• 대한가정학회지
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• 제11권3호
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• 복식
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• 제54권7호
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• pp.41-54
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• 2004

This study purposed to apply function form content, the three concepts that have been discussed by many philosophers since ancient times, to fashion design. Specific research goals are : first, to define fashion design based on the three concepts : and second, to examine how each of the three concepts function-oriented, form-oriented and content-oriented design have been expressed in women's fashion in the $20^{th} century. For these purposes. the author considered Morris' semiotics, which is the theoretical background of the three concepts, reviewed previous researches in design area, and applied the findings to fashion design. According to the result of applying the threefold structure of semiotics. which is the theoretical background of the three concepts, the pragmatic dimension of fashion design comprehends all functional rules related to the use of dress such as body motion and protection, health and safety. air flow and durability, and its syntactic dimension comprehend all the formal elements of visual design such as the structure, shape, line, color and material of dress. The semantic dimension of fashion design includes the symbolic meanings of dress expressed by emotion, sentiment and images. The three dimensions exist interdependently with one another. According to the result of considering the characteristics of the three concepts in the scope of women's fashion in the $20^{th} century. function-oriented design is characterized by practicality and simplicity, and has been expressed as the fashion of functionalism in the 1920s, that of minimalism in the 1960s, and the basic style from 1970s to 1980s, 1990s and the present. Form-oriented design has pursued aestheticism, putting stress upon form, and has been expressed with organic shapes imitating patterns found in nature in the 1950s and with optical art fashion in the 1960s. Content-oriented design attaches importance to transmission of delicate meanings related to the mental world of human beings, and is represented with symbolic forms. Such a characteristic has been expressed in fashion in the early 20th century influenced by surrealism and, with various types of design breaking established forms as well as metaphors and humors that characterize design in the late 20th century.

• 복식
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• 제23권
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• pp.197-209
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• 1994

The purpose of this study is to present a way to analyze and review the subjective view of the aesthetic for dress based on the framework of the aesthetic categories suggested by aesthetics. In order to define objectivism and subjectivism of the aesthetic of dress, theoretical studies on the aesthetic categories of dress were precded. And empirical studies on the aethetic categories of dress for selected period, the Renaissance (16th century) and the Baroque(17 th century). The results were follows : The objectivism of the aesthetic is the point of that an object causes human to feel and judge aesthetically, that is that of dress means judge aesthetically, that is that of dress means formal characteristic of dress and pervasive ideology expressed in dress. the subjectivism of the aesthetic is the point that the aesthetic is ruted in human, that is that of dress has been studied in relation to the image, the aesthetic consciousness m, or the aesthetic categories of dress. Especially, the aesthetic category is one of the universal and valid methods for the analysis of subjectivism of the aesthetic for dress. This study includes beauty, grace, elegance , the sublime, the tragic , the comic, aptness, ugliness as aesthetic categories of dress . Beauty is perfection and rule. Grace pleases human by sense. Elegance comes from the harmony of sense and spirit. the sublime comes into existence that human feels pleasure as well as displeasure simultaneously when human is overehelmed by objects. The tragic is the sense of the present of something valuable even if there is suffering. The comic is the sense of the presence of something amusing even if there is displeasure caused by contradiction. Apteness means utility in terms of the objectivism and , formality in terms of the subejctivism. Ugliness is opposite to beauty. As the result of emperical studies, the aesthetic categories of the Renaissance dress showed harmonious, balanced, and symmetrical beauty, and the magnificent, and enlarged sublime. In addition to these , grace and elegance were also found to some extent. Aesthetic categories of the Baroque dress show feminie, soft, cheerful, and fantastic grace, asymmetric , disarmonious, and extraordinary uglinesss, and the magnificient , grave, and dignified sublime.

• 복식
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• 제65권4호
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• pp.76-90
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• 2015

Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of ${\ddot{U}}bermensch$. The ${\ddot{U}}bermensch$ image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic ${\ddot{U}}bermensch$ image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.

• 패션비즈니스
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• 제1권2호
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• pp.1-19
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• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.

• 한국의류산업학회지
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• 제18권2호
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• pp.149-157
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• 2016

Research on changes of Chinese women's fashion styles was conducted through analysis of fashion images and articles in Chinese fashion magazines since 1980s. Through the fashion magazine research centered on Shanghai, the most developed commercial city having a great influence on the entire fashion industry in China, it examined Chinese fashion styles by period so identified a developmental process of Chinese fashion styles. Based on general understanding of Chinese fashion magazine industry, case study was conducted on "Shanghai Style(上海服飾)". After analyzing 1100 fashion images by period derived from 245 volumes from 1985 to 2013, this study compared fashion styles in 4 periods and analyzed the developments of Chinese fashion styles. Findings from the case analysis based on the classification of fashion styles are as follows. In the early editions, images to give a visual stimulus and express styles more intuitively were frequently used with reported articles. As for the general change of the style in "Shanghai Style(上海服飾)", expression was done centered on casual wear with gradual disappearance of formal wear. There was a tendency entire atmosphere of the style became romantic. Through a comparative analysis between Chinese fashion styles having such developmental characteristic and the global fashion trends, this study identified special characteristics of Chinese fashion style changes. As for common characteristics, firstly, both have a tendency to change into the coexistence of various styles rather than popularity of certain style. Secondly, style was expressed gradually centered on casual wear.

