• 복식
• /
• 제67권2호
• /
• pp.68-87
• /
• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• 대한정형외과스포츠의학회지
• /
• 제9권1호
• /
• pp.28-34
• /
• 2010

목적: 본 연구는 이중 다발 전방십자인대 재건술 후의 단기 임상결과와 이차적 관절경 소견을 알아보았다. 대상 및 방법: 이중 다발 전방십자인대 재건술 후에 최소 24개월 이상 추시가 가능하였던 49 예(환자)를 대상으로 하였다. 임상적 결과로 Lysholm 슬관절 점수, Tegner 활동 점수, 도수 및 기계적 전방 안정성 검사를 시행하였다. 15 예에서 스테플 제거와 함께 이차적 관절경 수술을 시행하여, 재건된 전방십자인대의 파열 유무와 이식건의 주관적인 긴장 정도 및 활액막 형성 정도를 검사하였다. 결과: Lysholm 슬관절 및 Tegner 활동 점수는 각각 술전 67.4, 2.0에서 최종 추시에 96.1, 6.1로 호전되었다 (p<0.01). Lachman 및 pivot-shift 검사에서 39예, 36예가 정상범위로 호전되었다. 스트레스 방사선 검사의 양측 차이 정도는 10.8 mm 에서 3.3 mm로 의미있게 호전되었다 (p<0.01). 이차적 관절경 소견상 모든 환자에서 전내측 다발이 정상 및 정상에 가까운 소견이 관찰되었으나, 8예 (53.3%) 에서 후외측 다발의 부분 및 완전 파열이 관찰되었다. 결론: 이중 다발 전방십자인대 재건술이 임상적으로 슬관절의 회전 및 전, 후방 안정성을 복원하는 효과적인 수술법이라도, 이차적 관절경 수술을 시행한 증례의 몇 예에서 후 외측 다발의 파열이 관찰되었다.

• 복식
• /
• 제56권6호
• /
• pp.1-15
• /
• 2006

The purpose of this study is to present a new viewpoint in look by closely examining fashion and look through the past, present, and future. Specifically, the concept of time is studied and fashion is considered based upon the concept of time, finally, looks in fashion related to time are analysed. For this study, the literature of retro, modern, contemporary, futuristic looks that express the past, present, and future, and the classic look, the popularity of which transcends the concept of time was considered focusing on 20th century women's fashion. Design characteristics of these looks were analyzed utilizing photographs of collection images. The results of the study are as follows: first, although the retro look of different periods regularly rotate and appear, they change and develop in new and various ways depending on the Periodic background of the time they appear in, and thus show simultaneously the cyclical and straight nature of time. Second, the modern look includes not only the moaning of time concept of the present, but also of interpreting anew the formal significance of modernism in the present. In other words, because it cyclically repeats the times of past modern periods, the look can be said to focus on the cyclical nature of time. Third, the contemporary look is a style that expresses current time most exactly as it exists, and it can be said to be the look in which current time is most vividly expressed. Fourth, the time concept in futuristic look is a subjective time that selectively accommodates and expresses the objective time of the future which has not yet come, and that can be the look's most important point. Last, the classic look possesses an objective value that transcends the concept of time, and it keeps returning, showing the cyclical nature of time. The closer this study came to the present, it could be seen that a look communicated more complex meanings, Influenced by periodic phases such as diversification, individualization, and eclecticism, and that while it could not be defined as any one look, various elements were expressed eclectically by being mixed and matched with each other, and it could utilize more natural forms, colors, and materials.

• 한국의류산업학회지
• /
• 제10권4호
• /
• pp.436-444
• /
• 2008

Recycle fashion is suggested to the suitable alternative of the environmental problem and the exhaustion of natural resources. The purpose of this study is focused on trying to comprehend between design characteristics and aesthetic values of recycle fashion design and those from fashion brands, fashion designers, and the public. For such purpose, 1553 photos of recycle fashion design which appeared in web-site, newspaper, fashion magazines between 2002 and 2007 were analyzed. Method of analysis did content analysis. The results of the research can be summarized as follows. First, design characteristics of recycle fashion were expressed by Junk Recycle Look, Vintage Recycle Look, Contemporary Recycle Look, Artisanal Recycle Look. Second, the expression methods of recycle fashion were presented reuse, reform, and regeneration. Third, aesthetic values of recycle fashion can be explained by the promotion of environment, the variableness, and the deconstruction.

