• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.79-89
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• 2002

We can see various cultural elements appeared in modern fashion, of which Korean traditional cultural elements are being reinterpreted in many different ways. This study is to analyse on the basis of togetherness concept Korean traditional elements, which have been considered difficult to interpret by postmodernism and find the ways how to carry on our traditional culture practically in order to prepare the foundation for globalization of our tradition. Togetherness means 'with' or 'simultaneously', which also conveys the meaning of common cause and result, addition and annex, opposition and juxtaposition, or accumulation and integration. Characteristics of the togetherness appeared in Korean fashion are as follows. First of all, it shows the aspect of mixing and integration of different cultural fashion elements around the globe, which have been made possible in the course of globalization and development of information technology. The second characteristic is crossing and synchronization, which means that many different individual fashion elements in terms of time and space are being crossed over and integrated these days. Thirdly, continuation meaning 'without cease' and 'keep going' shows that togetherness is to create a whole new fashion trend by mixing postmodern revivalism and past clothing elements. Togetherness makes it possible for us to find reasons why tradition aspects are expressed so vividly in the modern clothing, gives us a standard to classify the reasons, establishes an identity and offers theoretical background for globalization of traditional clothing in the course of modernization of our tradition.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.122-125
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• 1999

The purpose of this study is to dlassify into types of traditionality reflected in modern Korean houses in 1990's designed by architec Modern houses were divided into five types through qualitative analysis. Analysis is categorized into three parts, space-pl structural elements ornamental elements. Characteristics of each type were defined as 'Indicative expression of the traditionalit', 'Decorative expression of the traditionality', 'Eclectic expression of the traditionality', 'Contemporary expression of the traditionalit', 'Abstract expression of the traditionality'. The results showed that 'Contemporary or Abstract expression of traditionality(type IV and V) were major types of modern Korean houses expressed traditionality. This reveals that in order to apply traditionality to the modern houses, simplifed and sbstracted for were preferred comparing with the direct imitation of traditional forms.

• Journal of the Korean Society of Costume
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• v.42
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• pp.187-205
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• 1999

The purpose of this study is to research into a meaning of Mexican Mural and to clarify on the internal significance of Muralism in the modern fashion. Nuralism is an example of the brith of the great people's art. The mural Fine art in mexico was the peculiar fine art campaign which observed the social function. And the mural of Mexican that the ideology and fine art combined came to occupy the unprecedented important position as a part of popular education which is the product of Mexico revolution. Thus in this study considered that the background of Mexican Mural in 1930's resembled the social and cultural background of the latter half of 20th century. The internal significance of Muralism expressed in the modern fashion was categorized as attaching importance to human the pursuit of the utopia the tendency to nationalism Satriric and moral painting. First Attaching importance to human in the modern fashion expressed the recovery of humanity by meaning in opposition to moral crisis of the human in the pluralistic society. Second The pursuit of the utopia in terms of interest the ideal way in the modern fashion expressed mysterious or hopeful through using religious colors motivies etc. Third The tendency to nationalism in the modern fashion expressed the painting of the masses in forms of mixing aboriginal culture elements and memorial elements. Fourth Satiric and moral painting in the modern fashion expressed wits or humorous style through using geometrical motives and light colors etc, indirectly expressed distress of modern men.

• Archives of design research
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• v.12 no.2
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• pp.53-62
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• 1999

The modern is image age, and The visually expressed symbols have much influence on individuals or enterprises and have an effect on the variety of individual and the innovation of management. Espacially, the symbols carry on the axis composing total image. According to the reason of positive & negative five elements, this paper analysised and studied the meaning of symbol design which analysis the thoughtful, abstract and formal meaning. This is the most fundmental elements and principals and means the good symbol composed harmoniously the positive & negative five elements give good image. Namely, the symbols of the Eum & Yan which applied the philosophical reason of the Orient thought became good image. The lively elements of design composed the reason of Eum & Yang have effect on auspicious and upgrade one step to the dimension of symbol design. The purpose of this paper analysises and understands the meaning of symbol was composed the positive & negative five elements. In the point of view of modern design. the overlOOking elements of the symbol(line, form, space etc) reminded and established the new model which the new idea approached by the thought of the positive & negative five elements.

