• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.1
• /
• pp.56-68
• /
• 2016

Popular culture has symbolic meaning and has been constructed through different mass media. Newspapers played a significant role in 1950s and 1960s public culture. In particular, editorial cartoons in newspapers expressed social aspects of the age implicitly through satire and criticism. This study examines delivered culture by reflecting the past social aspects and inquiring on clothing featured in the editorial cartoon "Gobau". As for a research method, literature research was conducted on clothing of the age with a review of "Gobau". As for a research range, examination was done based on the complete works of Gobau composed of 5 volumes published as a first edition by Hankookmunhwasa on November, 1973. Early "Gobau" cartoons from 1951-1963 were published in 5 volumes; therefore, research was conducted for the era from 1950s to the early 1960s. Clothing expressed in "Gobau" were reviewed, classified into formative characteristics and internal meaning. Internal meaning was examined by dividing into the expression of social aspects and criticism of society. The research findings are as follows. First, clothing in "Gobau" reflected characteristic in direct manner. There was a coexistence of Hanbok and western-styled, clear distinction between men's trousers and women's skirt. Besides, various kinds of women's western-styled dress appeared in the 1960s. Second, they showed the dress culture that reflected past social aspects. Many aspects were included to reconstruct old and worn clothes due to scarce resources after the Korean War, and cherishing clothes, buying fabric directly to making clothes, making clothes from dressmaking shop, and restrictions on imported goods and luxury items. Third, the study also examined the social norms for fashion. It contained negative perspectives on women wearing pants, short skirts, and new hair styles (like perms) from western culture as well as lipstick.

• The Journal of the Korea Contents Association
• /
• v.20 no.3
• /
• pp.190-199
• /
• 2020

Globally, more super-tall buildings tend to be constructed competitively in the social and economic foundations. In the circumstance, this study is aimed at establishing a paradigm of super-tall buildings in terms of their various forms. Symbolizing a city or state, super-tall buildings not only are used as resources of tourism, but play an important role as a characteristic landmark. Therefore, it is necessary to find a curved form for a futuristic perspective. The purpose of this study is to infer the convergence relativity of curved forms among complex and diverse unstructured construction forms. This study used as subjects 50 super-tall buildings among the ranking data selected Council on Tall Buildings and Urban Habitat (CTBUH) in order for the basis of constructability related to actual design, rather than the way of recognizing a formative type, in the classification of curved forms into regularized surfaces, developable surfaces, and double-curved surfaces. The results of this study are presented as follows. This classification can be used as a fundamental material which is reasonably involved in the design process pursuing diverse curved surfaces in terms of design of tall buildings.

• Journal of the Korean Society of Costume
• /
• v.54 no.8
• /
• pp.129-146
• /
• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Korean Institute of Interior Design Journal
• /
• v.23 no.1
• /
• pp.88-95
• /
• 2014

This study intended arousal of other viewpoints that deal with and understand spaces and shapes, by describing the concept of 'dimensions' into visual patterns. Above all, the core concept of spatial dimensions was defined as 'expandability'. Then, first, the 'golden ratio', 'Fibonacci sequence', and 'fractal theory' were defined as elements of each dimension by stage. Second, a 'unit cell' of one dimension as 'minimum unit particles' was set. Next, Fibonacci sequence was set as an extended concept into two dimensions. Expansion into three dimensions was applied to the concept of 'self-similarity repetition' of 'Fractal'. In 'fractal dimension', the concept of 'regularity of irregularity' was set as a core attribute. Plus, Platonic solids were applied as a background concept of the setting of the 'unit cell' from the viewpoint of 'minimum unit particles'. Third, while 'characteristic patterns' which are shown in the courses of 'expansion' of each dimension were embodied for the visual expression forms of dimensions, expansion forms of dimensions are based on the premise of volume, directional nature, and concept of axes. Expressed shapes of each dimension are shown into visually diverse patterns and unexpected formative aspects, along with the expression of relative blank spaces originated from dualism. On the basis of these results, the 'unit cell' that is set as a concept of theoretical factor can be defined as a minimum factor of a basic algorism caused by other purpose. In here, by applying diverse pattern types, the fact that meaning spaces, shapes, and dimensions can be extracted was suggested.

