• 디자인학연구
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• 제18권4호
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• pp.225-236
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• 2005

경기침체 및 정치 사회적인 불안심리를 익살맞은 아이템을 통해서 해소시켜보려는 신선한 시도로 재미(fun)가 디자인 분야에서 키워드로 떠오르고 있다. 본 연구는 현대 패션디자인에 반영되어 나타나는 재미의 다양한 활용을 주제별로 유형화하고 그 표현방법을 조형적으로 분석하여 패션디자인에 있어서 재미의 개념구조에 대한 본질을 규명하고자 하였다. 2001년 S/S부터 2005년 F/W컬렉션에서 발표된 디자인 중 유머를 표현하고 있다고 판단되는 디자인 412점을 연구자료로 산정한 후, 범주화하여 분석하였다. 연구 결과 패션디자인에서의 재미의 주제에 따른 유형은 해학, 키덜트, 아이러니, 풍자와 패러디, 스토리텔링, 놀이로 분류될 수 있었으며, 디자인의 조형적 특성은 화려한 색채, 실루엣, 문자, 오브제, 드로잉의 요소와 변형/과장, 부조화, 반복의 원리를 활용하고 있음을 알 수 있었다 또한 이러한 표현들은 전통적인 유머 이론인 부조화이론, 우월성 이론, 각성 이론과 상통하며, 긍정, 따스함, 엔터테인먼트, 젊음, 모순, 의외, 일탈, 암시, 공격, 설명, 그리고 주체에 있어서는 수동적 수용뿐만 아니라 놀이와 같이 능동적 체험을 제공하는 가치를 갖는다.

• 복식
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• 제65권1호
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• pp.89-103
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• 2015

The purpose of this study is to design fashion-cultural products by reviewing the symbolism in Changseung and Sotdae, which are folk belief sculptures. This study was performed by literature reviews of Changseung and Sotdae in order to look into the characteristics of folk belief and traditional culture, and the designs were developed from the symbolism extracted from Changseung and Sotdae with photoshop CS5 and illustrator CS5. The Symbolism of Changseung and Sotdae were as follows: First, Changseung and Sotdae express the 'symbiotic world view' that human beings need to devote one's life to nature. Second, original materials were saved in order to achieve the 'pursuit of essence'. Third, 'simple esthetic expression' was symbolized through the undivided condition between art, religion and life. And fourth, 'empathic humor' was seen through the basis of emotional sense of affinity. The first concept of design development was 'Pursuit of Essence', which was inspired by the characteristics of 'symbiotic world view' and 'pursuit of essence'. Changseungs were expressed as simple and abstract, and Sotdaes as simplified and modern by symmetrical and rotating copy. The second concept, 'Touch of Humor' was inspired by 'simple esthetic expression' and 'emphatic humor'. The face of Changseungs was exaggerated in a humorous ways and Sotdae was developed as sub-motives. The items for the fashion-cultural design were T-shirts, bags, and scarves. Total of 24 items were developed with 4 differently styled designs for each concept. This study was based on basic culture and attempted to diversify the traditional culture items. It hopes to raise the value of traditional culture, and furthermore help build up national competitiveness.

• 디자인학연구
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• 제16권3호
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• pp.221-230
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• 2003