• 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.7 no.5
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• pp.45-53
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• 2003

Rei Kawakubo is known for her provocative aesthetics: she often deliberately seeks beauty in what is seen by convention as taboo. With her highly informed and invariably provocative aesthetic, Rei Kawakubo has advanced historical forms of dress using radical functional and structural transpositions. She is considered as a pioneer showing firmly important elements of modern fashion design in her works by fashion journalists. In this paper, I'd like to analysis features of modern fashion design through Rei Kawakubo's works. I will analysis important elements of Rei Kawakuvo's design and devote study of the connection between the feature of her design and the feature of modern fashion design.

• International Journal of Contents
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• v.16 no.4
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• pp.84-97
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• 2020

Since national image video advertisements are a means of public relations with wide delivery and major repercussions at home and abroad, this study performs a comparative analysis of video advertisements aired by previous governments as reported by Daejung Kim, Moohyun Roh, Myungbak Lee, and Geunhye Park. The characteristics of the previous governments, whether or not social trends were reflected, and the importance of traditional and modern elements were examined. As we describe, there are clear differences in video advertisements by government regime, and while messages expressing traditional values of Eastern culture have gradually decreased, reflecting the trends of the times, the messages emphasizing the modern values of the West have gradually increased. Our research confirmed that traditional elements such as 'Samulnori' and 'Taekwondo' are gradually disappearing. In addition, it was confirmed that the collective values, traditional values, and humanism represented by the 'large crowd' and 'traditional elements' in the Kim Dae-jung and Roh Moo-hyun administration changed in the Lee Myung-bak and Park Geun-hye administrations to more individualistic, materialistic, Western values. This study is meaningful in that it analyzed the components and characteristics of national image advertisements by governments in the past, how social trends were reflected, and the weight difference between traditional and modern elements. Based on this research, the significance of the current Moon Jae-in government's groundwork for follow-up research should not be understated.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.330-341
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• 2018

In recent years, a number of Chinese artists are interested in 'Chinese-style'. 'Chinese-style' can be understood as an art form in which Chinese elements are combined with modernized sensibilities. This paper analyzed how Chinese traditional elements can be effectively implemented in fashion photography, focusing on Chen Man, a leading fashion photographer in China. Our research shows that Chen Man looks to the traditions and history of China to inspire her modern work, which makes her unique as a Chinese fashion photographer. She tried not to repetitively express typical images of Chinese elements but to visualize the symbolic meaning of traditional elements as new images of modern China. Through this practice, she were able to effectively communicate the images of products and brands promoted in fashion photos. Furthermore, her works are being recognized by not only the fashion industry but also the international art elite as they contribute to building and promoting Chinese fashion identity. Research on Chen Man's work is significant in providing a new way for 'Chinese-style' fashion photographers to reinterpret Chinese traditional elements without following Chinese tradition.

• Journal of Families and Better Life
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• v.16 no.4
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• pp.167-182
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• 1998

The purpose of this study was to investigate actual condition of the modern adaptation of interior elements (wall floor ceiling door & window) in traditional house. The examined objects were 316 pictures of residential interior spaces from the 5 different monthly magazines between Jan. 1993 to Dec. 1997 The results of this study were as follows; 1. Mostly they were either parital adaptation from the original or partially transformed adaptation rather than entire adaptation of the original 2. Of the traditional interior elements adapted in residential space only specific elements were being adapted. For example. partial adaptation from the original were oiled paper flooring(Jangpan) rice papered wall (Hanji) a ceiling finish that left the rafters and beams exposed (Yondunt-chonjang) and window or door frame which is vertical lattices accented with horizontal lattices grouped into three sections(Ttisal-mun)And partially transformed adaptation were wood flooring(Chang-maru) rice apered wall(Hanji) Yondung-chonjang wind or door frame of Wan character(Wanja-mum) 3. In regard to space the mostly adapted spaces were bedrooms rather than living or dining rooms.