• 한국의류학회지
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• 제14권2호
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• pp.85-97
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• 1990

This study investigates, through the Ka-rae-ban-cha-do(가예반차도) in the Ka-rae-do-gam­eui-gue (가예도감의궤), how the system of costume used in ceremony exchanged during the middle, late the Yi dynasty and in the period of introducing Wastern civilization. The procedure of the royal marriage is also studied here. The procedures of Ka-rae were divided into the six traditional etiguettes(륙예) : Nap-che (납채) , Nap-gyng(납징), Go-gi(고기), Chaik-bi(책비), Chin-young(친영), and Dong-roe(동뢰). The change of the general structure and characteristic of the costume used in the ceremony in Ka-rae-ban-cha-do are as follows: The costume in Ka-rae-ban-cha-do can be divided into the Guard costume (호위복식) and the Ceremonial arms costume (의장복식). The most formal attire of the Guard costume, Yangkwan-Chobok (양관-조복) and Samo -Danryeong(사모-단령) with Huygpai(흉배) can be seem only in the Ka-rae of late king's. Of the Ceremonial arms costume, the most outstanding was Hongkun- Hongeui (홍건-홍의), which showed up in almost all Ka-rae-ban-cha-do. Heukkun-Changos$\cdot$Deogrei (흑건-창옷$\cdot$더그레) were worn as well. In the style of costume emphasis convenience and practicality rather than on beauty, because they had to carry the arms used in ceremony with them nevertheless by using primary colors it was very colorful. This costume in Ka-rae-ban-cha-do has little difference, but great changes are shown in Sunjongsunjongbi Ka-rae-ban-cha-do (순종순종비가례반차도). Most costume of the past was replaced with western hat and suit, so the duplicate state of our costume and western costume came into existence during the period of introducing western civilization.

• 디지털융복합연구
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• 제16권1호
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• pp.35-45
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• 2018

본 연구는 유아들이 유치원이라는 공간을 실존적으로 경험함으로써 형성되는 장소성의 의미를 유아들의 놀이를 중심으로 탐구하고 있다. 이를 위해 유아들이 경험하게 되는 유치원의 모든 공간을 연구관찰 대상범위로 선택하였다. 연구를 수행하기 위해 유아 관찰과 비형식 면담 교사 심층면담을 통해 유아들의 자유선택활동 시간과 바깥놀이를 중심으로 동영상 촬영이 이루어 졌다. 연구결과 유아와 교사가 경험하는 실존적 공간으로서 유치원의 장소성은 경험과 관계속에서 형성되는 공간으로서의 장소성, 놀이의 공동생산 공간으로서의 장소성, 교육과 생활이 공존하는 공간으로서의 장소성, 유아들의 경험한 유치원에 의해 만들어진 특별한 공간, 소통에 의해 공유된 공간으로서의 장소성을 나타내는 것을 알 수 있었다. 유치원의 장소성은 유아들의 실존적인 경험과 관계를 맺고 있었으며 교사들은 공간에 대한 재해석이 필요함을 시사한다.

• 한국농공학회지
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• 제38권6호
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• pp.51-63
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• 1996

This study is about the problems found in the process of the current governments planning rural settlement area development. As a measure to solve them, It proposed the analysis method of village characteristic in terms of standard score and tried to use this method as a basic material in planning more effective rural settlement area development. On the basis of the above analysis, which is an objective basic material to solve the problems revealed in the process of the bottom-up development planning by the residents' demands, It shows the following conclusion about what method should be applied to each part according to a village's characteristics and its development level. 1. Accessibility can be a basic material for setting the local area, analyzing its settlement system, and them such development facilities as village-linking roads, rural road, or various kinds of bridges and determining the investment priority. 2. With the index of the industrial basis, we can see what village has plenty of social, economical resources including advanced industrial facilities and looking into the advance level of the industrial basis, we can get some information about determining the local area development direction such as estashing the plan to build a farm product gathering center, a collective work place, storage facilities, and special housing development. 3. Since the issue about living environment is raising it's head, compared to weakened agricultural competitive power, with the analysis of this living environment, we can get an objective basic material for solving problems caused by the local egoism and the effective investment strategy of the limited resources. Therefore, It is necessary that we should abstain from expert-centered planning and formal public opinion-collecting and on the basis of this analytic result, we should plan development. We need to continue our research about index selecting and differentiation, weight etc. and using these analysis methods, we should make up a systematic development plan by analyzing village characteristics and setting the development direction.

• 한국지능시스템학회논문지
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• 제16권6호
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• pp.721-729
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• 2006

컴퓨터를 활용한 지식과 정보 처리를 위해 온톨로지를 구축하고 활용하기 위한 연구가 이루어지고 있다. 그러나 현재까지의 온톨로지 개발 방법 및 온톨로지 구축 도구는 온톨로지 개발 목적에 따라 제한적인 부분에서 연구되어 사용되고 있다. 그러므로 개발하려는 온톨로지 특성에 따른 적절한 온톨로지 구축 프로세스와 도구가 필요하다. 본 논문에서는 특정 분야의 비전문가가 언어 자원으로부터 지식을 개념화하고, 개념을 형식화하여 온톨로지를 구축할 수 있는 온톨로지 구축 프로세스(OntoProcess)를 제안한다. 그리고 다수의 온톨로지 구축자가 동시에 온톨로지 구축 작업을 행할 경우 i)지식의 개념화 과정에서 동일한 개념을 중복 정의하거나 ii)개념의 형식화 과정에서 형식언어와 포구사용법의 이해 부족으로 인해 온톨로지 구축 능률이 저하되는 문제가 발생할 수 있다. 이런 문제를 해결하기 위해 메타 온톨로지를 이용한 다중 온톨로지 구축 프로세스(OntoProcess)를 제안한다. 제안한 프로세스에 기반한 온톨로지 구축 시스템 (OntoProcess)을 개발하고, 실제 온톨로지 구축 실험을 통하여 제안한 프로세스와 시스템의 효율성을 확인한다. 그리고 온톨로지 구축 과정에서 발견된 문제점 및 이에 대한 해결 방안을 제시한다.