• 대한정형외과스포츠의학회지
• /
• 제6권1호
• /
• pp.38-44
• /
• 2007

목적: 자가건을 이용한 전방 십자 인대 재건술 후 이차 관절경 검사 소견으로 이식건의 상태를 평가하고 이식건 주위의 변화를 관찰하여 의미를 알아보고자 한다. 대상 및 방법: 2003년 6월부터 2007년 2월까지 자가건을 이용한 관절경적 전방 십자 인대 재건술을 시행 받은 환자 중 이차 관절경 검사를 시행한 22예를 대상으로 평균 15.1$(7\sim31)$개월에 이차 관절경 검사를 시행하였다. 슬괵건 15예, 슬개건 7예였다. 이식건의 긴장도는 탐침 시 이동 거리로 측정하였고, 활액막 형성 정도는 관절경 소견을 시각 등급으로 나눴으며 재건술 전과 이차 관절경 검사 시에 Lysholm 점수, Lachmann 검사, KT-2000 계측 차이로 이식건 상태를 확인 하였다. 결과: 이식건의 긴장도는 슬괵건 군이 정상 11예 느슨함 4예였고, 슬개건 군이 정상 3예, 느슨함 2예, 부분 파열 2예였다. 활액막 형성 정도는 슬괵건 군이 good 11예, half 3예, pale 1예였으며 슬개건 군이 good 4예, half 3예였다. Lysholm 점수는 수술 전에 비하여 자가 슬개건에서 더 의미있게 상승하였고(p<0.05), KT-2000 계측 결과는 두 군간의 의미있는 차이는 없었다. 결론: 자가건을 이용한 전방 십자 인대 재건술 후 이차 관절경 검사에 의한 결과는 슬괵건 군이 슬개건 군보다 우수하였으나 장기적인 추시가 필요하다.

• 한국콘텐츠학회논문지
• /
• 제20권1호
• /
• pp.392-402
• /
• 2020

현대 많은 영화와 애니메이션 등의 영상에는 CG(Computer Graphics) 기술이 많이 활용된다. CG의 활용으로 시각적 표현의 한계를 벗어나 거의 무한대에 가까운 연출이 가능하게 되었다. 더불어 새롭고 영화에 잘 어울리는 CG를 만들기 위한 기술적, 예술적 노력도 증가하였다. 룩 디벨롭먼트는 감독의 의도에 부합하는 CGI(Computer Generated imagery) 제작을 위해 3D 상에서 쉐이더와 렌더링을 수정하고 만들어 나가는 과정이다. 하지만 소규모 제작사나 프로젝트에서는 제작 파이프라인 상에서의 룩 디벨롭먼트에 대한 인식이 상대적으로 부족한 경우가 존재한다. 룩 디벨롭먼트가 선행되지 않았을 경우 생길 수 있는 문제점을 3가지로 분류하여보면, 첫째, 같은 라이팅 조건에서도 쉐이더가 다르게 반응할 수 있다. 둘째, 작업자들 간의 소통에 문제가 생길 수 있다. 셋째, 주어진 상황에 맞는 스타일을 미리 약속해 놓지 않아서 생기는 낭비가 있다. 이 문제들을 피하기 위한 룩 디벨롭먼트 방법을 연구하였다. 소규모 스튜디오가 갖는 적은 인원과 시간, 비용 등룩 디벨롭먼트를 진행하기 어려운 한계 속에서 개인 혹은 작은 제작사 단위에서도 진행할 수 있는 간단한 룩뎁 과정을 연구하고 제시했다는데 의의를 두고자 한다.

• Journal of Yeungnam Medical Science
• /
• 제4권2호
• /
• pp.1-14
• /
• 1987

• 한국의류산업학회지
• /
• 제19권4호
• /
• pp.365-372
• /
• 2017

This study systematically identified the influence of the school look fashion image on public culture, which is used for increasingly sexualized marketing appeal by domestic Girl Groups. We examined and analyzed the school look fashion image of Girl Groups, focusing on the Lolita complex which is particularly influential in the sexual appeal of domestic popular fashion. The method of this study is based on a literature review from the years 2007 to 2016, when the female girl groups began to receive attention. The music videos of the female girl groups in the top 100 charts of 'Melon' from 2006 to 2-16, which provides the largest mobile music service in Korea, were watched and analyzed as primary data. As a result, it was found that the 'school fashion look image' of adolescence which was used as costumes for Girl Groups, plays a role in commercializing the image of a 'girl', and the types and characteristics of school look fashion image are drawn in two ways. First, it is the image of a seductive Lolita complex. This is the case where young girls wear school look fashion image to emphasize their sexual maturity. Second, it is the case that is using the school look fashion image in order to perform with the 'young girl' concept, as an image of the enchanting Lolita complex; in addition, the erotic body image is more explicitly exposed through choreography and nakedness.

• 복식
• /
• 제65권4호
• /
• pp.61-75
• /
• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• 한국의류학회지
• /
• 제31권5호
• /
• pp.777-787
• /
• 2007

The purpose of this study is to consider various characteristics in the graffiti-look in the modem fashion by interpreting meanings and properties of graffiti, transferred from street art to a new main stream in art. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The first characteristic is satire. The graffiti-look conveys directly or indirectly with phrase or symbol various messages of politics, social ideology, wealth and poverty, environmental pollution, anti-war, etc. Body is even more used for graffitiand designers express freely their identity or ideology through the formative style of graffiti. The second characteristic is pleasure. Fantastic expressions from a fairy-tale or fable in the graffiti-look give humor meaning freedom and sense of liberation in a sense of catharsis to the modem people's emotion. The graffiti-look uses graffiti works to introduce its original message of humanism, happiness, humor, etc. to clothing; as a result, the graffiti-look features pleasure. The third characteristic iscommercial application. Brand logo designed by graffiti style is decorated with clothing, accessory, or ornament. This may not only emphasize brand name through lingual function of graffiti, but also be used for a distinctive marketing strategy against other brands. Logo which is regarded motive or pattern of design leaves a image instead of a meaning and performs a design function stressing formative sense.