제품디자인에서 Fun이라는 주제를 표현하기 위해 많은 디자이너들이 심리학적 측면에서의 접근방법을 사용하고 있다. 그렇다면 심리학에서 이야기 하는 Fun발생 메커니즘은 제품디자인에 접목하기에 많은 보완이 필요하다고 본다. 현재 심리학에서는 Fun이라는 감성을 유발시키기 위한 메커니즘으로 어떤 상황을 직면하였을 때 심적 정체를 겪은 후, 어떠한 실마리에 의한 정체의 해소를 겪게 될 때 Fun을 느끼게 된다고 이야기 한다. 심리학적 측면에서 Fun을 발생시키는 메커니즘의 도출은 그 접근 방식 자체에서 인지적인 측면의 Fun만을 이야기 하는 경향이 있다. 이러한 성향은 조형을 가지고 있는 제품디자인을 이야기 할 경우, 제품에서 중요한 역할을 가지는 지각적인 측면의 재미를 충분히 설명하기에는 역부족인면이 있다. 본 연구에서는 심리학에서 다루어지는 인지적 재미요인 이외에 지각적인 측면의 Fun을 제품디자인에서 같이 논의하는 것이 좀더 타당한 접근방법이라는 가설을 세웠다. 이를 위해 지각적 측면의 Fun을 이해하기 위해 키치라는 문화현상 중에 키치제품의 유희성이라는 측면을 도입하기로 한다. 키치제품의 유머러스한 형태를 도출하는 방법을 이야기 하고 있으며 이러한 방법들이 지각적인 측면에서도 같이 적용될 수 있는 것이다. 이러한 가설을 통하여, 내면의 기능적 특성인 인지적 요소와 표면적 고유특성인 지각적인 요소가 모두 거론되어야 실질적인 방법으로 사용될 수 있으리라 생각된다.

• 패션비즈니스
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• 제7권1호
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• pp.84-100
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• 2003

The purpose of this study is to analyze the meanings of signs represented in contemporary fashion based on the Peirce's trisection theory in order to present various types of sign representation that satisfies aesthetic value and characteristics of the age of information and image. Types of signs represented in contemporary fashion can be summarized into letters, numbers, codes, pictures, logos, characters and emblems. The meanings of signs were analyzed based on the Peirce's trisection theory, resulting in representation of play, brandsymbol, eroticism and suggestion. The play was categorized into infantile and parodic. The former inspires unexpected interest and laughter from contemporary people in the age of disorder through humorous characters, cartoons and illustrations. The latter inspires laughter by parodying things and it's intention is to release the isolation of people and their relative poverty through pictures for which techniques of parody and surrealism were used. Most of the brandsymbols represented by logos, used for textile and clothing design as well as accessories are optimal signs that construct brand images. Eroticism means emotion, impulses, senses of value and sexual attraction. A desire to represent sexual attraction is an expression of eroticism and self-expression to adjust in a changing society. Suggestion tends to pursue the image of harmony with nature in a world which is pressed by material civilization. Humans represent illuminating messages through direct slogans by characters, natural objects and motives of social phenomenon in pursuit of the benefits of abundant material civilization in the structure of a highly advanced scientific civilization and industrial society.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• 복식
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• 제62권2호
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• 한국콘텐츠학회논문지
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• 제17권10호
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• pp.636-646
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• 2017

본 논문은 전통적인 도예기법을 응용하여 새로운 기법을 창안하는데 목적을 둔다. 말하자면 가장 핵심적인 새로운 방법은 체바퀴 타래기법의 토레미판위에 여러 형태의 문양을 압인한 덧살(weld 새롭게 창안한 용어)을 이용하여 물레 위에 소지(역자 주--흙)로 만든 원통에 붙여서 최초로 전기물레의 빠른 회전에 의해 안에서 밖으로 밀어내어 기존 기벽 문양의 자유로운 해체와 왜곡된 문양을 표현하여 미적 아름다움을 극대화하는 컨셉이다. 이러한 미학소스의 주요 관점은 도자기 표면의 대부분 구형태의 곡면인데 마치 지구본에 그려진 지표처럼 왜곡되어 보이는 현상이 일어나는데, 늘려 찌그러진 형태와 왜곡된 문양의 자유로운 표현 해체를 통해 다이나믹하고 역동적이면서 해학적인 표현 기법을 창안하게 되었는데 이 기법을 수레질 압인 덧살 기벽 물레 늘림 기법(bating sealing weld outer wall extension technique)이라고 정하였다.

• 복식문화연구
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• 제10권3호
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• 복식문화연구
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• 제12권3호
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• 복식
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• 제66권4호
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.