• Journal of the Korean Society of Costume
• /
• v.59 no.8
• /
• pp.82-96
• /
• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• The Research Journal of the Costume Culture
• /
• v.10 no.6
• /
• pp.763-780
• /
• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• Human Ecology Research
• /
• v.51 no.3
• /
• pp.285-291
• /
• 2013

Interest in traditional culture has been increasing due to globalization. We need to create fashion items using Korea folk culture like the Hanbok. In this paper, the design development of toddler's pajamas was attempted by using women's Sokgot pants, which were worn by women in Joseon Dynasty period. The study involved a review of literature and an investigation of past relics. Traditional women's Sokgot pants had a 'mu' or 'dang' in the crotch which is called 'the mit' now. The opening of the mit will be used for designing toddler's pajamas. Design suggestions for four styles of toddler's pajamas, which reflect the formative characteristic of women's Sokgot pants, have been created. Research outcomes are as follow: the characteristics of Ran-pants are applied to design 1 and design 2. There have pleats along the waistband of the toddler's pajamas, making the Mu more hidden. Pleats of the waist part are achieved by using an elastic, which also makes the pajamas easier to fit and to wear. The characteristics of Gaedanggo, of which the crotch is opened, are applied to design 3 and design 4. The opened crotch is applied so that toddlers can relieve themselves easily while they are wearing these pajamas. There is also an opening in the centerline of the front Mu in design 4 which gives additional functionality and comfort. This work shows that items of traditional folk dress can be used to make present fashion items.

• The Research Journal of the Costume Culture
• /
• v.29 no.2
• /
• pp.153-166
• /
• 2021

In this study, the artistic background and formative nature of representative 19th century realist artists Gustave Courbet and Honoré Daumier were analyzed and applied in a fashion context. By displaying representational desires (necessary adhesions of man and society) in their work, they became characteristic matrixes of critical realism and to perceive critical realism. The purpose of the study was to apply the characteristics of critical realism to the contemporary fashion collections of Alexander McQueen. Research was conducted to analyze the characteristics that appear in the field of fashion and to review methods of expression and internal aesthetics displayed through various aspects of fashion design. Characteristics of critical realism were analyzed by researching the formativeness and periodical background of the paintings of Courbet and Daumier. Based on these characteristics, analysis was conducted to identify critical realism in the fashion collections of Alexander McQueen. Data and scope included fashion information sites, internet photo data, and video material. Critical realist characteristics were categorized into five types as follows: 'The proper borrowing of extremely realistic subjects signifies', 'satirical reconstruction and narrative composition', 'antipathetic distortions and abject representations', 'critical reproductions based on technology', and 'the maximization of ambivalent sexuality'. It was concluded that the characteristics of critical realism (recognized by the common formation of Courbet and Daumier) also appeared in Alexander McQueen's fashion collection but were inherited in a form that transcended pictorial expression due to the overall difference in use of visual arts.

• Journal of Fashion Business
• /
• v.26 no.4
• /
• pp.32-51
• /
• 2022

This study analyzed the characteristics and expression techniques of men's fashion bags and their aesthetic and formative values in modern men's fashion from the perspective of neo-deconstructivism. The study subjects were men's fashion bags appearing in four collections in Paris, Milan, London, and New York in the 2019 S/S-2021 S/S season. As a research method, the characteristics and expression techniques of the new disintegration of men's fashion bags were analyzed and categorized through prior research and literature research. The results of the study are as follows: First, the neoclassical characteristics of men's fashion bags caused 'Re-creation' to appear as the dissolution of the design principle and structure of the bag, and it was derived as 'decomposition of form' and 'decomposition of dress method'. Second, the 'Inclusive Diversity' of modern men's fashion bags of neo-deconstructivism appears in the form of gender demarcation and dissonance coordination. Third, 'Playfulness' in men's fashion bags involves the pursuit of fun through unconventional changes in the shape, size, and design of the bag, and it sometimes provides a fresh, new play experience through unpredictable design elements. Fourth, the 'Pursuit of new values' in male's fashion bags was a characteristic wherein the boundary between DIY attire and daily clothes and high fashion by the individual selection of consumers was blurred. This work is meaningful in that it conducted a basic study of men's fashion bags by examining the modern men's fashion bag from the perspective of the philosophical trend of neo-deconstructivism and categorizing its characteristics.

• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.63-78
• /
• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.