed from liberation of physical boundaries and created outward expansion of the free formative. Atypical was organic forms pursuing spontaneous plasticity and diversity, and appeared in the form of distortion and deformation.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.79-96
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• 2012

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo's design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo's fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo's design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1374-1385
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• 2009

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.141-157
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• 2004

The purpose of this study is to clarify the style of romanticism in fashion. Romanticism is advocating the conception called the respect of diversity and individuality in the modern society dominated by postmodernism trying to accept the various values.. In this study, the characteristics of romanticism are examined through the bibliographies on philosophy, aesthetics, architecture and art. In fashion. 19C is based on the costume history books and pictures. The characteristics of romanticism in literature and art which are applied to fashion are sensuality, ornament, exoticism and complexity. On the basis of these characteristics, the 19C fashion of romanticism are analyzed as follows. ㆍ Sensuality to emphasize sexual region of woman's body and to make ‘X’ silhouette is through exaggeration and exposure. This is the characteristic to relieve femininity. ㆍ Ornamentation is expressed in the gorgeous color and the varied material. details and trimming to add the fantastic mood, and the accessory to express the aristocratic elegance. This is a very important characteristic that produces the fantastic and romantic mood. ㆍExoticism to express aspiration for East is expressed either in items or accessories imported from the East. or in exotic material and pattern. This is the characteristic of fashion to express the desire to escape from the reality in the mysterious mood. ㆍMingler is expressed, contrasting or harmonizing the various patterns, color, material in a fashion by the textile with the rich color and print of the various feeling and many trimming. This is the external characteristic of the romanticism fashion combined the experimental mind of the technical progress with the romantic trend in those days. These characteristics of romanticism fashion in the 19th century presented with the various phenomena by working complexly rather than independently.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1429-1441
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• 2010

This study examines the post-national trends of the $21^{st}$ century fashion that has embraced multiculturalism. This study conducted a literature view to explore the concept of multiculturalism and the background of post-national phenomena appearing in contemporary fashion. In addition, as a case study, the author used local and foreign fashion magazines and collections published between 2000 and 2009, in addition to other related materials available on the Internet. The objective was to analyze photographic materials in which post-national features are reflected. From this study, the post-national trends in $21^{st}$ century fashion that adopted multiculturalism are as follows: The first is that oriental culture is more actively embraced. In the past, the tendency of embracing the oriental culture was mainly developed with a focus on China and Japan, but recently the tendency has spread to Southeast Asian countries and national/ethnic minorities that include Mongolians and Tibetans that is present in more active ways that reflect oriental sentiment and philosophy as well as adopts simple images. Second, $21^{st}$ century fashion based on multiculturalism broadens the interest in the understanding of nations in the regions of Africa, Middle East, and South America and uses regional folk costumes or indigenous characteristics to create new things instead of staying within a fixed paradigm. Third, as horizontal transfer is involved in ways of looking at culture, $21^{st}$ century fashion shows a post-national tendency to use regional cultures and folk costumes of the occidental world that includes North and West Europe in addition to non-mainstream regions (as considered so far). Fourth, dress elements of many heterogeneous national cultures are combined to create multinational images difficult to define in terms of a specific national culture or clothing style.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.157-175
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• 2006

The purposes of this study are to establish a theoretical concept of nudism from sociocultural context, to examine its formative characteristics, to analyze the cultural meaning of nudism style showing in the 2000's fashion world, and to analyze and examine its aesthetic qualities. The way of a study was based on analysis and review on philosophy, aesthetics, sociology, popular culture and various documents at home and abroad and previous study and research materials about art and clothes for theoretical study. Also, we carried out a case study by analyzing photo data from fashion books, magazines and internet websites, considering the body and dress as visual objects. The summary and conclusions of this study are as follows: 1. Nudism of the sociocultural context was divided into change of understanding of the body and liberation of the body; naturalism; resistant culture; psychoanalysis context. 2. The formative characteristics of nudism style in fashion are classified in Exposure, Transparency and Body Conscious. 3. The cultural meaning of nudism style expressed in the 2000's fashion are sexual opening, surfeit of mass media, pursuit of naturalism, lookism, and individualism. 4. Nudism style expressed in 2000's fashion is drawn as three aesthetic qualities: Eroticism, Primitivism and Futurism. First, Eroticism of nudism style fashion which seeks for sexual stimulus is classified in Sensualism, Provocation and Innocence. Second, Primitivism of nudism style fashion which tends towards naturalism objecting to mechanic and digital civilization and hoping for return to the origin is classified in Primitivism, Naturalism and Sensualism as per aesthetics qualities. Futurism which is the nudism style presenting futuristic expression through using a new material is analyzed as High Technology, Cyber Sexism and functional Future.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.203-213
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• 2007

This study is on the esthetic characteristics of Christian Lacroix's haute couture works. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in fashion journal at home and abroad. The result of this study were finds three esthetic characteristics in his works and fashion philosophy; historic, ethnic, and hybrid sense. First, the historic sense, Christian Lacroix's biggest characteristic, is influenced by his major studies, but is not a revival from the past itself but a new characteristic based on borrowing and reinterpreting the images created by introducing and compromising the historic elements. Second, the ethnic sense is influenced by the growing background in his childhood and can be characterized as compromise among the multi-national design features. It is certified by the contrasting images, styles, expressions, materials, ornament elements, and so forth with the worldwide ethnic senses centered by the southern France and Spain. Third, the hybrid sense as the essential characteristic shows the uniqueness in his design by not only combining the modern materials, technologies, and futuristic emotion but also liberally compromising and associating the emotions based on a mixture among the follows; the historic representative styles, the foreign materials, the diversity between the Eastern and Western culture, and all elements, details, trimmings In the fashion design.