• 한국실내디자인학회논문집
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• 제13호
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• pp.78-88
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• 1997

The objective of this study is to analyze the residential space as designed by Richard Meier thereby grasping its main characteristics and historical development. Richard Meier has developed his own peculiar architecture based on Modernism. He has solved problems of modern architecture by combining the form elements of Le Corbusier with Mies van der Rohe's architecture which pursued the beauty of structure and proportiov. Meier's houses, sculpture-like in forms, are characterized by clear distinction and variations of the interior spaces. The clear separation between a large, two-story high living room and a tiny, cozy bedroom securing the privacy, endows the interions with variation and vitality, while simple white walls reveal the good shape of the space. The houses also unfold the diverse spaces one after another as one steps into inside. His interiors, shaped by simple walls and settled functionally, has inherited the rationality in modern architecture. Richard Meier has established his independent working world by applying his own design method and languages based on the rationality in Modernism.

• 대한가정학회지
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• 제46권8호
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• pp.17-26
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• 2008

The purpose of this study was to identify the aesthetic characteristics of modern fashion design use with a particular focus on transparency, and to help create future vision and feature. As part of the methodology for this study, I examined the concept of transparency, its characteristics and how it was expressed through art, architecture and other designs using literature research. Furthermore, I performed justifiable analysis on modern fashion design which used transparency from the 1990s till present. The following concepts were deciphered from information: Firstly, the concept of purity was highlighted. The emphasis here was to enhance the body's natural beauty with simple silhouettes that do not restrict its curves, using light materials such as clear vinyl, semi-clear materials or thin chiffon. Secondly, to express sensuality by exposing the body's curves with tight wrapping using clear materials, or with indirect and symbolic see-through techniques using contrasting clear, semi-clear and opaque materials. Thirdly, to express futurism through cyber and electronic images using high tech or shiny materials such as metal or holograms. Mechanical movements or effects of light are also used. Fourthly, to express playful characteristic by promoting surprises and disharmony that contradict with traditional techniques. This is carried out by intentionally exaggerating certain portions of clothes through disorder elements or confusion, and unsymmetrical shapes which destruct the human body's normal form.

• 복식
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• 제61권4호
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• pp.138-151
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• 2011

Due to its vast lands and rich underground resources, Mongolia is a country with high growth potential, even though it is currently in the early stage of economic development. In Mongolia, the Korean wave (Hallyu) has increased interests in Korea, especially in Korean fashion. This study analyzed lifestyles and examined the characteristics of clothing purchase behavior of Mongolian women in order to deepen the understanding of Mongolians' lifestyle and clothing purchase behavior and provide information for successful marketing strategies. The results based on 293 questionnaires showed that lifestyles consisted of six factors (socially active, beauty seeking, individualistic, simple comfort seeking, sensitive to others' perception, information focused) and four groups (socially oriented, individualistic, beauty seeking, and information seeking) were identified. Among the lifestyle groups, socially active group showed clear differences from other groups and there was no significant difference in demographic characteristics according to the lifestyle groups.

• 복식문화연구
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• 제13권6호통권59호
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• 문화기술의 융합
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• 제5권2호
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• pp.271-278
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• 2019

조선 말기 진도(珍島) 출신의 소치(小癡) 허련(許鍊)(1808~1893)은 시(詩) 서(書) 화(畵) 삼절작가(三絶作家)로서, 호남 화단의 실질적 종조(宗祖)라 불리운 대표적 화가이다. 초의선사(艸衣禪師)로부터 유(儒) 불(佛) 도(道)와 함께 회화의 기초를 배웠고, 초의(艸衣)의 소개로 추사(秋史) 김정희(金正喜)의 문하생이 되었다. 이후 추사(秋史)의 문인지향적(文人指向的) 서화정신과 화이재도적(畵以載道的) 회화심미를 정확히 이해하고 이를 계승하였다. 그의 생애와 예술활동의 특징은 70이 넘은 만년(晩年)까지 지속된 주유(周遊)와 다작(多作) 활동, 그리고 주유(周遊) 기간의 세부사항까지 서술한 "소치실록(小癡實錄)"의 기록이다. 소치(小癡)는 사의적(寫意的) 남종화(南宗畵)를 지향하여 예황풍(倪黃風)의 산수화에서 자유분방한 갈필(渴筆)과 소산간일(蕭散簡逸)한 충담미(沖澹美)를 발현하였다. 또한, '허목란(許牧丹)'이라 불리울 만큼 운필변용(運筆變容)의 생동미(生動美)를 자아내는 모란은 괴석(怪石)을 함께 그려 부귀공명(富貴功名)에 대한 욕망과 문사적(文士的) 취향을 동시에 만족시켰고, 이후 가전(家傳)되어 '운임산방(雲林山房)'의 대표적 화목(畵目)이 되었다. 그의 토착화된 화풍(畵風)과 회화(繪畵) 심미(審美)는 200여년의 5대(代) 직계(直系) 화맥(畵脈)을 형성하여 지금까지 현대 한국화단에 큰 영향을 끼치고 있다.

