• Journal of Fashion Business
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• v.18 no.3
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• pp.148-166
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• 2014

The purpose of this study is to establish the basic materials necessary for red carpet fashion design by examining the formativeness and fashion images of red carpet dresses at film festivals in the Great China Region. For the purpose of this study, research methods include a literature review on the origin and significance of red carpet dresses, the characteristics of film festivals in the Great China Region and their red carpet dresses as well as an analysis of the formative features and images of 615 red carpet dresses collected from each film festival official homepage, diverse media articles, and online search sites (www.google.com, www.hao123.com). The research finding can be summarized as follows: First, the formative features of red carpet dress designs were analyzed herein. It was found that the most frequently appearing type of silhouette was straight followed by hourglass and bulk in order. More specifically these included fit and flare, mermaid, trapeze, and slim in order. For the neckline styles, strapless was the most frequently seen followed by camisole, jewel, and one shoulder. Solid colors were more often seen than multiple colors. Bk, W, R, and YR were the most frequent main solid colors in order. Solid materials were frequent as well, such as soft and shiny materials. Non-patterned and unadorned styles were most frequent as for pattern types and details and trimmings. Second, the fashion images of red carpet dresses in the Great China Region were analyzed. The most frequent images were elegant, feminine, ethnic, modern, classic, avant-garde, others, mannish and sportive, in order.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.61-76
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• 2024

The purpose of this study is the development of an experimental design that aims to implement three-dimensional fashion design by observing the human body, extracting and combining geometric shapes and forms, and focusing on attempts to decompose the geometry of the human body in art history. Considering the characteristics of fashion design, which inevitably reflect human images visually, this study considered works by deriving geometric shapes and forms of the human body and focusing on decomposition and combination to apply them to fashion design. The results obtained through the development of fashion design through decomposition and combination based on geometric human body analysis are as follows. First, geometric analysis of the human body as an object of expression continues from the history of Cubism to modern fashion design. Second, the geometric shapes of the human body that appear in contemporary fashion design maximize visual effects through three-dimensional composition, emphasizing simplicity while showing originality through various expressions. Third, when exploring the geometric shapes of a moving human body, it was possible to extract a wide variety of shapes and forms through drawing and simplifying the human body's movements. Fourth, the formative method of fashion design was introduced and used for the aesthetic combination of objects for fashion design through decomposition and combination. This study was able to show unique and diverse combinations of visually concise and ordered geometric shapes in the expression of fashion design by decomposing and combining them. The significance of these geometric forms is that they can diversify formative informativeness in the expression of fashion design with modern compositional beauty.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.141-153
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• 2010

Fashion needs to be understood as practicality and creative behavior and various movements of paintings act as inspirations of original design for fashion designers. This study seeks to find sources of fashion designs in the works of Mark Rothko who is in the center of color-field abstract. Color-field of Rothko provides infinite inspirations as colors are identically treated as shapes and lighting and textures are all included on top of it. In this study, the purpose is to create color focused artistic fashion design by exploring the possibility of expression with the colors of Rothko as the main motive. The study method is as follows. First, the concept and significance of color-field abstract are researched through documented data. Works of Rothko is divided into three periods according to their characteristics. The background of the formation of color-field abstract of Rothko is understood by analyzing the trends of the works in each period. Second, twenty representative works from 1949 to 1969 are selected and analyzed in formative components of color, shape and textures in order to more accurately understand shape of colors, brilliance, simplicity that appear in the mature color-field abstract of Rothko. Third, preexisting methods of color-field of paintings developed into motives of clothing are studied focusing on the collections from 1997 to 2006. Examples of applications of color-field images in modern fashion designs are analyzed. Fourth, motives are selected based on general characteristics of color-field abstract of Rothko and the results of the formative analysis. Clothing is produced that expresses the colors of the paintings of Rothko more effectively. As the results of the study, restrained shapes and textures and various forms of color combinations shown in color-field abstract of Rothko provided deep inspirations on material composition and color planning for fashion design focused on colors. Additionally, needle-punching technique using wool for the production technique enabled relief texture expressions of materials by colors and effective applications of soft and warm atmosphere of color-field abstract of Rothko on clothing. Especially, the ideology of color-field abstract of Rothko of shaping of colors could be expressed and the direction of the development of motives could be presented at the same time by specifically applying color combination method using horizontal division of atypical color-field from the formative characteristics of color-field abstract of Rothko.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• Journal of Korea Multimedia Society
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• v.19 no.2
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• pp.487-494
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• 2016

This study aimed to visualize a pig character targeting the golden pig in Geuknakjeon of Bulguksa Temple. As for a pig, it is included in this list of the 12 Chinese zodiac animals and controls Haeshinjang. Today, the characters market is enjoying rapid growth due to diversification of platforms. However, we do not see many characters made out of Korean traditional cultures and customs. This study first looks into significance of pigs that are often observed in Korean traditional culture and then offers possibilities of their being transformed into contemporary characters. In order to achieve the research goals, the study shed new light on the golden pig in Bulguksa Temple. As making contemporary applications to , the study proceeded with work of visualization. As for a face of a character, the study focused on that of the pig but regarding a body, the study applied a man's body. After all, the study came up with this SD character in a second-proportioned figure. This study discuses formative characteristics of existing Buddhist cultural assets and uses the character for improving understanding on Korean traditional culture. In the future, the study will propose ideas on animation contents development targeting infants and children.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.61-77
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• 2013

The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

• Journal of the Korean Society of Costume
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• v.47
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• International Journal of Costume and Fashion
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• v.8 no.1
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• pp.18-35
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• 2008

As an essential factor of plasticity in fashion, color reflects socio-cultural trends and has possessed different symbolism in its historical development. This study aims to search for an academic approach towards finding out how the concepts and symbolism of the color white were expressed in actual clothing. This will be realized through the investigation of the various meanings this particular color possesses. The secondary purpose of this study is to give shape to the results of above said academic investigation by proposing their integration into actual fashion design. The methodology employed in this study and results are as follows. First, the symbolism of the color white abstracted from the research of literature on this subject was classified into six categories; purity, grace, abstinence, sublimity, decorativeness, and avant-garde. Second, for empirical research, six designs were developed and produced into white dresses. The development of these dress designs was realized by presenting the symbolism of the aforementioned six categories into images, and the formative constructions of these images by applying various design details, expressive techniques, and characteristics of the materials. Through an investigation into the color white, which has been excluded from previous chromatics research as a major color, integration of the symbolism and chromatic image of this color into the actual fashion design process is made possible. The significance of this study is in that it proposes multifarious possibilities in fashion design, and also in extending the horizon of chromatics research in fashion through the realization of the above process.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.805-819
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• 2011

In contemporary society, heterotopia is the law dominates thoughts and is the concept reconstituted spaces calls order in chaos. And that is the place which refuses the paradoxical and social custom and sometimes poses a danger and rise in rebel. The purpose of this study is to study how forms of clothing fluid form images are expressed in modern fashion develop body around in the spatial relationship between the body and its environment. The study method consider changed characterastics of fluid space through the heterotopia thinking system of Foucault Michel. Based on this method, the heterotopia space that appeared in the plastic arts in aspects of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Fluid Form were expressed in any formative characteristics were considered. The results of this study are as follows. Fluidity is the transformed interaction. It expanded external representation of organic body structure and reconstructed flexible forms of dynamic structures continuously. Transformation is the new space structure. It constructed invisible transformation and developed convertible dress space by combining a variety of functional overlap and fold. Deconstruction was expressed structural forms, expanding the existing forms in the open structure which have ambiguous boundaries.