• 한국패션뷰티학회지
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• 제3권2호
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• pp.31-38
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• 2005

Make-up changes facial images. In particular, eyebrow make-up is a part of changing expression most easily and effectively. While color make-up is helpful to produce women's desired image with their favorite colors, eyebrow make-up is hidden actor to give a clear impression to others. Therefore, this study connected facial type which is an important factor deciding facial image with eyebrow, examined image of eyebrow make-up and that changed by facial types and aimed to be helpful in producing more effective facial image with eyebrow make-up considering one's facial type. Consequently, it was found that eyebrow make-up was a great factor in making better facial impression and image and complementing the weakness of facial type. h strong impression of facial type can be changed into soft shape or foolish shape in worse case depending on the types of eyebrow make-up. Eyebrow make-up shows charming image as angle of eyebrow is steep, heavy image as eyebrow is horizontal, cold image as eyebrow tail rises and simple and dull image as it lowers. Therefore, it is known that image of eyebrow make-up can be governed by several factors including angle and direction of eyebrow. Consequently, it is thought that most effective eyebrow make-up considers individual facial types, images of their eyes, noses and mouths and factors deciding angle, direction and colors of eyebrow.

• 한국실내디자인학회논문집
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• 제17권6호
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• pp.111-119
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• 2008

This thesis is to make it clear that simulacre concept of is an important factor that provides the motive to make spaces and to make it clear that yard in Korean traditional architecture has more meaning of a container that contains the simulacres of life than formal aspects. Namely, focusing on the simulacres, among existing important factors that cause changes in architectural spaces such as structure, function, beauty, I shall make it clear that simulacre concept, which is a creation thinking of post-structuralism philosopher, Deleuze, is a logic that builds and changes spaces. Also, the purpose of this research is to investigate successive circularity of yard spaces with the mutual relationship between simulacre concept that has virtual multiplicity and yard in Korean traditional architecture, a space of infinite emptiness. When certain simulacres occur in the yard, the ambivalence of simulacres provides meanings to yard by affiliating numerous simulacre factors, then by combination among those meanings, yard get mutual dependence. This is an important core point that I have focused on the beginning of this research. This research has found out the successive circularity of yard based on the relationship between simulacres and the essence of yard. The meaning of this research is to have found out that yard has the meaning of "a bowl that contains the simulacres of life," going over the simple meaning as a space between door and fence. Also, the simulacre concept is thought to be discussed as a motive for creation of various spaces from now on.

• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 복식문화연구
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• 제18권3호
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• pp.397-407
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• 2010

This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.

• 복식문화연구
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• 제27권5호
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• pp.433-448
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• 2019

Oversized fashion is again in the spotlight due to the influence of retro fashion. This has created new fashion trends with methods different from those of the past. This analysis examines recent trends by sorting these looks according to new and different methods of judging their appearance. A new categorization of the oversized look and its configurations has been created, one which separates "big" looks, partial changes, and layered looks. This research was based on historical review and previous studies. Three thousand one hundred thirty-six photos of oversized looks that have appeared in collections over the past five years were gathered, and their appearance was categorized according to type. The categorization results showed that big looks (55.1%) were most prevalent, followed by partial alterations (36.35%), and layered looks (8.45%). In comparison to prior oversized clothing production, new permutations of the "Big" look expanded the silhouettes of torso, shoulders, neckline and collar. Partial changes have expanded from the broadened shoulders of the 1980s. Today these styles expand the shoulders and armholes vertically or horizontally, which dramatically exaggerates the sleeves and collar. The layered look no longer simply features overlapping layers but takes the form of over-layering through cuts and insertions. Through such analysis it is clear that modern oversized looks break away from the simple expanded forms and production methods of the past. They now attempt to realize an exaggerated beauty of form regarding each clothing component and also maximize decorative effects through innovative drafting or sewing methods.